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wehadfaces · 24 days

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my 3am mini-review of Cry Wolf (1947)

per @warningsine's request! i had intended to start a sort of reviews blog at the start of the year to do something productive with my insomnia, but then life happened and all progress stopped ("Auntie Mame" was next!). so this does take that kind of tone.

Before we get into the thick of it, I need first to establish myself as part of the staunch opposition to remakes and retellings. Few and far between are good, even fewer do better than their source material (or, at least, their first filmic iteration). But the true disappointment of this film is that it was made in 1947.

I agree with NYT critic Bosley Crowther, that “The final explanation of the mystery is ridiculous and banal.” But how could Crowther know that his frustration felt at the time of the film’s release only compounds with the passage of time itself? That decades of political scandal since the film’s release have raised the bar for what shocking is to the American everyman. The reveal, a seemingly weak and Puritan attempt at shock value to the modern (and apparently even a 1947) viewer, might paradoxically accomplish its original intent if adapted to a 21st century setting because of how simple it is.

An unknown widow appears at the familial estate of her deceased husband to claim her fortune. We learn this was a marriage of convenience; so that she may help him gain access to his family money, Sandra Marshall agreed to marry James Demarest for $2,000 and the chance to finish her doctorate in Geology without financial worry. After six months, she was to divorce him on grounds of abandonment. Five months later, he is declared dead.

Any graduate student in the United States today would, at minimum, consider the arrangement without hesitation. (Is there a sign-up sheet?)

We learn, after all, James Demarest is still alive, being kept on the estate grounds by his a brother, a renowned scientist. And that is mentally, criminally, and familialy insane.

The right people making it with the right people could turn a retelling into a masterpiece. Again, I typically stand opposed to remakes and modernizations, but am not without compromise and suggestion.

Some ideas: Rosamund Pike in Stanwyck’s shoes. I cautiously compare the two and their shared honed ability to be enticingly off-putting. Neither performer has ever appeared to be in the business of persuading you to like the characters they play (and not because they tend to play unlikeable characters, either), only offering an honest sense of authentic personality. They both are able to exude equally powerful senses of false charm and true confidence without it coming across as overcompensation.

Joaquin Phoenix is my pick to echo Errol Flynn as the moody, flirtatiously conservative chemist keeping up the charade. We’ve seen his skill at carefully losing control, but this role requires a tightfistedness best suited to the depths of restraint into which Phoenix capable of burrowing. I dare to say Flynn doesn’t get to where he needs to be for this role, and I think that shortcoming again lends itself to the time and its conventions, but in a modern setting, Phoenix could get there.

Throw on a score by Abel Korzeniowski, an underrated master of thriller sound work. Something sparser, but in the same vein as his score that landed a BAFTA nomination for Nocturnal Animals in 2016. A less lush but still a symbolically string-dependent undercurrent pushing and pulling you room to room of the growingly suffocating singular setting.

I remain undecided for direction. My gut thinks David Cronenberg would be a good choice. The material isn't necessarily as horrific as his standard work, but maybe that guidance is what the material needs to really ascend. Godfrey baits with romance tropes, but doesn't lean into the horror of that choice. What could a master of disturbance like Cronenberg do, and how could he do it with such careful restraint? Much of what's good about the film is what isn't seen. I'd certainly be interested in finding out.

But another part of me wants a woman directing. The story is, in actuality, more Sandra's than any male character. The novel the film is based on was written by a woman. . Sandra is, in fact, a scientist too, which is mentioned once and never brought up again. Sandra's relationship with James's niece (who I think could be done justice today by Anya Taylor-Joy) becomes nearly central to the film and more attention to it could raise the stakes, a shortcoming of the original film.

Any suggestions?

(Note: After writing this months ago, I want to say that I haven't seen the entirety of "Anatomy of a Fall" yet, but from what I have seen, Justine Triet might be a good contender as well).

#i also wanted to start a blog because my confidence in nearly anything i write lately is zero and even taking on this tone felt almost wrong #so i need to get out of that too

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msfbgraves · 1 year

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just wanted to say i also headcanon robert de niro as daniel's dad, but the robert in "a bronx tale" only because he's such a good, loving, hard-working, upright, working-class father and man. and btw, i love that you mentioned that film - it's SUCH a good movie, and criminally underrated :(

Yes, a heartwarming family tale and a crash course on Macchiavelli! I think that Lorenzo is the kind of father Mr. LaRusso would have been, and it also helps when you look at the photos of Ralph Macchio and Robert De Niro together: Ralph clearly adores him, and Robert is very tender with him (with a tiiiiny bit of distance: I think that's just De Niro, but I also think it fits. Because I think that both Lucille and Tony - because why else would Daniel call his son Anthony? - would be slightly worried about their son being a touch too soft for Newark.) I think Mr. LaRusso would want to teach his son to be a good, strong, honest man, and then Daniel would do something sweet and slightly cheeky and his father would laugh and shake his head and be all "this kid!" and then he'd spin Lucille around the room and outside could be scary but home was always safe and then.... argh. To look at Daniel now, his Dad would have had to have been a good man whose loss would leave a crater, and I think A Bronx Tale is that kind of environment and atmosphere, if set a bit too early. It being a bit rough about the edges would also explain why Lucille would choose to go that far from home: so Daniel wouldn't fall in with, or be targeted by, the wrong crowd.

But yes. Ralph has had a lot of on screen Dads but these two just click, and there are photo references of them together, which helps.

I mean, look at them:

#larusso family #daniel larusso #mr larusso #fathers and sons

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thedeadpolyphonic · 1 year

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an unreasonable gush post for fictional band, infant sorrow.

infant sorrow is without a doubt one of the greatest musical moments in all of history, fictional or not. if 'coming up' doesn't legitimately inspire you, you're lying. if 'inside you' isn't your wedding song, you're lame.

so let's get into what makes this amazing musical experience what it is. let's talk russel brand/aldous snow. the man is a BRILLIANT creator of literally all things. he's an intellectual mind with a spiritual soul and a comedic outlook on life. his comedy is always quick witted and deliberate. this plays a role in the music of Infant Sorrow. now, let's get into the actual music. we'll start with the ONLY song i DON'T like, just to get it out of the way:

'furry walls.' i feel like this song was thrown together quickly as a lubricant for a scene in the film. this song is not canon part of the discography for me. period.

moving on. let's get into my FAVORITES:

'yeah yeah oi oi' --this is really a britpop masterpiece. it's fun, it's catchy, it's witty, and it just makes you fucking smile. the lyrics are so sharp but sweet and hilarious. case in point: "yeah yeah, oi oi, put your hand up for sex, for me and me helmet and wherever it winds up next" sweet and cute, but then "put your hands up for our queen, for shagging five birds in the back of limosine" dirty and delightful. and the bridge? beautiful. i could go on and on about this song, but we've got more to get to, so.. YEAH YEAH, OI OI, put your dominant hand....on the mouse to scroll to the next paragraph.

'i am jesus' --this song is CRIMINALLY underrated (within the 'infant sorrow' universe and within the real life universe). let's take a little look at the lyrics. "i am jesus, welcome to the church of me" a fantastic start. polarizing to some, DELIGHTFUL to intellectuals. "i've come to feed the fish, heal the world, but first a dirty little kiss" FLAWLESS. "i wear a thorny crown, i live in Honeytown" ;;it's always bordering on sacreligious but in a way that is instantly forgivable because it's so stinking CAMP. "i am mahatma, taking it to the streets, give me your daughter, let me rub your dirty feet." hilarious because in the bible, men literally would give away or sell their daughters. fun little dig at the ridiculousness of biblical religion. and as for rubbing dirty feet, i'm a foot lover myself. so i always appreciate a reference to the love of feet, especially dirty ones. there's actually the most romantic story in the bible where mary magdalane is so in love with jesus, but she doesn't know how to show it the right way 'cause he's literally fucking JESUS, so she shows her love by washing his feet with her HAIR. anyway. that turned into a weird tangent, but it seemed necessary. well, MOVING ON then...

let's get into one of the absolute BANGERSest bangers: 'bangers, beans, & mash' --this song .... is golden. "a suicide in SoHo grand, my wrists so tired from working with my hands..." now this is a BAR and a half. period. this song is honestly filled with so much real emotion and honest feeling. and the musicality is beautiful. "why has the world gone so still? the world is so still, i feel that my next meal might be my last...so will you come for my bangers....my beans and mash?" i mean you can FEEL emotion from this. it's an honest diary put into music form with a catchy brit-centric title and chorus. brilliant. the only word that describes this is BRILLIANT. i feel like i don't even need to go more in depth into this song, as it's the most well known from the film, and everyone loves it and knows it. if you know you know.

