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2020 in Movies - My Top 30 Fave Movies (Part 3)

10. WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination. Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work. It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020. I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look. It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves. Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area. One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create. Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself. This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9. WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be. A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam! Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future. In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings. Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us. She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon. Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure. Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do. It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power. Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie. After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8. LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas). Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises. Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons. The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up. Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him. He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero. Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface. The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed. Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in. One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7. PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all. It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers. Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity. Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically. But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon. This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect. The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon. This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away. Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade. Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6. THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered. Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan. The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here. Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

5. MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year. The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs. I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA. How? Why? It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be. Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then? Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again. The only catch? The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances. As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history. Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times. The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story. Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”. Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane? Boy, that’s a tough one …

4. ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now). Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way. Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer. Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings. Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady. Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years. Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade. Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers. Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon. Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3. 1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed. Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed. The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from. Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league. It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack). They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos. That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING. I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same. Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2. BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen. It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies). It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist. Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to. Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain. Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy. My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT. Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms. It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!). It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists. Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020. Give it all the love you can, it sure as hell deserves it.

1. TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with. I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March. Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT. Still with us? Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine. The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic. As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals. Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven. As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

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skekteksfurby · 5 years

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Monthly Movies #3: August 2019

Ít’s that time of the month again! Time to look back on all of the movies/specials I watched in August!

Missing Link (2019): By the Ancients, this movie came out in 2019? It feels like years ago to me somehow. Maybe it’s because of weird sudden influx of Sasquatch/Yeti movies recently. I don’t know. Anyways, this movie was kinda okay? I enjoyed it fine. The animation was breathtaking obviously and Susan was a nice character. The main character is a bit of a problem for me because he’s such an unlikable and selfish jerk throughout a lot of the movie that his redemption kind of feels too late. There’s also some possible transphobic subtext in this movie I’ve noticed (and seen others notice, too) with how everyone keeps “deadnaming” Susan.

Coco (2017): What even can I say about this film that hasn’t already been said? It’s gorgeous, has amazing characters, a true heart to it, memorable songs, a twist villain that actually kind of works, wonderful world-building for the Land of the Dead... I just love this movie and it’s up there with some of my favorites of Pixar.

The Lion Guard: The Rise of Scar (2017): I remember so little of this. Like, I really like this show, but I just for the life of me cannot recall what happened in this special of The Lion Guard. I know Scar returns but, really, that’s it? I didn’t enjoy this special too much, that’s what I do recall, since I only gave it two out of five stars.

Savva: Heart of the Warrior/Hero Quest/A Warrior’s Tail (2015): Yes, this movie really has three titles. It’s a chaotic mess of a film, mostly in tone and character designs. I felt like it did have a good idea somewhere deep down inside this. The world and world-building isn’t too horrible and could actually be interesting with more fine-tuning and some rewrites. The character designs were also promising, and some of them were definitely good (the wolves, the Rickies, Savva, the dragon). Even the main message wasn’t too horrible. But the rest... not so much. The main villain, a three-headed ape, is simply comic relief and not really a threat. The comic relief was just over the top and all over the place in this film. It’s just a tone-deaf mess. Don’t even bother watching it for the wolf designs like I did.

The Croods (2013): I remember really hating this movie when I first saw it, but, honestly, I don’t get it anymore. Sure, Dreamworks has done the “overprotective father figure against another character that brings all sorts of new ideas with them”-trope before with Over the Hedge, but it felt new enough. The world this family of cavemen live in is nicely colorful and has tons of interesting animals. The characters weren’t anything new, but the rest held up well enough. The animation is good, though I never liked the human character designs in this movie much.

Hoodwinked! (2005): I’m saying what a lot of people have already said. The animation is utter shit, but the humor is so absurd it’s actually kind of hilarious. I laughed out loud quite a bit at this movie. So ultimately I do recommend it, if you can stomach the shitty visuals.

Rocko’s Modern Life: Static Cling (2019): I have like no memory whatsoever of the original show, but this special had a trans arc in it so I obviously needed to see it. I support Rachel Bighead so much. You go, girl. As for the special itself, it was pretty funny and had a good message. Nice animation that looks similar to the screenshots and clips I did see of the original.

Invader Zim: Enter the Florpus (2019): Come on, I had to watch this. It’s got Richard Horvitz in the role of an over the top small villain. As a Kaos fan I cannot pass up the opportunity. Now, for this thing, I also had no idea what the original show was about. I watched it when I was little, unlike Rocko, but never truly liked it or got it (probably was too young). The animation in this one was nice and I liked the voice acting, but the rest just became one big blur for me. It was really hard to keep my attention on this one.

Alpha and Omega: Dino Digs (2016): I present to you, the after-one worst movie I’ve seen all year until now. Funnily enough, the actual worst movie I’ve seen is also an Alpha and Omega sequel, except it’s the fifth. The only reason this one isn’t below Family Vacation is that FV was so unforgivably lazy with everything. It’s just a clip show with some new tidbits of animation added in between. As for Dino Digs, it’s every bit as nonsensical and bizarre as you expect, but not in the good way. The writing is lazy as shit, things just go unexplained forever, the animation horrible, the villains complete jokes and there’s... bird dance numbers. Enough said.

Dark Shadows (2012): It had some fun moments in it. That’s all I can say. The rest is just a blur of a memory by now. It has some vampires and werewolves in it, so that’s nice.

Speckles: The Tarbosaurus (2012): This movie/documentary focuses on a Tarbosaurus named Speckles and his struggles in life. I’ve been recommended this movie several times and, yeah, it was all right. Informative (though I don’t know if the information is still accurate) while also telling a story. Honestly, this movie is pretty depressing considering the amount of death in it. My main point that’s holding it back is the voice acting. The voices just sounded too forced and the acting wasn’t too great.

The Lion King (2019): Yes bitches I watched it in cinemas twice. I love this movie, I love the hyenas, I really like the visuals and music. The rest I’ve already said in my July Movie Thoughts when I first saw it.

The Angry Birds Movie (2016): It’s just really, really boring. A nice colorful world, but the rest is just such a drag to get through. Props for the animation, but not much else. I will give them credit for at least succeeding to make a movie out of something as small as a mobile game.

The Last Unicorn (1982): This movie is just really pretty to look at. It feels like an old painting come to life. I didn’t find myself caring particularly much about any of the characters, but the animation and visuals were definitely what gives it major points in my book. Just look at this one if you want a nice hand-drawn fantasy movie.

Beauty and the Beast (1991): This is a very good Disney movie. Belle and the Beast are wonderful characters, the animation is nothing short of spectacular, the colors beautiful, the villain genuinely threatening and enjoyable to watch... It’s just one of the better Disney movies if you ask me. It does still have some iffy stuff in it with how the Beast treats Belle at first and I’m actually not a fan of the songs in this one, particularly Be Our Guest. But other than that, this is a definite fave.

The Jungle Book (2016): I re-watched this one to see whether I prefer this one or The Lion King remake, since I both love them very much. I’ve ultimately come to the conclusion that I still like this one better, but The Lion King 2019 is a close second for sure. Beautiful animation on the animals and a remake that actually differs in the right ways from the source material and surpasses it by far.

Leafie: A Hen into the Wild (2011): A gorgeous movie that should get more recognition. A wonderful mother-son story that will tug on your heartstrings (especially the uncut ending). Perfect backgrounds and amazing animation. My only gripes with it are the completely useless subplot with the rooster and some of the gross-out.

Kayla: A Cry in the Wilderness (1997): Just a nice “kid befriends husky and ends up doing a sled dog race”-movie. I’m pretty sure that’s a genre by now? The simple story of a boy coming to terms with his father’s death and befriending a feral husky named Kayla in the process. Nothing really stood out about it.

Two Brothers (2004): A cute idea for a movie idea about tigers, but I really think they should’ve used less actual animals in it and more animatronics/CGI/greenscreening. It might not have looked as spectacular, but with the real tigers they did use I pick up on a lot of scenes that made me and, looking at the animals’ body language, the animals too, uncomfortable.

My Little Pony: The End of Flutter Valley (1986): This just should’ve been a special of the series instead of ten awkwardly cut episodes that form one movie/special. The way they paced it, especially with this being ten episodes, was just really awkward. This might work for shorter specials (two/three-parters), but not a flat out movie. The animation is average, the villains jokes (seriously, who thought it was a good idea to bring back the annoying as fuck witches from the original?) and the voice acting really grating.

The Lion Guard: Battle of the Pridelands (2019): Nearly forgot to put this one on the list because it doesn’t have a Letterboxd entry yet. But it definitely counts. I really enjoyed this special episode of The Lion Guard, actually. It may not be the strongest series out there, but season 3 definitely was much better than the rest. This special has a lot of what I wanted to see: nice songs, the cast aging up, more explanation as to what exactly Scar and his “mark of evil” are and Janja’s redemption arc. It still has some flaws. When Scar first said “Sisi Ni Sawa” in his threatening speech, it actually felt genuinely fear-inducing. But then he started to sing the rest of the song as he went on and it just became cringe-worthy. Also, as much as I love his character, Janja was too easily forgiven and redeemed. He literally attempted to murder two cubs in season 2. You can’t just suddenly come back from being an attempted child murderer and get forgiven just like that.

Frozen (2013): I don’t get the hate nor love for this movie. It’s nice. That’s it. Good animation and songs, but I don’t connect much to any of the characters. Also, hey, guess what? A twist villain that doesn’t work.

The Lego Ninjago Movie (2017): These Lego movies are just so damn good for whatever reason? While the animation is a bit different in this one (not everything, including elements like water, smoke and fire, is made out of existent Lego pieces anymore), it’s still really good. We also get some breathtakingly realistic cat animation on Meowthra. Lloyd’s arc also felt really heartfelt, and the villain was quite enjoyable.

Equestria Girls: Sunset’s Backstage Pass (2019): Eh, still not a fan of these Equestria Girls specials, sorry. While I thought this one was a tad better than the last few we got, I still do not care much about them. Pinkie was quite obnoxious in this one, which just irked the heck out of me.

Another month full of movies! See ya’ll in October!

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squirenonny · 6 years

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Clone Shiro Theory in Season 5

Okay, so this mess was inspired by talking with several people on Tumblr and discord about the Clone Shiro Theory in the wake of Season 5, as well as seeing posts in the fandom tags. And...I’ve noticed some common themes in arguments against this theory.

Please note that this is not meant to be a direct rebuttal to anyone, more... working out for myself why I’m so convinced that Shiro is a clone because I’ve got all these nebulous thoughts running around in my head and I need to organize them somehow. So feel free to read, respond, reblog, ect, but also feel free to ignore this completely if Clone Shiro isn’t your thing.

Season 5 spoilers and a very long post under the cut.

I’m going to break this down into three parts:

I. Why a clone and not something else (mind control, magical spyware, ect)

II. Why I won’t accept anything but clones at this point without crying foul

III. Clone Shiro vs Galra Keith

I. Why a clone?

I think at this point there’s no way to deny that something happened to Shiro in Operation Kuron. We’ve seen Haggar spying through him, the headaches are a recurring theme, and his behavior has changed to the point that he’s going behind his team’s back and lashing out at the team in ways he hasn’t before.

With most of the proof, you can make several arguments. Haggar’s mind-controlling him directly, but he still is Shiro. Haggar’s spyware is giving him headaches that’s making him more testy than usual, but he’s still acting under his own free will. Ect. But I think there is enough evidence to give the clone theory specifically an edge over other explanations.

Shiro’s hair grew roughly a foot during his captivity between seasons 2 and 3. There’s no clear answer on how long this was, but it seems like a fairly short time period. At the start of the season, Keith is still raw over Shiro’s disappearance, and though they’ve done a few missions without Shiro, they haven’t run up against anything that required Voltron. Which... considering how often they form Voltron both before and after this period, suggest to me that we’re talking a time frame of weeks at the longest. Then episodes 1-3 happen in pretty quick succession, with the lion switch and Keith immediately charging off, almost out of spite. We pick up with Shiro a day or two before episode 3 (which is where Shiro finds Voltron and then loses them.) He spends another week chasing them before Keith and Black find him. All told, this is probably in the realm of one month since his disappearance, maybe two. For reference, human hair grows on average half an inch per month. Shiro is shown to have significantly more hair growth in this time frame than anyone else gets in the entire series--even people who have been prisoners for extended amounts of time. Matt and Sam each get maybe a few inches, and Shiro’s hair was kept short during his stint in the Arena. This tells me that Shiro’s hair growth for The Journey is not an artist’s exaggeration to show that he’s had it rough. If it is, then it’s sloppy, and the animators on this show are typically pretty attentive to detail. If this is intentional, I can only conclude that Shiro has been in captivity for far longer than the timeline allows and/or the clone was grown in a short time and the accelerated growth also affected his hair.

Calling attention to the difference between Shiro(s1-2) and Shiro(s3+). These, I’ll admit, are more suspicious than damning, but they’re worth mentioning. The animators made a deliberate decision to give Shiro a new look after his return. We’ve seen people in different outfits, and Allura has a few different hairstyles (up, down, mice poofs), but no one has changed their “default” outfit like Shiro has, only their armor or other special outfits (pajamas, swimsuits, ect), and no one has gotten a new haircut, except Pidge (in backstory, as a plot point) and Sam and Matt (compare to Shiro on the Kerberos mission vs post-escape in s1.) They want you to be able to tell the difference between Shiro 1 and Shiro 2. At the same time, they call attention to this change by having Shiro comment about his “weird headache.” The writers also made a point of having the Galra refer to Shiro differently in the context of Operation Kuron (Subject Y0XT39 vs Prisoner 117-9875.) From a writing standpoint, this is a strange choice--not necessarily significant, but likely so because both designations are mentioned in passing and without context, so tossing both out there without reason is more confusing than world-building. And in-universe, it tells us that the people in charge of Operation Kuron couldn’t or didn’t want to refer to prisoners by their already-assigned number. Possibly this is for internal organization--i.e. if not all subjects were prisoners or if they had completely random prisoner numbers. But if it is clones, they would need new ways to identify them, since they’d all have the same prisoner ID. Again, not proof, but suspicious.

Shiro appeared in the Voltron bond. And it seems as though the Shiro with the team didn’t. Not just his head is fuzzy about it. He wasn’t there. Did you notice how Shiro-in-the-bond was translucent, only seen from a distance, and almost completely lacking in detail in the head area? Maybe to obscure the fact that he has his old haircut (both from us and from Lance)? Did you notice that he didn’t appear with everyone else, and how desperate he was to communicate with his team? There are two Shiros. The only question is whether the distinction is physical (clones) or mental (mind control with the real Shiro’s mind completely suppressed by Haggar’s persona)

Following up on this point, Shiro himself is questioning things. If this was a case of mind control, of Haggar taking over Shiro’s body, there is no way she would allow her puppet to question his own identity. If she has direct control, she certainly wouldn’t mention it to Lance, and if the real Shiro is still in there waiting to take his body back, she absolutely would put safeguards in to make sure her controlled personality stays in place.

And of course, the single biggest argument in favor of Clone Shiro: Operation Kuron = literally, “Operation Clone.” This can’t be a coincidence. It can’t. With everyone working on the show (how many of whom are anime fans and have at least a rudimentary familiarity with Japanese pronunciation?), and with Lauren Montgomery having talked about how Laith is a much better ship name for Keith and Lance, because Laith means Lion, I do not believe that they accidentally chose a name for this major plot point that means “clone” in Japanese (which is either Shiro’s native language or at least connected to his heritage.) I also don’t believe that it was chosen as a red herring to make us think this is all about clones when it really isn’t, because the target audience (which is, what 8-12 year olds?) will not pick up on that hint. It fails as a distraction for the core demographic, which makes me think it’s far more likely that it was meant as an easter egg and the writers didn’t necessarily intend for people to pick up on it. It’s like... This post about English name symbolism in FMA. It’s a clever nod to character traits for people who are in the know, but then you give that same name to an English speaker and it’s almost laughably on the nose. For people who don’t speak Japanese (most of Voltron’s audience) and don’t have social media to point it out (unfortunately, comparatively little of the fanbase), “Operation Kuron” is a subtle nod. In a novel, where people likely won’t engage with the fandom until they’re finished, it would work. Hell, for people not actively engaged in fandom, it works. The problem is that we’ve had months upon months and the power of the internet, so now everyone knows that JK Rowling named her werewolf Wolfy McWolfenstein the Galra named their secret clone project Project Clone. That isn’t bad writing. It’s perfectly fine writing tossed to the wolves of a global fandom that loves to theorize.

(Also, I was curious, so I checked, and “Operation Kuron” is called the same thing in the Japanese dub, so lol if it’s not clones, Dreamworks is going to have some explaining to do.)

II. Why having the answer be “Not Clones” at this point would be bad writing

Okay, see, this is way more subjective than part I, which was already pretty subjective. But here’s the thing. Dreamworks has set up Clone Shiro, almost blatantly so. I can forgive the fact that this twist is obvious to the Tumblr fandom, at least, because (a) the show is for kids, so the foreshadowing has to be a little bit more obvious, and (b) you cannot judge subtlety based on thousands of people working together to figure things out. Most of the fandom figured out Galra Keith before season 2 dropped. Some people hated it, but then, some people were incredibly resistant to the Clone Shiro Theory--still are. It feels like everyone and their grandmother figured these twists out way in advance, but if you took away the part where we all screamed about it and laid out our arguments? If you somehow reached out to the viewers who aren’t involved in fandom? I’ll bet you good money that a lot fewer of them have picked up on the hints. (And if they have, they aren’t nearly as certain about it.)