let's get into an underground hit, 'just say yes' --a double entendre beauty of a song. if the beatles had a better sense of humor, they would have written this song. "mother mary, marijuana, uncle charlie, top banana" alone is beatles-esque in nature. but this whole song is a convoluted love letter, and everything brit-punk, brit-pop is about honestly. his love is an addiction. and he's a drug dealer in love. when he says "snort me chase me swallow me whole, or take me up your arse if that's the way you wanna go" i felt that. lovely for love and still witty and hilarious.

let's get into the least favorite (canonically from the film's inhabitants) 'african child' --i fucking love this song. deadass. it is SO FUCKING HILARIOUS. disrespectful, condescending, ignorant, and incredibly self-aware. russel brand is such a master at this kind of humor. he truly captures the "#activism" of celebrity culture. it's fucking CHOICE. period. "i have crossed the mystic desert to snap pictures of the poor; i've invited them to bruch, let em crash out on my flooooor" i mean FUCKING HELL that's great. so out of touch and ridiculous. it's just...and i use the damn word again...BRILLIANT. but i think one of the best touches is that he's actually doing a Swahili chant. he took the time and effort (in the film's universe) to gather the language and memorize and learn, but not to actually learn anything about the culture or educate himself. fucking amazing. let's move on, GOD THIS POST IS LONG.

'coming up' --the magnum fucking opus. this song is probably such an honest piece from Russel himself (as well as aldous in the film). the parallels between russel and aldous are almost innumerable (which is why his films are so funny ;;because he's not playing a character, he's just exaggerating himself if even exaggerating. the lyrics are inspirational, it captures the vibe of a true power ballad. it's just MINT. in every possible way. when you've run out of drugs and you're going through it, it's called "coming down." this song, 'coming up' is the absolute opposite. done with the drugs, done with the misfortune, done with self-denial and pain and struggle and sadness. he's coming up instead of coming down. it's a beautiful word choice honestly. plus, "and for twenty bucks in the alley i'm going down, down, down" is a hilarious line. xD and the honesty and pain in "for the ma who always honored me i'm going down, down, down ;;for my pa who never wanted me can you hear what's going on? i'm coming UPPPPPPPPPP" honestly enough to make my chemically imbalanced ass actually cry.

and obviously, 'the clap' --an absolute banger. brit-pop royalty. it's catchy, it's fun, it's just subversive enough. it's a great addition to the film's universe. and it symbolized a special moment for aldous in the movie where he started to remember who he used to be and really kicked off his journey to self-realization.

oh shit! and 'searching for a father' --this one slaps and HURTS. for all of us with daddy issues....well, this song just works.

now onto some honorable mentions featuring the brilliant jackie q. because if 'ring round' isn't on your playlist, you're not getting my aux cord.

Jackie Q

'Supertight'

'You got to me Warm and you're tight I'm going to fuck you so deep I'll give you a lobotomy I'm a zombie You dug me from my grave You took me from Africa And made me your slave"

if these lyrics don't jostle your jimmy you're a dummy. this shit is hilarious, and so smartly worded for a song so debaucherous. "i'm gonna get precarious, i'm a motherfucking stratavarious" i mean...that's literally incredible. this song is a 10/10 would recommend.

'ring round' --needs no explanation. song about a tight butt hole. it's fucking perfect. pop perfection.

OH MY GOD AND I FORGOT 'LITTLE BIRD' i'm already done with this post but i'll be damned if i don't mention this one. it's literally beautiful with moments of comedy and silliness.

also 'riding daphne' is a fucking SMASH HIT.

and i can't believe i didn't do a paragraph on 'inside you' argh. but i love it ;;it's beautiful and remember "there's so much more than just a screw inside of you"

so anyway, this post is long as actual shit. i could do a whole 'nother freakout just about the movies 'Forgetting Sarah Marshall' and 'Get Him to the Greek' but for now i'll leave it at the music. as far as i'm concerned, Infant Sorrow, is a REAL band, Aldous Snow is a real musician, and this is a perfectly legitimate fangirl moment.

#infant sorrow #music #stan #aldous snow #russel brand #get him to the greek #forgetting sarah marshall #jackie q #bangers beans and mash #riding daphne #coming up #movie music #fictional bands #fanrant #fangirl #fanpage #fan #freaking out #unecessary

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steampunkforever · 2 years

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I don’t think much tops the bathroom scene in The Nice Guys. Criminally underrated film to be honest.

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blondesupes · 1 year

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I posted 2,144 times in 2022

That's 1,126 more posts than 2021!

114 posts created (5%)

2,030 posts reblogged (95%)

Blogs I reblogged the most:

@/ari-shipping-stuff

@/trollisgirl

@/carryingthebanner

@/napo-con-fritas

@/rajalagang

I tagged 319 of my posts in 2022

#newsies - 67 posts

#pjo - 43 posts

#livesies - 21 posts

#jack kelly - 20 posts

#travis stoll - 15 posts

#anwverse - 14 posts

#jason grace - 13 posts

#percy jackson - 12 posts

#davey jacobs - 11 posts

#ethan nakamura - 11 posts

Longest Tag: 139 characters

#its just so fckn funny to see ppl actually believe aaron and jerjor gonna be kicked out of bway after they saw one spidey singing in a film

My Top Posts in 2022:

Riordan have had a habit of leaning more into fan services than actual good plot since the first series ended and I'm honest to God fucking scared that the show is going to diminish Luke Castellan's depth as a character because of all the fucking fandom wars surrounding his character. Don't make him shallow. Make the antagonist just as interesting as the protagonist in the show. And cast an actor that is as incredibly talented as the lead dude.

136 notes - Posted May 29, 2022

actually, the most powerful big three trio is percy, jason and hazel. percy defeated a god (ares) by himself, jason been trying to survive on his own since he was 2 years old and defeated a titan (krios) by HAND TO HAND COMBAT by himself, and hazel defeated a primordial (gaea) by herself and then survived 7 DECADES in the underworld without going insane. by herself. AGAIN.

137 notes - Posted October 2, 2022

Why is Jack Kelly always the single dad in Javid single dad aus like please give me sleep deprived David Jacobs who's struggling to feed little Elmer and support his baby brother Les' education and one day wandering little Elmer ends up on the tattoo shop in front of their apartment complex during a game of hide and seek with his uncle Les and half an hour and a hysterical David and sobbing Les later, little Elmer returns to the playground hand in hand with this cocky smiling man (his arms are full of tattoos jesus christ is that a moon on his collarbone) and little Elmer is grinning and showing Daddy Dave all his sticker tattoos that nice uncle Jack Jack put on his arms.

159 notes - Posted January 7, 2022

So we all agree? Mike Faist is the white boy of the first three months of 2022.

246 notes - Posted March 8, 2022

My #1 post of 2022

I will never get tired of saying the Merlin Core 4 are phenomenal actors. Colin Morgan's skills are insane it's almost criminal he isn't mainstream in film and tv. His understanding of the script and portrayal of emotions are always so entertaining to watch. Katie McGrath is always a scene-stealer no matter the project. Angel Coulby's range is so underrated, you could give that woman an assignment and put her in front of a camera and it's a guarantee that she'd deliver. Bradley James had the charm of a male lead, and also has the personality to be an amazing entertainer.

688 notes - Posted March 19, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review

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letterful · 3 years

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professional vibe diagnosis: madi @dearorpheus 🖤

KEY TERMS: gothic heroines, final girls, bluebeard narratives, death & the maiden, monster theory, dangerous appetites, antiquarianism, sawbones & their history, perfumery, poison bottles, cursed jewels, blood vials, soft & warm light, morbidness & coziness intertwined, with more than a dash of elegance & sophisticated taste 🖤

media recommendations under the cut!

(a sidenote: i did not include a lot of obvious choices, such as angela carter or helene cixous or anne carson or any gothic 101 authors, since i know for a fact you’re already familiar with them. to be perfectly honest, you’re one of the most well-read people i’ve ever met, so i wouldn’t be surprised if you were already familiar with most of these, but i did my best!)

Severance: Stories, Robert Olen Butler—talking heads! literally!

Fairy Tales for the Disillusioned: Enchanted Stories from the French Decadent Tradition,

The Leopard by Giuseppe Tomasi Di Lampedusa (for some truly exquisite prose),

Imaginary Lives by Marcel Schwob (oh, Schwob is criminally underrated; also, these tales remind me of early Borges)

Kieślowski films! La Double Vie de Véronique (1991), especially—this scene is... somewhat spoiler-y, but goodness. it is beautiful, in a grandiose way. also, can we talk about the lyrics of the featured piece?

speaking of Polish movies: Cold War (2018) & Ida (2013) are also a must!