But if we get to season 6 and suddenly find out Shiro has been Shiro all along, just with magic in his head letting Haggar watch him? I’m going to be disappointed, because that resolution is almost guaranteed to leave plot holes. How did Shiro get recaptured/how did he disappear from the Black Lion in the first place? Why did his hair grow so fast? What’s with the change in behavior (I’m not talking about the snappishness and arguing with Keith and Lance, I’m talking about directly undermining the very teamwork he’s been the single biggest proponent of from the start by going behind the team’s back again and again)? Why didn’t Black accept him at first? Why did he have to prove himself to her again, after they’d been more closely bonded than anyone? Why was the project named Operation Kuron? Why did Shiro see another, hollow-looking, him on the exam table in that flashback? Why hasn’t he used the bayard yet?

The show might explicitly answer some of these, but I think we all know by now that it won’t slow the pace long enough to explain all of them. The clone theory explains or implies answers to almost all of these (especially if you couple it with “the original Shiro is stuck in the astral plane” or some such.)

So, no. Clone Shiro isn’t a twist at this point. Maybe it’s just me, because I’m usually pretty good at picking up on foreshadowing and figure out most twists ahead of time, especially if I’m given time to ruminate. But I’m fine with not having big, shocking reveals. Something doesn’t have to be a surprise to be interesting. I don’t have to feel like I was clever for figuring it out. I can’t wait for season 6 because I’m desperate to know that both my sons (Shiro and Ryou) are going to be okay--because I think, at least, that the Shiro with the team right now is not being set up as a villain. He may become a martyr, but he’s meant to be sympathetic, regardless of where he came from.

In the end, I don’t mind that the Clone Shiro Theory seems obvious, because the foreshadowing is aimed at kids and the adult fandom is bound to pick up on those hints faster. And clones explain everything so well that I honestly don’t think any other answer would make for a satisfying conclusion to the Kuron arc.

III. Clone Shiro vs Galra Keith

Okay, now this is interesting, because these are the two main theories that the fandom swarmed. One turned out to be true, and I honestly think the other will be proven right in June.

Also interesting is that, in terms of episode count, they both are paced about the same. It’s just that the Galra Keith plot happened over the course of 1.5 full seasons, while the Operation Kuron plot is going on 3.5 half seasons. Same number of episodes, but more spread out and with more breaks in between. Galra Keith was dropped into a single seven-month gap with a growing fandom and then confirmed immediately with the next batch of episodes. Operation Kuron was introduced in August, fans jumped on it, season 4 dropped, the fandom was split on it (because, admittedly, s4 didn’t add anything to the argument that couldn’t be explained by trauma and/or mounting pressure on Shiro), fans wrote a shitton of Ryou hcs/fic and drew a lot of Ryou art, season 5 dropped, with major new developments but no confirmation, and now we’ve got another break. At the earliest, it will be confirmed or debunked in June, a full ten months after it was first hinted, and with three season breaks for people to theorize, create fanworks, and otherwise dig into Camp Clone.

Can you imagine if the first two seasons had been done like that? (Note: I know I’m fudging the midpoint of season 1 a little bit, but bear with me here. I want to do a thought experiment.)

Season 1: We get hints of Keith’s knife and the major red flag of Keith opening doors that have been implied to be species-locked, so Hunk has to use a Galra arm to get past one door in the same episode Keith uses Galra tech with no problems. There’s also the word of god that says Keith is an orphan, so speculation runs wild. The fandom is split, with a small but vocal group on Team Galra, a vocal opposition, and a whole bunch of people on Team “Can’t we just wait and see what the writers have in mind, guys? We don’t have to fight!”

Season “2″: Little movement on Galra Keith Theory specifically, and both sides have arguments for what little we do get. Are those purple patches the effect of Galra heritage or is that supposed to tell us Quintessence does freaky things? Does Zarkon’s, “You fight like a Galra soldier,” mean anything (and is there a comma there/does that change the meaning? I can only imagine the comma drama if that had been one of the only new points for debate after three months.) The only major development is explicit confirmation of the species lock on Galra tech. All this is exacerbated by growing concerns in the autistic fanbase who worry that Team Galra Keith is starting to twist the legitimate autistic traits to support their own theory. (Believe me, I was there, and I was scared of Galra Keith for a good long while because of this.) The debate starts to turn bitter.

Season “3″: Ulaz shows up, we see Keith’s knife, we have Keith worrying that Zarkon “imprinted” on him, and though nothing comes of that, it still says something that the writers are even willing to acknowledge the theory. The season ends with no clear answer, but by now most of the fandom is on Team Galra. There’s been fic. There’s been art. There are headcanons and metas galore. The evidence is all laid out, and there’s really no denying it at this point. Some people are angry about it, and lots of people are hoping for Altean Keith or something, just because it would still be a surprise.

Season “4″: The Galra Keith reveal happens in episode one or two, and literally no one is shocked. Some people are angry, everyone is pissed that there wasn’t more fallout after four seasons of buildup. But we all knew it was coming.

Think, in contrast, how the Clone Shiro Theory might have gone if we hadn’t switched to half seasons. (In a hypothetical world where the theory is true, and it’s getting revealed next season.)

Season 3 now covers everything through Naxzela. Operation Kuron is huge in fandom discussion, but it’s partially overshadowed by everything else that happened--Keith joining the Blade, Lotor’s offer of talks, Keith’s near sacrifice, Matt’s return... Fewer people are as adamant about the clone theory because we’ve already seen Shiro back in the Black Lion and fighting alongside the team. There are lingering doubts, and people still lay out all their arguments, but it’s less splitting hairs and more the broad range we saw with Galra Keith, from adamant arguments on either side to a broad, casual fanbase in the middle who doesn’t know if it’s gonna happen and honestly couldn’t care less but sure as hell likes to play around with the idea. Like with Galra Keith, there is some evidence that’s either straight-up confirmation or lazy writing (Keith opening doors vs kuron meaning clone) but for the most part people are still uncertain.

Season “4″ drops and hits us all hard with new evidence. People are getting behind the Clone Shiro Theory in earnest now, but somewhere near the end of the season it’s confirmed, forestalling another round of theorizing. Lots of people are caught off-guard, lots of people are edge-of-their-seats “Holy crap, is that actually true??” The major, irrefutable pieces of evidence (Ulaz, Keith’s knife, his nightmares vs Shiro lying to the team, Haggar’s spying, Shiro calling out to Lance in the bond) are immediately followed up by confirmation.

Can you see how the spacing of the episodes drastically changes the perception of the theory? In all honesty, Galra Keith and Clone Shiro feel extraordinarily similar in terms of pacing, evidence, and alternate explanations--it’s just that Keith’s story happened much quicker, in fandom time. I can’t fault the writers for that. I just think half seasons were a bad idea, especially when the show was clearly written with full seasons in mind.

TL;DR Version:

There’s enough evidence that specifically points to clones that I’m 99% convinced that Shiro is a clone at this point. That last 1% is reserved for skepticism because, while I don’t believe the writers could provide me with a different explanation that fits as well as clones, they might try in the name of pulling one over on the viewers.

Galra Keith and Clone Shiro are set up in a very similar manner, and the latter suffers primarily from half season releases and a fandom who knows what tricks to look for.

The fact that the show is geared at a younger audience and so isn’t going to be super subtle is not a mark against it, but unfortunately if you’re active in the fandom, there’s a good chance you’re going to see a solid argument re: upcoming plot twists that spoils the surprise.

#voltron #voltron season 5 #operation kuron #shiro #kuron #voltron meta #voltron spoilers #season 5 spoilers

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bl3randomfandoms · 6 years

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Tagged!

Tagged by @rebellingstagnationblog Thank you! I love these things! <3

1. Coke or Pepsi: VANILLA COKE is a vice for me. (It’s gonna hurt, but DRINK IT ANYWAY.) Extreme acid reflux...no shits to give when that drink is staring at me...

2. Disney or DreamWorks: DISNEY (But I LOVE The Road to Eldorado with the flame of a million suns.)

3. Coffee or tea: I like both, but tea is nicer to me. (Again, with the acid reflux. And AGAIN, sometimes I just have no shits to give.)

4. Books or movies: BOOKS. They are my reason to LIVE.

5. Windows or Mac: Windows, but only because I’m too poor. (I actually own a $200 Chromebook that’s seen more than it ever should. He’s crying out for mercy, but I just keep pounding on these keys... And dropping him. And spilling beverages into his keyboard. Yeah...the dude’s READY TO RETIRE.)