Arthur Machen’s short stories, and especially The Inmost Light,

M. R. James’ short stories, of course, but especially Count Magnus,

The Lottery and Other Stories by Shirley Jackson; the entire collection serves as one of my favourite retellings of the Daemon Lover ballad, although it’s not a very straightforward one—The Man in the Blue Suit (slash James Harris) is at most a peripheral figure, and his status as a supernatural entity is up in the air, since most of the stories are uncanny instead of explicitly supernatural (and yet, whenever he enters the stage, something shifts in the atmosphere & things go... very wrong, very quickly). I especially recommend The Tooth!

speaking of daemon lovers, here’s an academic analysis of this motif: Demon-Lovers and Their Victims in British Fiction (an extended excerpt is available on Google Books)

still speaking of daemon lovers: The Book of Tobit! and, specifically, the story of Asmodeus and Sarah of Media, who might or might have not inspired the line about the woman wailing for her demon-lover in Coleridge’s Kubla Khan. also! this... retelling of sorts: (x)

The Song of the Sun: Collected Writings by Leah Bodine Drake (her poems of fantasy are quite wonderful; here’s an example!),

speaking of fantasy-themed poems... these anthologies are very good indeed (& beautifully published!): Monster Verse / Dead & Undead / Killer Verse / Bewitched & Haunted,

Het Lied van Heer Halewijn (a proto-Bluebeard story, and the Dutch equivalent of Lady Isabel and the Elf Knight)

speaking of... these are some of my favourite transformative works dealing with this ballad: (x) (x) (x) (once again, it’s fanfiction, but it’s quality fanfiction, cross my heart & hope to die)

german-language musicals! goodness, they’re some full-throated, pulpy, gothic extravaganza. here’s my favourite scene from Tanz der Vampire, and here’s the english lyrics, and here’s the english-language demo (it is... not as good as the original, alas). i also recommend Elisabeth & Rebecca! speaking of pulpy musicals: can we talk about the riddle from the scarlet pimpernel? because it has no business being this catchy.

alright, i’ve covered some lowbrow musicals, so let’s talk highbrow now: The Great Comet is based on a tiny excerpt from War & Peace, but good god. it /feels/ monumental in scope. this song is... yeah. yeah. it’s also sung-through (like Les Mis, or Evita), so you’re not missing out on anything, even if you only listen to the cast recording!

speaking of songs with great Madi energy... Take This Waltz by Leonard Cohen (based on a poem by Lorca!) definitely reminds me of you!

also. Memorial by Susanne Sundfør. it’s the drama! and Kate Bush, obviously, especially Hammer Horror (even more obviously) <3 and this rendition of Memory!

i don’t know whether you own ps4, or even consider yourself someone keen on video games as a medium, but madi. madi. madi. bloodborne is practically tailor-made for you, and i’m not even exaggerating. dubious medicine! secret cults! victorian architecture! blood, blood everywhere! eldritch abominations beyond human comprehension! i’m going to fly you to poland just so you can play it.

on a related note... netflix’s castlevania is. well, i genuinely cannot say whether it’s good, but it’s fun, and its aesthetic is basically gothic on steroids. very explicit, that is to say: sex and murder usually take place simultaneously.

some academic books of interest that were not already included in my previous masterpost:

The Ring of Truth: And Other Myths of Sex and Jewelry,

the Devil’s Advocates series,

The Work of the Dead: A Cultural History of Mortal Remains,

Dark Banquet: Blood and the Curious Lives of Blood-Feeding Creatures,

Rabid: A Cultural History of the World's Most Diabolical Virus,

Severed: A History of Heads Lost and Heads Found,

The Science of Monsters + Science of the Magical.

#<3333 ily!#dearorpheus #t2

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thealexchen · 2 years

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what are your fave movies of all time and why? also that other ask you got and your response made me check out picture us in the light and butterfly soup, and I love them!

Wait seriously?? That makes me so happy ahhh!! I think Butterfly Soup and especially Picture Us are criminally underrated and not talked about enough and I’m always so thrilled when more people know about them!

I don’t consider myself a film buff at all— I know nothing about what constitutes “good” filmmaking and I haven’t seen many “classics,” but I’m always drawn to a good and intriguing story.

Here’s my list:

Ponyo

Ratatouille

A Silent Voice

Bao

Big Hero 6

Love Simon

The Farewell

More under the cut! Thank you again for asking!

Ponyo: This movie honestly feels like pure sunshine and nostalgia in an adorable package. My favorite thing about Ghibli is how they can add a touch of wonder and serenity to the simplest, mundane things, like a good meal or lying in a grassy meadow. But with Ponyo, you have that plus the pure elation of a little fish-girl discovering things like human food and electricity for the first time, and it’s just a treat to watch. I think movies (especially animated ones) for and about young kids occupy a very fine line between endearing and annoying. However, Ponyo feels like an utterly joyous movie about the magic and fun of early childhood that anyone can enjoy. Ponyo felt like Totoro, but almost for a new generation of kids— same director, but a brighter color palette, faster pacing, more exciting action sequences, wackier magic, and a lighter and softer tone. Ponyo’s joy is utterly infectious (who hasn’t freaked out over some good ham and instant ramen??) and Sosuke is best boy. Watching Ponyo always feels like a warm hug. Honorable Ghibli mentions: Whisper of the Heart, Kiki’s Delivery Service, When Marnie Was There, Howl’s Moving Castle, The Secret World of Arrietty Ratatouille: I grew up watching way more Pixar than Disney, and I think Ratatouille embodies what made the two studios different. I was always more drawn to Pixar’s novel concepts and how each film was so distinct compared to Disney’s long line of princess films and fantasy stories. Rataouille is one of those movies that has something new every time I watch it. It’s got great physical comedy for the kids, but also has a shockingly intelligent script and moving lessons about creativity, individuality, and integrity. It has a surprisingly realistic ending, which I appreciate about a lot of Pixar movies. I’m also just super drawn to the elegant French aesthetic (the shot of the Paris skyline still looks amazing all these years later) and beautiful shots of food. Honorable Pixar mentions: Monsters Inc., Wall-E, Up, Coco, Inside Out, Soul, Turning Red (probably)

A Silent Voice (Koe no Katachi): As far as anime films go, this one is really something special. It’s long and slow-paced, but it’s one I never get tired of rewatching. Both the original manga and the film adaptation were written/directed by women and everything about the movie (the shots, characterization, and the relationships between the characters) had such a different touch compared to the male-dominated anime I’ve seen. Along with that, I appreciate that it shed light on bullying and suicide, which are serious problems in Japan, without being preachy. The characters handle their problems imperfectly, but it feels more real and honest that way. I loved that this movie forgoes a romance for a story about self-forgiveness and self-love instead. It’s such a subversion of the typical (and usually American) underdog story of the bullying victim, where instead Shoya was only the scapegoat and part of the problem. You really grow to root for him and his personal triumphs keep this sad film from becoming too depressing. The soundtrack is really nothing like I’ve heard— full of muted, ambient tracks— except for “lit,” the song that plays during the final scene. The ending practically makes the movie for me. The rest of the movie is great, but the ending feels like one of the most masterfully cathartic sequences I’ve ever seen in a film. Bao: This short film should be called “how to reduce Asian American/Canadian kids to a blubbering mess in 8 minutes.” I just talked about Ratatouille, but I had to give Bao its own entry because of how much it meant to me. I think you can really tell when a piece of media is made authentically by not only the broad strokes, but the details. The first 30 seconds of the short when the mother kneading dough and folding baozi grabbed my attention immediately because that’s exactly how it looks in real life— the animators referenced Domee Shi’s mom’s own hand movements when kneading dough. This truly felt like an Asian Canadian woman’s passion project because every detail of the Toronto home felt like a loving Asian household: the scroll art, slippers in the house, the mouthwatering shots of Chinese food, all the adorable Chinese baked goods!!! 😭 And the plot twist works because it feels honest: mothers are imperfect and can be overprotective, and that can hurt their children sometimes. It makes the mother and son’s reconciliation hit that much harder. I couldn’t believe how moving an 8-minute movie about a freaking dumpling could be. I know Turning Red will likely make it onto this list as well and Domee Shi will find a way to strike me in the feels again!

Big Hero 6: I was getting really tired of the Frozen mania by 2014, and the this movie grabbed me like one of Baymax’s hugs and refused to let go. I was obsessed with it for months and I think I’ve seen this movie about 7 times since then and it still doesn’t get old. After Mulan, this was the first animated Disney movie with an Asian protagonist, but Hiro felt far more relatable to me since he was an awkward 14-year-old with an older sibling living in a contemporary setting. San Fransokyo was so visually exciting, and the slightly advanced technology made the world feel new and fresh while still feeling believable. The plot point of Tadashi’s death felt refreshingly weighty compared to other Disney deaths. I love family stories, and my love for this movie is definitely echoed in LiS2 and TC, whose main sibling dynamics remind me of Hiro and Tadashi. Even though it was a superhero story, it still made time to depict grief in a way that kids could understand, but didn’t sugarcoat it. I love that this movie had it all— a fun cast of characters, exciting action sequences, sadness, humor, and so much heart. Disney honorable mentions: Lady and the Tramp, Mulan, Tangled, Zootopia Love, Simon: Look, I get the criticisms for this movie. It’s a very basic story; it cast a straight actor in the lead role, it still caters to a majority straight audience by presenting an average, white, unassuming closeted gay kid and the portrayal of Simon’s friends felt unsupportive and inadequate to most queer viewers. But at the same time, this was revolutionary for its time and gave closeted queer teens a mainstream romance movie that made them visible without ignoring their unique struggles. It was a simple, slightly cheesy, but all-around entertaining and fun gay romcom that didn’t sexualize its characters or end in tragedy. The Farewell: I loved this movie for not only what I could relate to but also what I couldn’t. Like Picture Us In the Light, The Farewell so wonderfully captures the constant, and sometimes infuriating, East-West tension that children of immigrants experience. But Billi’s case is different: she was born in China and was old enough to remember her early childhood there, but young enough to adapt to American life and start to disagree with the Chinese values she was raised with. That’s so difficult to grapple with and really emphasizes the reality of immigration. America loves to tout the immigrant success story, but these immigrants are leaving behind their entire families, livelihoods, and homes to start over in a new country, and for a young child, that’s all the more terrifying. The entire movie felt so honestly written because it was based on Lulu Wang’s own experiences and her great aunt even played herself in the movie. Compared to Crazy Rich Asians’ spectacle, The Farewell was a far more subdued, realistic, and personal kind of Asian American story that still managed to have a universal appeal. I can’t wait for Lulu Wang’s next project. Honorable A24 mentions: The Florida Project, Minari, Lady Bird, and Room. I’m also looking forward to Everything Everywhere All at Once!

#anon #answered asks #movies #bao #pixar #ratatouille #the farewell #a silent voice #ponyo #studio ghibli #disney #koe no katachi #love simon #fav ask

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felassanis · 4 years

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Hottest male Disney + DreamWorks characters PART 2

Dr Joshua Strongbear Sweet - sweetie, god that voice, the muscles, incredibly smart cuz hes a doctor, great sense of humour, an absolute gentleman and hes good looking! Which is strange because usually side characters are ugly so Overall 10/10

Older Hiccup - BOI, I remember when the first movie came out NOW LOOK AT HIM. Hiccup aged like fine wine, still adorable, the beard made him hella hot, he tames dragons and we all know that's all women want, their own dragon, overall 10/10

Sinbad - okay I'll be honest I do not remember much about this film just that he was hot so 6/10, I've seen better but I do remember he was acrobatic so, he makes the list

Denahi - Sitka and Denahi were waaaay too good looking and engaging than they had any right to be since they're barely in the film. Denahi tho....hes too good looking. He charming and witty and cheeky, I love his hair and how he looks 100% done all the time and we can forgive him for going on a bit of a rampage since I'm sure we all would have done the same it Sitka was our brother. Anyway, he has a good redemption arc and I love that shit so overall 8/10

Dr Facilier - it's rare Disney has good looking villains and why I wouldn't say Facilier's face was chiselled by the gods I will say that VooDoo has an enigmatic charm to it, hes voiced by the absolute legend that is Keith David, hes got a wicked sense of style and he sang one of the CATCHIEST songs to ever come out of Disney so for that 7/10

Tadashi Hamada - a sweet angel taken from us too soon, adorable big brother, smart, I love brown eyes, I cant if the hat sucks or if it suits him idk, over all 7/10

Wasabi - hilarious, intelligent, m u s c l e s, always has something smart to say, pure of heart, also his colour scheme is green which is my favourite colour so 8/10 CRIMINALLY underused and underrated

John Rolfe - this movie should not exist. I'm not denying that. But one good thing that came out of it was this guy, who yes can be bland but I always got a too well mannered, too restrained and too polite vibe from him which justified his soft and again, rather restrained demeanour. Hes also a lot better looking that John Smith I'm sorry so 6/10

Hades - again, a bit like Dr Facilier, Disney villains never do well in the hot department but in the aesthetic department? Hades kills it there. His personality and sense of humour is very endearing and made him a very relatable geezer, I feel like this was also Disney's best way of portraying a LGBT character too since hes rather stereotypical. But I'm here for it still. Hades gets a 9/10 for attractiveness and memorabiloty.

Alladin - one of the first heartthrobs in my childhood. Alladin is quick on his feet, daring and funny and just wants to please the lady of his dreams. 7.5/10

#hercules #hades #hiccup #httyd #sinbad #brother bear #denahi #Sinbad #atlantis: the lost empire #dr joshua sweet #alladin #big hero 6 #wasabi #tadashi hamada #john rolfe #disney #the princess and the frog #dr Facilier #keith david

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letterboxd · 4 years

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Pride: 25 Queer Films To Love.

Dating Amber writer and director David Freyne introduces our London correspondent Ella Kemp to 25 of his favorite LGBTQIA films.

A coming-out, coming-of-age film, David Freyne’s Dating Amber follows “baby gays” Eddie (Fionn O’Shea) and Amber (Lola Petticrew), who act as each other’s beards in order to stop speculation about their sexualities. Released on Amazon Prime Video in the UK for Pride month, it’s winning praise from Letterboxd members as a “charming” and “gentle” comedy-drama “full of loveliness that extends beyond the Irish accents”.

Lola Petticrew and Fionn O’Shea as Amber and Eddie in ‘Dating Amber’.

As the number of films by and about the gay and trans community expands, we asked Freyne if he could narrow down a list of ten favorites for us. The answer was no—instead, we got 25!

“There are so many extraordinary queer films beyond this list, but all of these films just really affected me when I saw them. Some were the first time I saw queerness on screen, while I deeply identified with others. And, as a filmmaker, each of them makes me braver to fight to tell stories that aren't always easy to get made.

“They are in no particular order because I don’t want to bump into Barry Jenkins (which is obviously going to happen) and have to explain that he is number five on that list (that he will definitely read) for no specific reason. It’s just a technicality.”

David Freyne’s 25 Favorite LGBTQIA+ Films

My Summer of Love (2004) Directed by Paweł Pawlikowski

Paweł Pawlikowski’s film feels like a dream that sweeps you up along with it, helped along by incredible early performances from Natalie Press and Emily Blunt. The hypnotic use of Goldfrapp's ‘Lovely Head’ is probably my favorite use of a song in any film ever. Their drug-fuelled dancing was a massive inspiration for Eddie and Amber’s baby steps into Dublin’s gay scene in Dating Amber.

Weekend (2011) Directed by Andrew Haigh

I never fail to cry buckets at the end of this heartbreaking gem. It’s small in the best sense of the word. Two people fall in love over one intimate weekend. Their gayness is both incidental and totally fundamental. It’s so delicate and moving. Andrew Haigh is a master.

But I’m a Cheerleader (1999) Directed by Jamie Babbit

Jamie Babbit’s debut is a brilliant, campy comedy about a cheerleader sent to a conversion therapy camp. I love it for all the reasons many critics (at the time) disliked it. It is subversive, quirky and defiantly upbeat. And it stars Natasha Lyonne and Clea Duvall. Enough said.

Paris is Burning (1990) Directed by Jennie Livingston

I’m not saying anything new when I say that Paris is Burning is necessary viewing. It’s a hilarious, moving and eye-opening look at the (mostly) Black trans women in New York’s ball scene. It is a glimpse into the lives of these extraordinary people who risked everything to live authentically, for themselves and each other. And at a time when our trans family is so under attack, it is vital to see such iconic figures from our community. You’ve probably seen it. Re-watch it. Also those end notes will make you cry.