6. DC or Marvel: LOOOOKIIIII (Please come baaaaack!)

7. Xbox or Playstation: We gonna play the game of PLAYSTATION ALL DAY.

8. Dragon Age or Mass Effect: Don’t mean a thing to me. But dragons are cool, so I’d pick that???

9. Night owl or early riser: I ENJOY THE NIGHT

10. Cards or chess: Cards (I WISH I was a good enough strategist for chess, but sadly, NO.)

11. Chocolate or vanilla: Give me the chocolate, and I MAY let you live.

12. Vans or converse: Converse

13. Lavellan, Trevelyan, Cadash, or Adaar: Don’t play this game.

14. Fluff or angst: I used to love fluff, but recently I’m just in such a mood with ANGST. I don’t know why, because I’m a happy person, but I love to see healing in people, but you’ve got to get through the pain first.

15. Beach or forest: FORESTS. I live in Idaho, and I will never get sick of my beautiful trees.

16. Dogs or cats: Doggies! (Especially wiener dogs.) Cats are kind of evil.

17. Clear skies or rain: I love both. It depends on my mood. Extrovert mode, SUN. Introvert want-to-read-all-day-and-avoid-people-mode...RAIN.

18. Cooking or eating out: I love cooking, yet eating out with friends is fun too.

19. Spicy or mild food: Mild, but only because of my AR. I try spicy food sometimes, because I’m a masochist, and I wanna see how much I can take before I wanna die???

20. Halloween/Samhain or solstice/yule/Christmas: YULE. A medieval yule holiday would be the most amazing. I make the most of every Christmas. Only fandom-based toys and plushies, sleeping out in the living room with my peeps, and the FOOD.

21. Would you rather forever be a little too cold or a little too hot: I am hot-blooded and writhe around in misery when it gets too hot, so yeeeah. A little too cold would be kind of great.

22. If you could have a superpower, what would it be: I would want to fly, but I would need to be invisible too, like Karou from “Daughter of Smoke and Bones.”

23. Animation or live action: ANIMATION (I’ve loved it with a passion since I was small and always will.

24. Paragon or renegade: Renegade. I’m not perfect. Nobody is.

25. Bath or shower: I mostly take showers, but a good bath is one of the only things (besides the occasional drink) that will relax me. CAUTION: Red bath bombs are SCARY.

26. Team Cap or Team Iron Man: TEAM TONY (I’d eat him up in a HOT SECOND.)

27. Fantasy or sci-fi: FANTASY (Although, when it’s a combination, like Anne McCaffrey’s GENETICALLY ENGINEERED DRAGONS... I’m just snappin’ that shit up.)

28. Do you have 3 or 4 favorite quotes if so what are they?

“It’s a sin to pervert faith with religion.” -Identical, by Ellen Hopkins

“I have discovered something amazing: That some people aren’t just people, but a place-a whole world. Sometimes you find someone you could live in for the rest of your life.” -How to Build a Girl, by Caitlin Moran

“Death comes for everyone. I’d rather die on an adventure than live standing still.” -Lila from “A Darker Shade of Magic”, by V.E. Schwab. (One of my favorite books, EVER.)

“For where all the love is, the speaking is unnecessary.” -Outlander, by Diana Gabaldon. (Another absolute FAVE)

29.YouTube or Netflix: NETFLIX (but youtube for silly fan-related stuff.)

30. Harry Potter or Percy Jackson: HARRY. No contest.

31. When you feel accomplished: When I finish a book or a story. It’s nice to just lean back in that chair and go...AAAHHH.

32. Star Wars or Star Trek: A long time ago, in a galaxy far, far away.

33. Paperback books or hardcover books: Paperback, but I do love a good brand new, signed hardcover! (Paperbacks are just easier to read, since I have small hands, and kind of weak wrists...)

34. Fantastic Beasts or Cursed Child:

35. Rock or pop music: ROOOOCCCKKK (AC/DC, Led Zepplin, Metalica, Journey, Kansas, ZZ Top...JUST SO MUCH GOOD ROCK TO BE HAD.)

36. What is the most important thing in your life: Here comes the fluff, but... MY FAMILY. Couldn’t live without them. I’d just be a husk.

37. Mountains or sea/ocean: THE HILLS ARE ALIVE

38) Name a couple of songs you’ve been really into recently.

“Wolves” by Selena Gomez

“Shut up and Dance” by Walk the Moon

“I Don’t Know Why” and “Walking the Wire” by Imagine Dragons

Tagging: @darkwingownsthenight @amaezingfan @aj-the-bluejay @dorkwingduck And whoever else wants to do it, because I hate tagging people. It feels like assigning homework.

#ilovedoingthese #it'slikejournaling #butwithgifs #thanksfortagging

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prove-all-things · 4 years

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Inception Arthur/Eames Recs and Thoughts

I am so late to the party. Like a decade late.

I re-watched Inception for the first time in 10 years, and I can’t get over the fact that not even five minutes of Tom Hardy acting with JGL spawned thousands of fanfic. On AO3, there’s nearly 10,000 works and 75% (7,443/9,992) of them are Arthur/Eames. I’m not even factoring in all the LJ A/E fic that never made it to AO3 – like the hundreds of kink meme stories! We’d probably be pushing 90% A/E if those are accounted for.

How is this possible??? If you look at Harry Potter fandom, Harry/Draco works take up only 16% on AO3 (39,449/241,634). Honestly, I think it’s all because of Tom Hardy’s fantastic acting skills and subliminal, accidental set design shipping (the George Dyer painting and the Hotel Valfierno reference – more meta on that here). Mostly Tom Hardy. As much as I loved JGL’s Arthur voice – like he dropped it lower on purpose to seem more mature and world-weary and snarky (and dare I say almost Boston mobster?)– and the film’s sartorial choices for Arthur and JGL’s badassery in zero-gravity, nothing is better for setting my ship on sail than Tom Hardy’s Eames making sweet, sweet faces at Arthur in the “what’s a kick” scene. Like, Eames could have been looking at Ariadne when he said “This, Ariadne, is a kick.” But the scene is of him staring at Arthur making his lists in his pretentious moleskine. He was probably staring at Arthur for the whole time. Then after he very gently nudges the chair (out of love), he CONTINUES to look at Arthur and give him a little corner smile and crinkles his eyes. Was that necessary? Was that really necessary from a film-making perspective or was Tom Hardy being like, alright, clearly this Eames character is feeling something and that’s how I’m going to build him up. Not to mention that the darling part was improvised in the moment. Please let me just stew in my feels that are a decade late to the party.

Anyway, I also wanted to gather my favorite fics in one place where I can hug them. These are organized, in honor of Arthur, in alphabetical order by authors’ names. Then organized by fic size, in ascending order, just because I can and I’m neurotic.

1. delires

- Omerta (1k) – Eames POV, my mobster Arthur dreams are realized. https://archiveofourown.org/works/209288

- Gym Wars (4k) – Arthur POV, in which Eames pretends like he’s not stalking Arthur at the gym. https://archiveofourown.org/works/554437

- Il Faut Nous Pardonner Les Choses (4k) – Arthur POV, discussing French symbolism with a handsome professor. https://archiveofourown.org/works/188872

- I’m With Stupid (5k) – Arthur/Eames POV, some good, clean fun underneath a dusty bedframe with the looming threat of being knifed by a burly Russian. https://archiveofourown.org/works/190077

- A Thrill to Rest My Cheek To (6k) – Arthur POV, the blind date’s going well until it’s not. https://archiveofourown.org/works/190183

- Comfort and Joy (9k) – Eames POV, choosing a Christmas present for Arthur is difficult. https://archiveofourown.org/works/188876

- No One’s Going To Take Me Alive (12k) – Eames POV, Arthur worked with him first. https://archiveofourown.org/works/188406

- Anger Management series (15k): Arthur POV, high school AU where both Arthur and Eames are kicked into anger management class. https://archiveofourown.org/series/7741

- Chav!verse (49k): Arthur POV, Eames is a chav and Arthur doesn’t understand why he keeps coming back for more of it. https://archiveofourown.org/series/8712

2. five_ht

- Not Necessarily the Best Policy (5k): Eames POV, the delightful accidental truth drug fic. https://archiveofourown.org/works/261638

3. gunsandbutter

- and the doors are open (15k): Eames POV, and the just as delightful accidental love potion fic. https://archiveofourown.org/works/187289

4. gyzym

- Domestic!verse (75k): Arthur POV, in which Eames somehow infiltrates his life. https://archiveofourown.org/series/5589

5. Helenish

- Family (3k): Eames POV, Arthur is determined to help Eames embrace his sexual identity. https://archiveofourown.org/works/452042/chapters/775320

- Untitled, redux (3k): Eames POV, Arthur the pretend boyfriend who strategically lounges near either heavy or pointy objects. https://archiveofourown.org/works/171341

- Untitled (4k): Eames/Arthur POV, Eames the pretend boyfriend with mobsters. https://archiveofourown.org/works/171342

- Pants on Fire (15k): Arthur POV, drug-induced amnesia – Oh Yusuf, all you’ve got to do now is to make a sex pollen drug. https://archiveofourown.org/works/177509

- Here is a thing that isn’t happening!verse (26k): Arthur POV, in which Eames is younger and adopted by Arthur and a lot repressed feelings happen. https://archiveofourown.org/series/6326