Happy Together (1997) Directed by Wong Kar-wai

As with all Wong Kar-wai’s work, it is jaw-droppingly gorgeous. It’s a tough watch, a portrait of a toxic, failing relationship. But it looks beautiful. They’re miserable and co-dependent. It’s abusive and awful. But it’s great. It really is a great film. I’m not selling this one well. Just watch it.

Moonlight (2016) Directed by Barry Jenkins

Definitely worth watching after Happy Together. Not just because it will make you feel better, but because Barry Jenkins has noted it as a big influence. Also, Moonlight is a masterpiece. You know that, of course. Side note: I realize I’ll never be able to create a hand-job scene as powerful and tender as Jenkins did here, but, in Dating Amber, I made three comedy hand-jobs. Take that Jenkins!

God’s Own Country (2017) Directed by Francis Lee

You can feel Francis Lee in every frame of this film. It’s personal filmmaking at its very best, with wonderful performances from Josh O’Connor and Alec Secăreanu. And it has the most beautifully romantic ending that you only realize we lack for LGBTQ characters when you see it laid out so wonderfully. When we were trying to finance Dating Amber and people suggested it was too Irish, I’d just reference God’s Own Country, which is so defiantly Yorkshire, and they’d shut up. Also, Secăreanu’s jumper with a thumb hole is my style icon. Bring on Ammonite!

Can You Ever Forgive Me? (2018) Directed by Marielle Heller

Marielle Heller is such a brilliant filmmaker. This film is based on the memoir by Lee Israel who forged letters by famous people to sell. It’s a genre piece that feels like it could have been made in the 70s. But what I love about it the most is that it is a rare example of a film that centers the friendship between a lesbian and a gay man. Why do films usually treat us like we exist in totally separate worlds? Anyway, it’s a joyous watch.

Tangerine (2015) Directed by Sean Baker

I’m obsessed with tightly plotted films and Tangerine doesn’t waste a frame. It’s 88 minutes of pure wit, charm and entertainment in line with the best of old-school Hollywood. You instantly forget that Baker’s film is shot on an iPhone and just get swept up in the extraordinary performances of Mya Taylor and Kitana Kiki Rodriguez. It’s such a mystery they don’t work more. (Reader: it’s not a mystery. It’s because they are Black trans women, and the industry is shit.)

Portrait of a Lady On Fire (2019) Directed by Céline Sciamma

We all bow at the alter of Céline Sciamma. This film is perfection. The sparse-but-powerful use of music, exquisite photography and extraordinary performances that burn beneath the stillness. The final shots of Adèle Haenel will feed your soul for a year. (Side note: face masks have never looked so stylish.)

Sunday Bloody Sunday (1971) Directed by John Schlesinger

This was John Schlesinger’s follow up to his best-known film, Midnight Cowboy. A middle-aged gay doctor (Peter Finch), and a divorced woman (Glenda Jackson), are both in an open love triangle with a younger, bisexual sculptor (Murray Head). It’s quite low-key and far tamer now than when it was released, but it’s a beautiful film and Schlesinger’s most personal. He was one of the few openly gay directors of his time. And Jackson’s performance steals it.

Far From Heaven (2002) Directed by Todd Haynes

Todd Haynes’ stunning film will make you immediately go out and discover all of Douglas Sirk’s glorious technicolor melodramas. Julianne Moore’s performance as a wife who discovers her husband is gay will break you. Dennis Quaid is also terrific as her closeted husband.

The Watermelon Woman (1996) Directed by Cheryl Dunye

Cheryl Dunye’s low-budget debut is a seminal queer film. A video store worker and documentarian (played by Dunye) starts a new relationship while becoming obsessed with ‘the watermelon woman’, a Black actress forgotten by history. It’s lo-fi, funny and a, far too rare, film about race and sexuality.

My Beautiful Laundrette (1985) Directed by Stephen Frears

It may have been the first time I saw gay characters on screen and, at the time, it petrified me. But what an amazing film about love, acceptance and the power to change. Fun fact: Daniel Day-Lewis spent a year as a tumble dryer in preparation for his role.

Beautiful Thing (1996) Directed by Hettie MacDonald

Hettie MacDonald’s coming-of-age film is so lovely, honest and tender. James Harvey adapted it from his own play of the same name. The soundtrack is almost entirely The Mamas and the Papas. I am surprised some cigar-smoking West-End mogul hasn’t attempted a musical adaptation. Or maybe they have, I don’t know.

Pride (2014) Directed by Matthew Warchus

Such a purely entertaining film while being urgent, political and deeply moving. Beresford’s script is a masterclass in plotting and if you don’t cry at the end then you are dead inside. Sorry but that’s just science. Also it has the most emotional postscript coda since, well, Paris is Burning.

Love is Strange (2014) Directed by Ira Sachs

Ira Sachs is one of my favorite current filmmakers and criminally underrated. I mean, he’s appreciated, but he needs to be lauded. Love is Strange is such a charming and quietly devastating love story about an older gay couple who lose their apartment and have to couch surf with relatives. It’s one of the most effective films in dealing with the rental crisis in big cities, something he does equally brilliantly in the follow-up, Little Men.

A Fantastic Woman (2017) Directed by Sebastián Lelio

Sebastián Lelio’s film is a beautiful story about one trans woman’s grief after the unexpected death of her older partner. But what makes this film so spectacular is the captivating performance by Daniela Vega. We need to see more of her on screen.

BPM (Beats per Minute) (2017) Directed by Robin Campillo

It’s a film about the AIDS activism of Act Up in 1990s Paris. What makes this so incredible is how joyous it is. Strobe-doused dance scenes punctuate this film that will make you want to take to the streets and fight for your rights.

The Queen of Ireland (2015) Directed by Conor Horgan

This documentary by Conor Horgan follows Ireland’s most famous drag queen, Panti Bliss (aka Rory O’Neill). It’s about his life, a legal battle (a bunch of homophobes sued Rory for calling them homophobes on national TV) and the staging of a show in his hometown. Central to all this is Ireland’s historic vote on marriage equality, something that Panti was a powerful figure in. If you want to laugh and have your heart soar in seeing confirmation of how a once painfully conservative country moved to love and equality, watch this.

The Kids Are All Right (2010) Directed by Lisa Cholodenko

Lisa Cholodenko’s feature is a warm, witty and realistic look at a lesbian couple and their children. Every performance is pitch perfect. I can’t believe it’s a decade old and that we have had so few similar films since.

Booksmart (2019) Directed by Olivia Wilde

We need more joyous films with queer leads and Olivia Wilde’s debut is just that. Set over one night of belated partying, we follow best friends Molly and Amy (Beanie Feldstein and Kaitlyn Dever), one of whom happens to be a lesbian. It is just so much fun to watch.

All About My Mother (1999) Directed by Pedro Almodóvar

I mean this list could just be an Almodóvar filmography, but All About My Mother just happened to be the first of his I saw and it blew my little gay mind. It’s simply about love in its truest sense. Almodóvar said it best with his dedication, “To all actresses who have played actresses. To all women who act. To men who act and become women. To all the people who want to be mothers. To my mother.”

Female Trouble (1974) Directed by John Waters

You can’t have a queer film list without John Waters, and this 1974 classic is my favorite of his. It follows Dawn Davenport (played by the legendary Divine) from teen delinquent to the electric chair. It’s hilarious, irreverent and distasteful in the ways only Waters can be.

Saint Maud (2019) Directed by Rose Glass

Rose Glass’s debut film isn’t out yet and so technically shouldn’t be on the list. But I saw at a festival last year and loved it, so there. It’s a horror film about a private nurse (rising star Morfydd Clark) who tries to save the soul of her deviant and lesbian patient (the always-brilliant Jennifer Ehle). It’s eerie, stylish and the sort of debut all us filmmakers wish we had. Shut up, you’re jealous!

Related content

MundoF’s Opening the Vault: a chronological history of queer interest and LGBTQ+ cinema.

Leonora’s list of Films by Transgender Writers and Directors.

Out of the Closets and Into the Cinemas!: meeting queer folks in dark rooms.

New Queer Cinema

Queer Films Everyone Must See

Queer, Black, 21st Century: A Pride 2020 List

Autostraddle’s Top 200 Lesbian, Bisexual & Queer Movies of All Time

Brianna’s list of LGBT+ Animation

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nitrateglow · 3 years

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My bottom five new-to-me movies of 2020

2020 sucked. So did these movies. Before I do my customary top 20 favorite movie discoveries list, I wanted to share five very special new-to-me movies that were painful to watch. Forgive me if it all sounds like ranting. It probably is.