6. Ifeelbetter

- Give Me the Number (if you can find it) (5k): Arthur/Eames POV, modern technology brings them together. https://archiveofourown.org/works/485417

7. Joosetta

- Good Day Bad Day (<1k): Ariadne POV, a study on Arthur in his natural habitat. https://archiveofourown.org/works/171676

- Rag and Bones, Sympathy (3k): Set after Uncertainty. Arthur/Eames POV, retreating to lick their wounds. https://archiveofourown.org/works/332906

- Rubber vs. Glue (4k): Arthur POV, pissing each other off out of love. https://archiveofourown.org/works/332944

- Renovations!verse (13k): Arthur POV, Eames is renovating a place in Paris just for fun. Maybe for love. https://archiveofourown.org/series/6969

- Uncertainty (33k): Ariadne/Cobb POV, Eames needs rescuing, but this fic is so much more than that. Ariadne grapples with morality in corporate espionage dreamwork; Cobb balances fatherhood with a criminal background he’s still feeling the repercussions of; Arthur is a bundle of nerves and worry, but cool as a cucumber all the same. My favorite of favorites. https://joosetta.livejournal.com/530838.html

8. orphan_account

- we’re the heirs to the glimmering world (1k): Arthur POV, they run into Eames’ mother in London. https://archiveofourown.org/works/124515

9. Resonant

- Breaking and Entering (9k): Eames POV, Eames wants to be the better person here, to not break Arthur’s heart, but he’s an idiot. https://archiveofourown.org/works/225612

10. Thehoyden

- Waiting On (2k): Diner AU, Arthur POV, witty banter, morning coffee, and workaholic Arthur. https://archiveofourown.org/works/109132

- Jamais Vu (7k): Arthur POV, everyone thought Yusuf made a drug but actually it was just Arthur’s feelings all along. https://archiveofourown.org/works/112706

11. the_ragnarok

- Allowed (6k): Arthur POV, asexual Eames. https://archiveofourown.org/works/166992

12. weatherfront

- All Manner of Wolves (4k): Arthur POV, I’m cackling. A subway. https://tornadobelt.livejournal.com/6655.html

- It’s Automatic (5k): Eames POV, young romance in corporate espionage. https://archiveofourown.org/works/364949

13. whiskyrunner

- Rough Trade (23k): Arthur POV, i-banker and very repressed Arthur goes through some hard times. https://archiveofourown.org/works/384157

- Broken Toy!verse (74k): Arthur/Eames POV, Eames arguably goes through some even harder times. https://archiveofourown.org/series/16988

14. witling

- A Sultry Side (2k): Eames POV, a job completed, a humid night, good company, and an even better view. https://archiveofourown.org/works/812847

- Delayed Reaction (6k): Eames POV, a witness to Arthur’s small domestic life coming apart. https://archiveofourown.org/works/702650

- The IT Crowd (12k): Arthur POV, Eames is infuriatedly oily, technologically incompetent, and Arthur loves it. https://archiveofourown.org/works/518582

- Release Mechanism (13k): Eames POV, saving Arthur. https://archiveofourown.org/works/513298

- The Third Time (14k): Arthur POV, action and repression. I just really like repressed Arthur okay. Don’t judge me. https://archiveofourown.org/works/200726

- Patron Saint (16k): Arthur POV, lots of action, build-up, and Arthur figuring out what he wants. https://archiveofourown.org/works/338404

- Our Man in Africa (20k): Eames POV, all he wants is to be let into Arthur’s life and what he gets is severe rug burn and death threats. https://archiveofourown.org/works/1924179

- Toxic (22k): Eames POV, he’s there when Arthur is tripping balls in withdrawal. https://archiveofourown.org/works/692018

- The Only Living Boy in New York (47k): Eames POV, Arthur and Eames take over limbo. https://archiveofourown.org/works/929656

Whew. Thank you and good day.

#inception #arthur/eames

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raijuto · 7 years

Note

Genji, Mccree, Reaper, Bastion, Hanzo, Mei, Torbjorn, Widowmaker, Reinhardt, Zarya, Roadhog, DVA, Winston, Lucio, Ana, Zenyatta, Symmetra

Genji: Any body modifications you want but are too scared to get?Hmm, not really? I find them pretty unnecessary when people don’t really need them to be honest. I am content with how I am now as well and wouldn’t want to change anything, at least not like that.McCree: What’s your #1 guilty pleasure?Sappy, cheesy, romantic stories :’D Especially in Disney. Secretly I’m a huge hopeless romantic and can get immersed in stories like Beauty and the Beast or other cheesy ones. They just have something magical I guess, lol.Reaper: Tell us about an embarrassing middle school/high school phase.I used to call myself emo when I was around 12-13?? I didn’t even know what it meant back then, but it was cool at the time and more people became it, so I just tried to go with the flow. I failed of course though (luckily). I also had a sparklewolf phase with my art, in which I only created super ugly coloured wolves and what not. Ah yes, it was the time of the wolfaboos.Bastion: Which animal can you see becoming your lifelong partner?Aaaa, this one is so hard ;n; I can’t choose one.. I think I would want both a cat and dog in the future, so those two will have to do. Right now I do have a cat though and he is totally my partner for life Hanzo: What advice would you give to your younger self?Don’t trust someone you like too easily, but also learn to let those who do treat you correctly into your life. Something like that.Mei: Favorite flavor of ice cream.Chocolate!Torbjörn: Name three first things that pop into your head.My cat, Overwatch, Panda’s.Widowmaker: Last instance that really tested your patience.Back a few weeks ago when I was in the train and a baby was screaming the whole time. I can’t handle that, for real. Screaming children are the worst and I almost walked out of the cabin :IReinhardt: What is the thing you love most about yourself?I am sensible I guess, which has been protecting me from situations before or just prevents me from doing stupid things lol.Zarya: How do you bounce back from difficult situations?Usually I try to distract myself by gaming or reading fiction, then I usually start to feel slightly better and try again to do what I wanted to. Also sometimes just forcing myself and then feel okay afterwards.Roadhog: Bacon, sausage, or neither?Ah, this one is hard hm.. I think bacon, as I don’t eat that as much as sausages.D.Va: Of which accomplishment are you most proud?Can’t really think of anything too big at the moment, but I guess right now, making my own activity and story books at my internship, which I have one of printed as well. It’s nice to see your hard work printed in your hands and know it gets used by people.Winston: What is your dream job?I’d love to become a concept artist for DreamWorks, or any animation company really. A comic or storybook artist would be nice too, as long as I can illustrate. I’d love to work and live in Japan as well and I’d be happy with any job to be honest. There are many things I like to do and they don’t necessarily need to be the biggest jobs of all.Lúcio: The last song you listened to.Ah, I can’t really remember :’D I think it was something instrumental though.Ana: One thing that keeps you motivated.My goal for in the future. Anything I can work towards keeps me motivated to be honest. Without it I wouldn’t really know what to do :’D And having my Summer break in a bit is also nice.Zenyatta: One thing that brings you peace.Being in my own space and watching something I like or playing games.Symmetra: Describe your aesthetic.There are so many?? I can’t pick one?? The ideal would be either a Japanese garden with a shrine and cherry blossoms, or a tropical beach surrounded by nature.Thanks a lot for these sis

#ask #kaijupunk #answered #personal

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lumierebros · 7 years

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Movie Buff Questions

1. Favorite action film?

Imogen: Die Hard, Terminator 2

Shakya: The Dark Knight, Terminator, Alien, Ip Man +any Tarantino

2. What movie(s) could you watch over and over and not get tired of?

I: Grease, Inception, Gone Girl, Superbad, Hot Fuzz

S: There Will Be Blood, Deathproof, Grease, Django Unchained, Birdman, Whiplash, plus again, any tarantino let’s put it at that)

3. Any old school favorites (pre-70s)?

I: Rear Window, North By Northwest, Breakfast at Tiffany’s

S: On the Waterfront, Citizen Kane, Rebel Without A Cause, Psycho, A Streetcar Named Desire, Casablanca, Singin In The Rain, Dr Strangelove, 2001, Invasion of the Body Snatchers, The Apartment, The Graduate, Butch Cassidy and the Sundance Kid, 12 Angry Men, Ben Hur are allllllllll amazing

4. Top 5 directors?

I: David Fincher, Sofia Coppola, Christopher Nolan, Wes Anderson, Denis Villeneuve

S: Paul Thomas Anderson, Martin Scorsese, Stanley Kubrick, Quentin Tarantino, Coen Brothers, Damien Chazelle/Alejandro G. Iñárritu

5. Favorite dead actor/actress?

I: Grace Kelly, Heath Ledger, Audrey Hepburn, Anton Yelchin

S: Heath Ledger had a lotttt of potential and Brando was great too

6. Favorite movie from the 90’s?

I: Clueless, Fight Club, Seven, Saving Private Ryan, American Beauty

S: Goodfellas, American Beauty, The Big Lebowski, Boogie Nights, The Usual Suspects, Good Will Hunting, Reservoir Dogs, Fargo, Dances With Wolves, Scream, Sister Act, Trainspotting. American History X, Forrest Gump, Casino, Leon, Schindler’s List, Jurassic Park I could go on and on

7. Ever been/are you such a hardcore fan of an actor actress you watched/will watch any movie they were/will be in?

I: James McAvoy

S: Christian Bale, Gary Oldman, Leonardo DiCaprio

8. What movie are you looking forward to coming out the most?

I: Star Wars the Last Jedi, Blade Runner 2049

S: Alien: Covenant, Dunkirk

9. Pixar or Dreamworks?

I: Pixar

S: Pixar, but Dreamworks for Sinbad, Prince of Egypt and Spirit

10. Favorite animated movie?

I: Fantastic Mr Fox

S: Spirit, Fantasia, Ferngully

11. Favorite musical?

I: La La Land, Grease, The Lion King

S: Singin’ In The Rain, Grease, Moulin Rouge, La La Land, Oliver!, The Sound of Music, (does High School Musical count )

12. Are you against book-to-movie adaptations?

I: Nope

S: Noooo

13. Your guilty pleasure movie(s)?

I: The Narnia movies, X-Men Apocalypse, The Proposal

S: Burn After Reading, Snatch, In Bruges + Independence Day, Ace Ventura hahahaha

14. Robin Williams or Eddie Murphy?

I: Robin Williams

S: Robin Williams easily

15. Favorite chick flick?

I: Clueless, Ever After

S: When Harry Met Sally (is that a chick flick or)

16. Ever watched a movie just because you heard the effects were awesome?

I: Star Trek (ending up loving it), Avatar

S: Avatar, Gravity, District 9

17. Favorite indie film?

I: Memento, Lost in Translation, Drive

S: Reservoir Dogs, Drive, Texas Chainsaw Massacre, Eternal Sunshine Of The Spotless Mind, American History X

18. Favorite movie heroin?

I: Sarah Connor, Princess Leia, Liz Bennet, Lisbeth Salander

S: Ellen Ripley

19. Favorite movie action hero?

I: John McClane, Indiana Jones

S: Jason Bourne, The Terminator (arnie)

20. Ever read a book so you could understand the movie?

I: Gone Girl, The Life of Pi

S: A Clockwork Orange: Watched the movie to understand the book, but never got past the first 20 pages or past the rape scene in the film

21. Favorite kids movie?

I: How To Train Your Dragon, The Parent Trap

S: Space Jammmmmmmmmm

22. Favorite Disney movie?

I: The Beauty and the Beast

S: Snow White (childhood fav)

23. Favorite movie soundtrack?

I: Anything by Hans Zimmer, Howard Shore (LOTR)

S: Anything by Hans Zimmer, Justin Hurwitz and Howard Shore. PLUS Proven Lands - Jonny Greenwood, Dirty Walk and Doors and Distance - Antonio Sanchez, Revenant theme- Ryuichi Sakamoto, Nightcall- Kavinsky, The Child Pt. 1 & 2- Jed Kurzel, any classical pieces in Kubrick films.

24. Movie that makes you cry every time?

I: Atonement, Schindler’s List

S: Schindler’s List, Titanic hehe

25. VHS, DVD, or Blu-ray?

I: I watch my stuff online srry

S: VHS was amazing, we had a massive collection when I was younger. Nowadays I would say Blu-ray purely because of quality. Quality of sound is more important to me though (BOSE!!!).

26. Best experience going to the movies

I: Seeing Star Wars The Force Awakens in Gold Class

S: When my boyfriend randomly picked me up at 10pm to go see Arrival as a surprise because I’d mentioned I wanted to see it once.

27. Top 5 actors?

I: Matthew McConaughey, Christian Bale, Ryan Gosling, Ethan Hawke, Leonardo DiCaprio, Daniel Day Lewis, Ewan McGregor plus all the ones Shakya mentions that I don’t mention-- I LOVE EVERYONE

S: Daniel Day Lewis, Leonardo DiCaprio, Kevin Spacey, Robert DeNiro, Jack Nicholson, Gary Oldman, Christian Bale, Ed Norton, Benicio Del Toro, Christoph Waltz, Javier Bardem

28. Top 5 actresses?

I: Amy Adams, Lupita Nyong’o, Viola Davis, Naomie Harris, Felicity Jones, Natalie Portman, Kate Winslet, Brie Larson

S: Natalie Portman, Frances McDormand, Emma Stone, Ellen Page, Julianne Moore, Amy Adams, Michelle Williams, Kirsten Dunst

29. Movie you completely regret seeing?

I: X- Men The Last Stand

S: 2012, The Accountant, Pacific Rim, Nymphomaniac P1 & 2

30. Movie you wish was never made?

I: X-Men The Last Stand HAHAHA

S: Eragon

31. Movie your parent showed you?

I: The Wizard of Oz, Grease

S: Legit everything, we still have Movie Night every Friday (and we’re not allowed rewatches)

32. Last movie you watched?

I: The English Patient

S: The Apartment

33. An overrated movie?

I: Batman (1989), also agree about The Notebook

S: The Notebook, Super 8, 500 Days of Summer, Brokeback Mountain, Zoolander, Rain Man

34. An underrated movie?

I: Before Sunrise, In Bruges, The Nice Guys

S: Nocturnal Animals, Drive, Snatch, Blood Diamond, Dogma, Biutiful, Tree of Life

35. Favorite comedy movie?

I: Hot Fuzz, Superbad, Monty Python and the Holy Grail, Blazing Saddles

S: Burn After Reading, Tropic Thunder, Annie Hall, The Big Lebowski, Wayne’s World, Snatch, Bill and Ted’s Bogus Journey, Borat

36. Movie quote you live by?

I: “I’m so much happier now that I’m dead. Technically, missing.” You know, bc fuck Nick Dunne.

S: There’s not any quote I LIVE by but I do love this scene:

‘Michelangelo? You know a lot about him. Life's work, political aspirations. Him and the pope. Sexual orientation. The whole works, right? I bet you can't tell me what it smells like in the Sistine Chapel. You never actually stood there and looked up at that beautiful ceiling. Seeing that. If I ask you about women, you'll probably give me a syllabus of your personal favorites. You may have even been laid a few times. But you can't tell me what it feels like to wake up next to a woman and feel truly happy. You're a tough kid. I ask you about war, you'd probably throw Shakespeare at me, right? "Once more into the breach, dear friends." But you've never been near one. You've never held your best friend's head in your lap and watch him gasp his last breath lookin' to you for help. If I asked you about love, you'd probably quote me a sonnet, but you've never looked at a woman and been totally vulnerable. Known someone that could level you with her eyes. Feelin' like God put an angel on Earth just for you, who could rescue you from the depths of hell.’

37. Movie quote that will always make you laugh?

I: “Where the white women at?”

S: ‘I eat pieces of shit like you for breakfast!’ ‘You eat pieces of shit for breakfast?’ -long pause- ‘No!’

‘Shut the fuck up fat man this ain’t none of your goddamn business’

‘I have uh..uh.. lactose reflux’ ‘You’re lactose intolerant or you have acid reflux? They’re different things’

‘A shootout is a fucking shootout!!....Like a Western’

‘You think that’s a Schwiiiiiin’

‘I eat the Canadian? I don’t know what you’re talking about’

‘I don’t read the script, the script reads me’ ‘What the hell does that even mean??’

‘oh nothing Tommy, it’s….tip-top, it’s just i’m not sure about the colour’

All the other quotes I find funny are completely random movie quotes that my family has just turned into a joke and that we can easily incorporate into conversation e.g. ‘whadaya gonna do ranger rick, shoot me?’ ‘I could do that’, ‘you sir, too sir’, ‘I don’t want Nenat’, ‘I drive’, ‘you want uhhh money or something’, ‘yeah i like dags’, ‘there is no spoon’ ETC you get the point

38. Film(s) you’ve watched on a date?

I: Any action/superhero movie that has come out recently.