(And remember-- if you like any of these movies, that’s fine. I am not attacking YOU. I just didn’t like a movie. I know this is a stupid disclaimer to put on a list of opinions, but combing the venomous old IMDB message boards has me on edge a bit lol.)

Star Wars Episode IX: The Rise of Skywalker

Whether you love the sequel trilogy or hate it, everyone pretty much agrees this movie was a mess. I thought no movie could have a more structurally unsound screenplay than The Crimes of Grindelwald, but Rise of Skywalker gives it staunch competition. It creates a new artform from making things up as the plot requires: new powers for Rey, new Macguffins to pursue, new motivations and backstories for characters.

I admit I dislike The Last Jedi. I dislike it a lot, actually, and it appears JJ Abrams did too from the amount of retconning he does here (Rey isn’t nobody! Honest, guys!). But you can’t backtrack THAT much. Either plot out your entire trilogy before shooting the first film or play fairly with the cards you were dealt by the filmmakers of movie two.

If anything, these movies have become a cautionary tale about not having a plan when making a movie trilogy. Now, George Lucas didn’t really have one either when he was making the original trilogy, but in that case, he wasn’t even sure the first movie was going to be a modest hit, let alone the biggest movie of the 1970s. He had an excuse and did well enough finishing the trilogy. Here, Disney knew there would be sequels, they knew they had a hungry audience, but they chose to just wing it and the results are just-- so disappointing, especially given the talented young actors and lovely special effects they had at their disposal.

The more I think about it, the more poetic the image of Palpatine hooked up to a life support system/crane is. The best ROTS can do is riff on earlier, better movies and hope our affection will make us overlook the awfulness.

Artemis Fowl

Outside of Animal Crossing, Artemis Fowl might have been the only entity to benefit (if only slightly) from the pandemic. I cannot imagine it would have been anything but a box office bomb had the theaters been open.

Artemis Fowl feels like it should have come out in 2003-- not just because the books were more prominent then, but the whole style of this film in general. In 2020, it’s positively anachronistic. The whole thing is a joyless attempt at dipping from the old Harry Potter well, with a bit of Spy Kids thrown in for good measure. Beyond that, it’s so poorly done as a whole. I have never read the Artemis Fowl books, but I watched this with a friend who has and his head near caught on fire. Apparently, it cuts out everything that made the books cool, like the protagonist basically being a kid version of a Bond villain. Here, he’s anything but that: he’s the usual bland child protagonist surrounded by a cast of slightly more interesting characters. Josh Gad seems to be the only one really trying. Judi Dench shows up and somehow gives a worse performance than whatever the hell she was doing in Cats.

I was actually shocked Kenneth Branagh of all people directed this. I generally like his films, even the less successful ones like his musical adaptation of Love’s Labors Lost. Even the uninspiring live-action Cinderella remake he helmed is at least pretty to look at-- Artemis Fowl has neither brains nor beauty to recommend it.

Bloodline

This film was intended to jumpstart a career comeback for Audrey Hepburn. This decidedly did not happen. One has to wonder what she saw in this sordid material in the first place. Maybe she really just wanted to work with director Terence Young again? Or she thought this would be a good, more modern take on her screen persona? I have no clue. All I know is that Bloodline is one of the worst big-budget Hollywood movies I have ever seen.

No contest: this is Audrey Hepburn’s worst movie. Hate on Green Mansions and Paris When It Sizzles until the stars turn to ash-- at least there was some fun camp value in them. The plot in Bloodline makes no sense, going into unrelated digressions that lead nowhere (did we really need that extended flashback about the dead father? or the subplot with Omar Shariff’s two families?). Oh and then there’s the awful sleazy snuff film subplot that’s also poorly developed and goes nowhere. Hepburn is game, but she can’t save the sinking ship. The best she can do is be charming in a terrible 70s perm.

Luckily, she made the underrated They All Laughed two years after this cinematic fecal matter bombed, so at the very least, Hepburn’s big screen swan song was a film worthy of her presence. (Hint: there will be more about that movie on my top 20 of the year list!)

Halloween III: The Season of the Witch

You all have no idea how excited I was to see this. All the mentions of it on Red Letter Media made it sound like deliriously entertaining schlock. I mean, it’s a movie in which the villain sells cursed Halloween masks that turn children’s heads into bugs and snakes! That sounds awesome! Instead, the movie is badly paced and boring: the main characters are uninteresting and the plot takes an interesting premise then does.... nothing with it. Nothing whatsoever. The second act is the cinematic equivalent of treading water. In fact, so little happens, that the filmmakers squeeze in a pointless sex scene between two character who have all the chemistry of a lit match and a bag of M&M’s.

The thing that annoys me most about this film is that it killed off a great concept: that all of the future Halloween films would be standalone stories centered around the spookiest time of the year. Unfortunately, this movie botched itself so badly that people often think the absence of Michael Meyers was the problem. It wasn’t: it was the absence of a good story.

Blindsided

This is probably the most watchable movie on this list, but that’s not saying much. A bloodless ripoff of Wait Until Dark, Blindsided is an unimaginative thriller with no thrills, humor, or interesting characters whatsoever.

The whole film is just repetitive. The situation doesn’t slowly boil to something horrific, the threat presented by the villains doesn’t escalate, there are no interesting interactions between the characters: no, here the underdeveloped protagonist is interrogated, tortured and/or sexually harassed, tries to escape, is recaptured, rinse and repeat for ninety minutes. I admit there’s some clever resourcefulness on the part of the heroine in the last scene-- but it’s basically just Wait Until Dark’s climax (down to the twist with the villain finding an alternative source of illumination for crying out loud!) without the emotional payoff that comes from slow-burn pacing or the fantastic performances, so even that’s a letdown.

I thought the movie might at least be saved by Michael Keaton as the main criminal mastermind since he’s shown he can be a great villain in other movies (if they had remade Wait in the 80s, he would have been a perfect Harry Roat Jr.), but even he seems to be phoning it in here. Beyond a scene of attempted cat murder (I’m serious-- the bad guys are so incompetent they can’t even kill a cat), there’s not even anything so bad it’s good to enjoy. Blindsided is just dull and by-the-numbers.

#thoughts

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bamboozledjasontodd · 4 years

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Honest opinion on jason×eddie?

JayEddie is criminally underrated. This ship should have the popularity that JayRoy does. At the very least their friendship should be more popular. I would also argue Eddie should have been on The Outlaws instead of Roy. I've seen Kai Talks Emiko Queen discuss that particular bit on Twitter and whole heartedly agree. I mean really, DC can have Rose and Jason be a thing in Titans after a brief mention that they dated or had a fling in N52 RHATO but can't let Jason and Eddie interact in the comics when there is more of an established history (Him and Jason were pen pals for a bit). Not to mention some of the ideas in RHATO still could have been implemented and arguably in simpler ways. For example, they gave Jason magic swords (the all blades), they still could have introduced that same idea via any supernatural elements Eddie brought to the table. Neron drags Eddie to hell because of their deal? Jason goes to save him and acquires a fiery demon blade in the process. That just seems a lot simpler than creating the All Caste and trying to fit that in timeline wise with all the other training Jason completed through Talia and her contacts. Also having Eddie on the team would have elevated his popularity and allowed for more of his story to be explored. I'm sorry this turned into a general Rhato rant. Back to JayEddie. They're a fun ship in many ways - childhood friends, two people who have a hard time fitting in finding each other, epic adventures that can to be contained to the mortal plane, sassy banter, and then there is the whole Jason is a literature nerd and Eddie is really into movies so he's probably a bit of a film snob dynamic at play. That last part is important because I have often seen people talk about how Jason Todd is a literature nerd and Kyle Rayner is an art hoe so it is a cute dynamic. Well the literature nerd and film snob has just as much potential to be cute!!

TL;DR JayEddie has a lot of the dynamics that people love in when it comes to other popular Jason Todd ships (particularly the mlm ones) without sacrificing characterization of either character and deserves more attention than it gets. DC really missed a chance to expand upon the tiny little bit of history they had.

Disclaimer: I am not hating on JayRose or JayKyle (I ship them myself) I was just trying to compare aspects of those ships with JayEddie

Send me a ship and I'll give you my (brutally) honest opinion

#jason todd #eddie bloomberg #jayeddie #anon #replies

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stella-monstrum · 3 years

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Bobby Roe’s ‘Underestimated Gem’, “The Houses October Built”; [1hr 31mins, Rated R] (2014)

Admittedly, there is a lot to unpack in this review.

I found myself at the relatable point of endless scrolling through horror films on streaming apps, hoping to find something that really challenged and rattled my thinking afterwards. Obviously, film taste is different for everyone, and I am CERTAINLY way too easy to scare. But this wasn’t a film made to elicit jumps—or screams for that matter.

I went into this viewing with a couple expectations. First of all, Hulu’s trailer for the movie was enough to grab my interest by itself. The clips of this group of friends exploring haunted horror attractions and the brief introduction to the eerie actors along with it pulled me in.

[Anecdote; Around the same time that the film came out, I’d gone to my first haunted house. I was separated from my group, and thrown into a “butcher shed,” and proceeded to have the living shit scared out of me. One of the actors knew that their mates had gone too far and pretty much came in to save the day. Afterwards, I thought it was the coolest thing and started to laugh at my own fear—which plays massively to the appeal to watch.]

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Before I go into the review...

I will say that the thriller theme to this film made me squirm and made it difficult to watch all the way through. So if you’re squeamish, have trauma-like responses, or have epilepsy, proceed with caution or skip this one altogether.

This film also contains a bunch of NSFW themes, torture, and graphic images (which basically delivers its main purpose, I guess).

(Written by Stella. Edited by Jacob J )

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The Cast:

Brandy Schaeffer as Brandy

Zach Andrews as Zach

Bobby Roe as Bobby

Mikey Roe as Michael (aka Mikey)

Jeff Larson as Jeff

The casting is fairly straightforward, with the actors playing overly exaggerated versions of themselves. Though technically under the lead of director Bobby Roe, the cast all had a hand in writing the film. Pulling double duty is a feat in itself. (It was unfortunate to find in my research that, after the 2017 sequel, the majority of the cast just dropped off the face of the Earth.)

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Summary:

The five childhood friends from Ohio seek out the thrill of the Halloween season, traveling through the deep south of Texas in an RV. They’re stocked up on junk food, booze, drugs, and pure joy that they’re setting out on this journey. For the six days leading up to Halloween, they visit six attractions in the Lone Star state. (technically)

The team begins at a bar in Tyler, Texas, to celebrate the beginning of their trip. In their wasted stupor (and even while sober throughout the film), they make light and joke about how these “haunted attractions” are tame and as fake as the horror films they strive to represent. (Meta as hell, right?)

With each visit, the attractions grow scarier and freakier. Somehow, they piss off a whole gang of creepy-ass characters. Despite being essentially in the middle of nowhere, the aforementioned creep squad (we’re talking clowns, bloody bunnies, backwoods Vorhees groupies, etc.) stalk and terrorize the traveling quintet. The group moves on toward the ultimate attraction, The Blue Skeleton, which they desperately try to find. This leads them on a mystery hunt through word of mouth (and an online horror attraction forum, to the secret location). They eventually wind up heading towards the deep, dark heart of Louisiana, where The Blue Skeleton exceeds every fear that they wanted in the first place—and ends up being their worst nightmare.

The film also gives a small nod to George Romero, the man who changed the way that zombies were seen in pop culture and films, during their visit to a zombie-themed paintball attraction. On top of that, the creators made the film on a very small budget (allegedly). It was given a brief theatrical release in 2014, but years later became a niche gem with a continuing following amongst horror film fans.

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[Likes & Dislikes]

It was incredibly hard to want to complain, consider how the film left my state of mind after watching. But, ultimately, I had to find something for the sake of this review. So I’ll start with the dislikes first, because it’s so worth saving the best for last in this circumstance.

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[Dislikes]:

1.) The first-person filming: Although capturing themes and moments perfectly to keep suspense, it made me super queasy.

- Now, this nitpick isn’t an end-all film-ruiner. With any first person/found-footage deal, there’s a guarantee to feel the rollercoaster like adventure in your gut. (I recommend having a good bowl of ramen or some ginger tea on hand.)

- The filming style 100% captures and cranks every moment of fear, suspense, and terror. It makes you feel like you’re a part of the team. (Found-footage/first-person filming was the original VR, fight me.)

2.) The full on disrespect that the group shows to the attractions.

First attraction: They find a ladder (that’s conveniently left unsupervised, despite not being for patron use). Mikey decides to climb it and steals a megaphone as well. He causes a scene atop the ticket booth and attempts to get a crowd shot for their film at the Haunt House in Caddo Mills, Texas. This pisses off an entire group of creepy-ass clowns that follow them back to their RV. Living up to his unspoken title of Mister Dumbass, Mikey tries to confront them.

● Second attraction: One of the clowns and a broken porcelain doll actress proceeded to follow the crew to this location in Eureka, Texas. Mikey confronts the “doll” when they find her on the side of the road. She follows onto the bus, screams, then slowly leaves.

● Third Attraction: As the group enters Phobia, located by US Highway 248, they’re told not to film past the point of entry. The camera shuts off. When the camera (one that Bobby set up on the RV) comes back on, we see Mikey trying to hook up with one of the contortionist girls. Afterward, when Zach finds out more information about the acclaimed Blue Skeleton, they get confronted by yet another pissed off clown accusing Mikey of filming when they were told not to.

There’s an entire slew of other incidents that I won’t dive into, but I will say one final con:

3.) Brandy just minds her own business the whole time, yet gets the backlash and crossfire from the boys’ shenanigans and dumbassery.

- Honestly the more she got caught in the middle, the more I felt looming dread.

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[Likes/Loves:]

Amidst the (albeit small) annoyances, there was so much that I loved and enjoyed about this film.

1.) Complete out-of-the-gate blurred lines of the entertainment-yet-fear that we seek out in haunted houses.

● Starting from the opening scenes, there’s VHS like footage of fun and upbeat tours from haunted attractions, which evolves into a slow burn of much much darker and horrible secrets/tragedies from them:

- An employee found hung, mistaken as a prop;

- Houses allegedly hiring murderers and criminals without background checks;

- & Actors going as far as breaking bones (but not killing) to scare patrons.

2.) Continuity that never strayed from the film’s theme and/or purpose.

● Through all six attractions that the crew visit, the actors that they seemingly managed to piss off (looking at the real male hubris issues here) follow and stalk them whilst traveling in the middle of nowhere—even all the way to Louisiana.

● With each haunt, the scare level increases, starting with fun and simple baby-type scares and progressing to pure anxiety and nightmare fuel.

(As an aside, I’m honestly still mad that there was no seizure warning for the amount of strobe lights they filmed in the name of fear.)

3.) Consistent foreshadowing

● At the very beginning, they show a gut-wrenching video of a bloodied and tied-up Brandy being shoved into a trunk

● Also, the film seemingly always lingers on Brandy, which gives a small clue as to the haunt creeps having an unhealthy obsession with her.

● At the first attraction, The Haunt House, while the crew films with high spirits, they convince Brandy to playfully get into one of the prop coffins, thinking it’ll be funny. Then the actor nearby shuts the coffin until she screams to let her out.

- Deeper into their travels, they joke about how much they’d want to get paid to be buried alive. At the end, that’s exactly what happens.

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(Final Thoughts)

There are so many heart- and gut-wrenching moments that force you to never look away from the screen. If I’m being honest, the style and story that Bobby Roe created is honestly on par with something you’d see from the acclaimed likes of Kubric and Zombie, among others.

This is such an underrated find. Minus my nitpicks, I’m giving this [9/10] stabs.

(This is the most I’ve been shaken up by a film in a good while.)

Want to get lost and vicariously (not literally) shit your pants? This is the film for you.

[Just don’t piss any clowns off on your way there,K?]

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discovisiondreams · 3 years

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Top 15 First Watches of 2020

I’ve never been good at staying current on pop culture, and that became especially pronounced in 2020. A year where most of the anticipated theatrical releases were pushed to VOD (and the price nearly tripled) meant that a lot of flicks I was excited for got added to the end of the “Maybe Someday” watchlist.

But in this strange year, I did manage to watch 245 movies- and 195 of those were first-time watches. Some were new, only available on the (virtual) festival circuit. Some were Criterion mainstays, films I’m horrified to admit I hadn’t seen before. But this year, when movies cemented themself as my biggest joy, I began to really track what I watched- including a “top 5 first watches of the month” roundup for every month. These top 5s weren’t ranked, and weren’t even based on technical ability, strength of dialogue, or critical acclaim. They were just the 5 I loved the best.

So without further ado, here are my top 15 of the year- one selected from the top 5 of each month, with some bonus entries thrown in as well. As a general rule, I only included features on this list- I was fortunate enough to catch shorts that streamed at Chattanooga Film Fest, Celebration of Fantastic Fest, and more, but to add them to the running would have made writing this listicle absolutely impossible.