S: The Conjuring 2, La La Land, Arrival, Sausage Party, The Accountant (bf loves accounting but it was shit), Fantastic Beasts, Captain America: Civil War, Shine (anniversary reshow with Geoffrey Rush doing a q&a after teehee), Nocturnal Animals, Suicide Squad, Moonlight, Sully, War Dogs, Jason Bourne, heaps more that I can’t remember

39. Favorite cult film?

I: Pulp Fiction, Fight Club

S: The Big Lebowski, Taxi Driver, Reservoir Dogs, Pulp Fiction

40. Directors you’d like to see work together?

I: David Fincher and Denis Villeneuve could be interesting

S: Coen brothers and Guy Ritchie would be fkn awesome OR Coens and Tarantino would be screenplay heaven

41. Actors you’d like to see work together?

I: Felicity Jones and Oscar Isaac (can you imagine the chemistry)

S: Miles Teller and Emma Watson ;---)

42. Films you wanted to watch, but never got around to watching?

I: American History X, 28 Days Later

S: Amadeus, The Deer Hunter

43. Favorite teen movie?

I: Clueless, 10 Things I Hate About You, Fast Times at Ridgemont High

S: Juno, Grease, The Breakfast Club, Rebel Without A Cause

44. Top 5 favorite films?

I: American Psycho, Her, The Grand Budapest Hotel, Seven, Inception, There Will Be Blood, Inglourious Basterds, LOTR, No Country For Old Men ARGH SO MANY

S: There Will Be Blood (no. 1 fav), Good Will Hunting, No Country For Old Men, Raging Bull, Fargo, The Dark Knight, Goodfellas, LOTR, American Psycho, Deathproof, Tree of Life, The Usual Suspects, So many so many.

45. Favorite superhero film?

I: Logan, X-Men Days of Future Past, The Dark Knight

S: The Dark Knight, The Incredibles

46. Favorite cop film?

I: 21 Jump Street, Hot Fuzz, The Departed

S: Reservoir Dogs, Fargo, Seven, Mystic River, The Departed, Silence Of The Lambs

47. Favorite road trip film?

I: Fear and Loathing Las Vegas

S: Borat HHAHAHAH

48. A disappointing film from your favorite actor?

I: Pick any rom-com of Matthew McConaughey’s

S: Jack Nicholson in The Bucket List and Anger Management. So fucking bad. Good actor, shit movies.

49. A disappointing film from your favorite director?

I: The Curious Case of Benjamin Button

S: The Lovely Bones, Only God Forgives

50. The first movie you ever remember watching in theaters?

I: I don’t remember any, but the first film I saw was A Bug’s Life

S: I genuinely have no idea

51. A movie that was better than the book?

I: The Shining (lmao bc Stephen King hates the movie)

S: Yeah The Shining and There Will Be Blood (based on Oil! which was beautifully written but nothing beats PTA’s adaption)

52. Vin Diesel or Bruce Willis?

I: Vin Diesel is so cute but I like Bruce better

S: it’s not a motorcycle baby it’s a chopper

53. A movie that not many have heard of that you’ve seen?

I: Hunt For the Wilderpeople

S: Vampire’s Kiss, Children of Men, Ip Man (VERY good foreign film), Dr Strangelove, Inherent Vice, Shame, Biutiful, Macbeth, Cool Hand Luke, Room In Rome, To Sir With Love

54. A movie that changed the way you view the world?

I: To Kill a Mockingbird

S: American History X

55. Favorite sci-fi movie?

I: Star Wars, Star Trek, Interstellar, Arrival, Gattaca

S: Alien, Predator, The Thing, Interstellar, Arrival, Terminator, 2001, Matrix, The Fifth Element, E.T

56. Movie you completely nerd-out over every time it’s mentioned?

I: X-Men, Star Wars, LOTR

S: LOTR obviously

57. Movie that you’ve seen all the behind-the-scenes action for?

I: Inception

S: LOTR again, hours on end of it omf

58. Movie where your favorite actor was the only good part?

I: Natalie Portman and Ewan McGregor in the Star Wars prequels

S: Leonardo DiCaprio in The Basketball Diaries

59. Movie from an actor you hate that was better than you expected?

I: Kristen Stewart (Adventureland), but I don’t hate her at all, I was just surprised at her performance.

S: Mo’Nique in Precious, never hated her, she’s brilliant, it was the first performance I’ve seen of hers and it made me despise her character so much. SO GOOD but so awful.

60. Most visually stunning movie you’ve seen?

I: The Revenant

S: Tree of Life, 2001, The Revenant, Apocalypse Now, The Master, Interstellar, LOTR, Jurassic Park

61. A movie your parents introduced you to?

I: The Wizard of Oz, Life is Beautiful, Grease

S: Hahahaha basically every movie no joke, but my dad showed me lots of Chaplin

62. Favorite genre?

I: Thriller/crime/mystery/suspense

S: Drama, gangster movies, thrillers/horror/psychological thriller/horror you get the jist

63. Least favorite genre?

I: Romantic comedies

S: Romcoms or superhero movies (not including tdk)

64. Comedy movie that you didn’t find funny?

I: Sausage Party

S: How to be single, Anchorman, Sausage Party

65. Horror movie that didn’t scare you?

I: The Conjuring, Paranormal Activity

S: Insidious just so bad, The Exorcist, The Shining, Rosemary’s Baby, Let The Right One In (Swedish version NOT American Let Me In). None are terrifying, just extremely unsettling and disturbing

66. Favorite remake of an old movie?

I: The Departed, True Grit

S: True Grit, The Thing, Scarface, The Departed

67. A movie that started a passion for you?

I: Her. The first “good” movie I watched that got me into film culture.

S: Well I was brought up with hundreds of great movies from my childhood which made me love film as a child, but standout ones from my childhood I can remember especially well are LOTR, Spirit, Fantasia, all very music based films too

68. A movie that sparked an interesting conversation?

I: Interstellar (about time, paradoxes, and space)

S: Donnie Darko, No Country For Old Men, Psycho, The Usual Suspects, 2001, Whiplash -- all have brilliant final scenes, Split: my bro and I spent an hour talking about what makes a good movie and why it was so bad

69. The main movie you remember from your childhood?

I: Grease… slightly inappropriate for a kid but most of the adult stuff went over my head anyway

S: Lord Of The Rings of course, first full length film I was shown and Neverending Story is another one I remember well.

70. The first movie you saw on it’s opening night?

I: Star Wars The Force Awakens

S: Harry Potter and the Deathly Hallows P1 and P2, La La Land

71. A move that made you ache for love.

I: Before Sunrise

S: Blue Valentine

72. Favourite foreign film/s?

S: Let The Right One In, Life Is Beautiful, Cinema Paradiso, Ip Man, City of God, Pan’s Labyrinth, REC, Biutiful

73. Favourite horror film/s?

S: The Shining, The Exorcist, Rosemary’s Baby, Carrie, Halloween, Texas Chainsaw, Psycho, REC.

#q #lumierebros #questions #sorry for long post

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thebluesideofthemoon · 7 years

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The Wall #48: ZOOTOPIA

Well, it's about time I got around to this. Welcome to The Wall, and I'm not going to waste any time because I'm going to have a lot to say. I feel like I don't need to say this, but just in case you haven't seen the movie (not just this one, I mean in general) I'll try to be as spoiler-free as I can. Yeah, I said "try", because sometimes I'll see something as awful as Collateral Beauty or Yoga Hosers where I have to spoil the movie just to get my point firmly across in why those movies are as bad as they are. And yeah, that's a general rule of thumb: if I consider the movie awful I WILL spoil it (So yes, take that as your premature warning that I WILL spoil Batman v. Superman: Dawn of Justice in the next review. ;D). Seeing as this is the movie that revitalized the series and allowed it to take off in a way far bigger than I could even imagine, I have to pay its respects and give it the proper review it should have had in the past. So, let's dive right into the literal urban jungle that is the colorful world of Zootopia!

I’m not even going to waste time by dabbling in my usual routine of building up my points in a movie of what I liked and what I didn’t because I’m going to say something I haven’t said about a movie this year since Hell or High Water- I absolutely adore this movie. Believe it or not, I wavered a lot in how I felt about this movie throughout the course of the year, but my answer is finally clear. But first, the usual- plot.

In this movie, a young anthropomorphic bunny by the name of Judy Hopps (voiced by Ginnifer Goodwin, whom I last saw in that godawful “romantic comedy”, Something Borrowed back in 2011) dreams of becoming a cop in the big city of Zootopia to make the world a better place. This doesn’t turn out to be that simple as for a bunny trying to even train to become a cop proves to be incredibly difficult, though determined to not give up she pushes on and eventually manages to graduate from her training and be moved into the central district of the Zootopia Police Department, though instead of being assigned into a highly pursued case of tracking down twelve missing mammals, she gets assigned to parking duty. One messy turn of events later allows Judy to be part of the missing mammal case, though on the condition that she only has 48 hours to solve it or she will be fired from her job. She’s stuck with virtually no resources, though manages to find one clue that takes her to one key witness that may hold the answer for the case, in the form of a red fox by the name of Nick Wilde (voiced by Jason Bateman, whom I last saw in 2015’s The Gift, which was actually a pretty good movie… and then the ending happened) who turns out to be pretty uncooperative. The clock is ticking, and the evidence is minimal, so can these two unlikely partners come together for the better of their society?

Continuing with my usual formula this is where I would start listing down the negatives about a movie, and this was the part that I found the most tricky was how to feel about these because I have two: Gazelle, and the ending- specifically the climax.