HONORABLE Honorable Mention: The Holiday. Inspired by the fine folks at Super Yaki, I finally watched this Nancy Meyers classic. Why is it two and a half hours long?! Why is that two and a half hours so significantly lacking in Jack Black?! The scenes that Black is in, though, really shine. This one is going to be a Christmas mainstay in the Disco household (and not just because I spent money on the DVD).

15: The Love Witch (Honorable Mention, April). This one came highly recommended to me by friends of all sorts, and like most of my 2020 first watches, I’m deeply embarrassed that it took me this long to get to it. Upon finally watching it, on a rainy Sunday, I described the movie in general (and the color palette, specifically) as “sumptuous,” which is one of the most complimentary visual descriptors I can bestow upon a movie. The plot felt a little convoluted at times, but I still found The Love Witch incredibly enjoyable and am hoping to explore more of writer-director Anna Biller’s filmography in 2021.

14: The Guest (Honorable Mention, October). The Guest is one of the few movies I watched multiple times this year- and the only one I watched twice in one week. From the sultry industrial soundtrack selections to the numerous visual nods to Halloween III: Season of the Witch, The guest was Extremely My Shit. The casting here is truly tremendous- especially Maika Monroe, who was similarly brilliant in It Follows. Also of note: Lance Reddick, one of my current favourite character actors.

13: The Fast and The Furious (Honorable Mention, May). 2 Fast 2 Furious (and its bespoke theme song, Act A Fool, by Ludacris) came out when I was in the 6th grade. Do you remember the music and movies that entered the world when you were in 6th grade? Do you have an inexplicable zealous love for them? 2F2F was the only film in the Fast Cinematic Universe I had seen for a long, long time. Then I saw Fate of the Furious. Then I bought the series box set, as a joke?? And then, slowly but then also all at once, I genuinely started to love this franchise. Some of them are truly ridiculous. Some of them are genuinely bad. But the first one? The Fast and The Furious (2001)? Timeless. Point Break updated and adapted for the early-aughts, The Fast and the Furious walked so The Italian Job (2003) could run. Without The Fast and The Furious, Paul Walker would just be “the guy from Tammy and The T-Rex” to millions of casual cinemagoers. The cultural impact of The Fast and The Furious simply cannot be denied!!

12: Come to Daddy (Top 5, July). Honestly, this is the exact flavor of bonkers bullshit I’ve grown to expect from Elijah Wood, and that is not an indictment. Wood’s genuine love for genre film is evident here, in what can only be described as an uncomfortable film of family, reunion, and redemption. The tense and abrasive first half gives way to a surprisingly relieving wave of violence and exposition in this critically-acclaimed flick.

11: The Stylist (Top 5, September). The feature-length debut of writer-director Jill Gevargizian, based off her short of the same name, is female-led horror that pays homage to genre mainstays like Maniac and Psycho while still being decidedly singular. Not only shot in Kansas City, but set in Kansas City, The Stylist made my midwestern heart happy. This is one that I really, really would have loved to see in a crowded theater auditorium, were this year a different one.

10: In The Mouth of Madness (Top 5, March). Despite being the beginning of pandemic awareness, March was a slow month for me, movie-wise (even though it’s not like I had anything else going on??). But I finally made time for this Carpenter classic, and I’m so happy I did. I’ve long been fascinated by stories about stories, and the people who find themselves trapped within those stories, and this one is truly, in the most basic sense of the word, horrifying. Sam Neill proves that he belongs in horror here, making his role in Event Horizon seem like a natural fit. Also a highlight: noted character actor David Warner, best known (to me) as “Billy Zane’s bodyguard guy in Titanic,” who never ever fails to be unsettling.

9: Profondo Rosso (Top 5, April). Before this year, my only Argento exposure was Suspiria (which is phenomenal), but Deep Red goes off the deep end in all the best ways. The score (by frequent Argento collaborators Goblin) is truly groovy. The number of twists and turns the plot takes is kind of mind-boggling, but also delightful. Daria Nicolodi (RIP) is at the top of her acting game here. This quickly became one of my beloved background movies- if I opened Shudder and Profondo Rosso was playing on one of their live-streaming channels, it stayed on while I was cleaning or cooking or paying bills. Profondo Rosso is a must-watch for those hoping to get into giallo.

8: Crimson Peak (Top 5, November). This one was definitely not what I was expecting, but it was GORGEOUS. I loved the world immediately (a Del Toro trademark, to be honest). As a longtime Pacific Rim stan, it made my heart happy to see Charlie Hunnam and Burn Gorman reunited under Guillermo Del Toro’s vision.

7: Palm Springs (Top 5, August). I am not typically a time-travel movie enthusiast- but I am a sucker for witty repartee and Andy Samberg. This one made me ugly-cry, which I should probably be a bit more ashamed to admit. August had a lot of really great first watches, but the Hulu exclusive takes the cake due to its novel premise, some truly heart-wrenching reveals, and the amazing casting (is there anything JK Simmons cant do?).

6: Scare Package (Top 5, May). Is there any format I love more than the horror anthology? While there have been so many over the years (Creepshow, All the Creatures Were Stirring), Scare Package might be my favourite of them all. A variety of fun and inventive stories combined with a genre-lovers dream of an overarching narrative make this one a must-see- in fact, it was the whole reason I bought a pass to this year’s online version of Chattanooga Film Fest. There’s a cameo here that absolutely knocked my socks off (and continued to do so even on repeat viewings). While the scares here are honestly minimal, Scare Package is a great love letter to the genre at large.

5: Do The Right Thing (Top 5, June). Yes, it took me until 2020 to watch Do The Right Thing for the first time. The palpable tension, the interwoven stories of Bed-Stuy’s residents, all seem timeless. Giancarlo Esposito is, as always, a joy to watch.

4: Knives Out (Top 5, February). “It’s a Rian Johnson whodunnit, duh,” states the SuperYaki! T-shirt famously worn by Jamie Lee Curtis, star of Knives Out (2019). This one has received worlds of critical acclaim, I truly do not know what I could even hope to add to the conversation. I want more old-school murder mystery cinema.

3: The VelociPastor (Top 5, January). It should be testimonial enough that The VelociPastor beat out Miss Americana, Netflix’s Taylor Swift documentary, as the top pick for January- but in case it isn’t, let me end 2020 the way I began it; by evangelizing the HECK out of this movie. Written and directed by up-and-coming triple-threat (Director/songwriter/prolific cat-photo-poster) Brendan Steere, The VelociPastor is a true love letter to genre cinema, complete with a big wink to the criminally underloved Miami Connection. Alyssa Kempinski shines as Carol, a doctor/lawyer/hooker with a heart of gold. The VelociPastor premiered in 2019 but gained tons of attention in 2020 (thanks in part to YouTube sensation Cody Ko)- attention that it truly deserves. A sequel is rumored to be in the works, but mark my words, anything to come from the imagination of Brendan Steere will be worth a watch.

2: Dinner in America (Top 5, October). I genuinely feel sorry for the other movies I watched in October (there were a lot) (they were all SO GOOD). Dinner in America, which I caught during the Nightstream hybrid festival, was not at all what I was expecting. While the other features were all very solidly genre flicks, this was…. A comedy? A modern love story?? I’mn honestly still not exactly sure, but I do know I loved every second of it. I laughed. I cried. I threw my hands up in the air exuberantly (in front of my laptop, looking like a true fool). I did not shut up about this movie online for weeks. I told anyone and everyone that Kyle Gallner is the most underrated actor of my generation and I still believe it! Dinner in America, the story of a punk band frontman who unwittingly takes refuge from the police in the home of his biggest fan, was an unexpectedly heartwarming tale of family, young love, and arson. Watch it as soon as you can.

1: Promising Young Woman (Top 5, December). This last-minute debut from Emerald Fennell, originally scheduled to hit theaters in April of this year, finally made its way to the big screen on Christmas Day, and became the 2020 entry on my annual “Christmas Day Trip to the Theater” list.* Carey Mulligan is an icon and deserves all of the awards for this. The soundtrack is sublime. The casting choices are truly incredible. While I have no doubt that the general themes of the movie will be polarizing, I absolutely loved this one- I sat in my car in the theater parking lot for a WHILE, considering just buying a ticket for the next showtime- that’s how badly I felt like I needed to see it again immediately. I look forward to writing its inevitable Criterion essay.

*Nobody else in rural iowa was interested in seeing this movie at noon on Christmas Day. I’m shocked.

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