Let’s start with Gazelle, who is voiced by mega-famous Colombian pop star, Shakira- heeeeey, finally a movie that has someone representing my home country of Colombia that also DOESN’T suck- isn’t that right, Hot Pursuit? Anyway, she suffers from something another animated movie I reviewed (and the first movie I ever reviewed on The Wall, as a matter of fact) which I will now call “DreamWorks Syndrome”. When your movie has DreamWorks Syndrome it will feature a big name voice actor or actress playing a pretty tiny role in spite of their exposure and fame to the general public. Granted, at least Shakira gets to talk in this movie whereas in Angry Birds, Sean Penn could have been replaced by a garbage disposal and the difference would have been none in the slightest. Shakira also isn’t a bad voice actress, then again I’ve been of the belief that pop stars and voice acting is something that goes hand in hand. She’s also at least not out of place in her role, unlike Miss Almost-30-Year-Old Rhianna voicing a 12-year-old girl in Home. I can’t be the only one who thought that she was going to have a bigger role in the movie based on how prominent she was shown in the advertisements. Hell, I was under the belief that the final showdown of the movie was going to take place in one of her concerts, and I was actually right! Well… sort off. As it turns out, that’s what happened in the scrapped version of the movie, not the final one. If you haven’t seen the movie (for whatever reason), that’s not how the movie ends. I’ll get into that (as spoiler-free as possible, of course) in a bit, but I’ll finish with Gazelle and Shakira. Gazelle’s role is pretty minimal and she doesn’t really add much to the movie. She’s not in the movie enough for me to say she’s one of the stand-out characters when the best use of her character involves a running gag about two other characters in the movie fooling around with this app that allows them to digitally insert themselves (or rather, their faces) into a music video featuring her. It’s actually a really funny gag, but that’s the best thing involving her character. The other reason why she’s here is for the movie’s title (and only) song, “Try Everything”. The song is… okay-ish, it’s really put together in a way that it’s pretty much just your typical generic uplifting pop song, though at least with Shakira singing you get her pretty distinct vocals to make the song at least nice to listen to. I’ll admit I was never a big fan of Shakira (my mom and sister LOOOOOVE her, though) so this song is just a “take it or leave it” type of deals- you hear it at two points in the movie, once at a montage, and at the credits for the obligatory “everybody dances” ending.

Speaking of which, when I originally talked about Zootopia I said I noted some pacing issues with the last act of the movie, and knowing what I know about the history of this movie that turned out to be very unsurprising. This movie was basically remade from the ground up at the last minute due to the original concept of the movie being too dark for its own good- and before anyone raises any complaints about “well they should have gone with that darker version”- no they shouldn’t have, though I’ll address that later, as I want to get through the rushed ending over first. So yes, the movie had to be completely remade and that may be what ended up causing the ending of the movie to feel a little fast. To be fair, all of the elements for the climax are there, they’re just blink-and-you-miss them. They didn’t need any more extra time being established- I think even just one extra minute could have made all of the difference. It’s at least more sensible than how Big Hero 6 ended up in a giant pile of explosions and nonsense, but yes I’m aware of the issues here and they sadly have not gone away. So how much does these two things affect how I feel about the movie? I thought about this long and hard, and if I’m going to be completely and totally honest… they don’t. My flag is up- despite this movie’s problems it has a metric ton of AMAZING things going in its favor that its negatives are pretty negligible by comparison.

First of all, I have to give absolutely major kudos to the amazing animation and design of the movie. There’s something particularly special about the way this movie looks to how everything in this world is constructed. The character designs are absolutely great, the city looks amazing- all of the districts are distinctively designed, full of life, and it gives me this absolutely giddy feeling of “holy crap, I want to go there!” I rarely ever get that feeling out of many movies, and that’s one telling sign when I knew this was something special. I could make an entire college essay at how amazing the level of detail in the environement in this movie is, but I really AM trying to keep this short as I can, so let’s just put it this way: A+ for not only the design, but also the REALLY great animation! This movie is fast-paced, colorful, full of great action moments, the expressions are absolutely joyous to look at.

The characters are simply wonderful! The crazy thing is that they’re all types, but the level of development they get, how layered and fleshed out they are really is something to admire. Nick and Judy are a pair that form the typical “cynical guy/optimistic girl” pairing, however a combination of great dialogue, perfect chemistry, as well as a really great level of depth allows them to not only be great foils to each other, but also makes them highly relatable and really easy to sympathize with the both of them. Not just them, this applies to other characters such as Bogo (voiced by Idirs Elba), Clawhauser- who also manages to score one of the saddest scenes in the movie- the other secondary characters are also unbelievably enjoyable, like Nick’s best friend Finnick (voiced by Tommy Lister), or Duke Weaselton (voiced by Alan Tudyk- wait a second, how many Disney movies have you been in now, pal?), and even more bit characters get their own really memorable moments (I’m sure the wolves need no introduction. Huh, I’d say between this and Storks that it’s been good year for wolves). Again, I could really expand on these a lot more, but there’s just no room or time here.

The comedy is absolutely great. It goes between really sharp, witty banter to even the use of puns, though these are used in a much smarter way than I’ve seen plenty other movies (especially animated ones) use them- they’re pretty much background gags. They’re never in your face, and they’re pretty much used for scenery, which makes them really great to go hunt down when rewatching the movie- I certainly did.

While “Try Everything” may be really far from the best pop song (though considering how awful of a year for pop music 2016 was, it may be one of the few that actually qualifies as even “listenable”) the rest of the soundtrack is really fun. Movie scores are something I don’t usually notice because 90% of the time they’re often really generic and forgettable, and then there’s movie scores like in Accidental Love which are grating and make you want to kill yourself. But this one has a score that is really enjoyable to listen to, goes really well with the movie and adds that little extra hint of fun to a lot of scenes (like Judy giving out the parking tickets for the first time, or her chasing Duke in Little Rodentia). I wouldn’t say this is the biggest positive about the movie, but I think it’s worth pointing out nonetheless. No, if you want a REAL major positive here it is:

The movie manages to combine a lot of really great elements that makes it a really enjoyable family movie, from the comedy to the characters, but it also has some really brilliant uses of filmmaking to make the movie also a really great mystery and leave little extra touches for anyone watching the movie to notice, even when they’re not in your face, or as I like to call it the “Edgar Wright Method” (He may not have been the first one to do this, but it’s my example so shut up and read). If any of you have seen a movie by Edgar Wright- and knowing my audience, I’m going to say that’s probably most of you- this movie pulls a really nice trick of putting tiny little bits of plot littered in the background. The brilliance of this is that it allows the audience to notice things that any less competent filmmaker would have just simply presented, but with someone like Edgar Wright he just leaves things like really great, funny gags way in the back that you may catch out of the corner of your eye, or other little moments that make you go “rewind that, I want to see that again”, which happens here but in a way that sets up the final act of the movie. Seeing the movie for the first time I’ll admit, I didn’t see any of these extra details, but now that I’ve seen the movie several times I feel like I’m discovering something new every time I rewatch it. Even shots are reused to make really sharp, contrasting parallels that actually help in the intensity and drama, as well as the investment in the audience.

I love movies that feel rewarding to revisit, these kinds of movies actually acknowledge that their audience is smart enough that they don’t need to have exposition jammed down their throat, they can find these details for themselves because they’re that observant, and seeing this kind of fine crafting in an animated movie of all things is the kind of thing that I want other movies like Sing, or Ice Age: Collision Course, or hell, even movies like Kubo and the Two Strings can learn a thing or two about Zootopia- movies are a visual form of storytelling, you don’t have to talk down to anyone just because your movie is restricted to needing to be seen by a younger audience, they’re smart too, and movies like this can really go a long way into showing what animation can really do.

Oh yeah, there’s a message in this movie, isn’t there? I pushed this until the very end on purpose, because, like I said, this movie has a lot of amazing things going for it that this is just icing on the cake. The message of prejudice is something that clearly hasn’t gone overlooked- it really doesn’t take a rocket scientist to notice it. Now I did say that I don’t think that the old concept for the movie would have worked, and here’s why: it would have come across as insanely heavy-handed. The movie would have suffered from a grim atmosphere, compounding that with the message of “prejudice is bad” would have come across as a more of a “no duh” moment, rather than how it’s presented here in the way that it’s entirely possible for someone, even if they are the nicest people in the world, to have prejudices of their own. Now, I’m being very specific with my wording here- “prejudice” and not “racism”, because the thing that it seems that some people who failed to grasp the point of the movie love to connect this movie as being a movie that’s about racism, when it could really be applied to a wide variety of different scenarios. Something else I don’t think this movie gets enough credit for is the fact that it not only gets you thinking about it, but it also helps you understand it. Not to give anything away but from the way we see one certain character be treated it actually becomes perfectly understandable why they act the way that they do- which is actually something that is really scary to think about. Again, I need to stress: “prejudice” NOT “racism”. There IS a difference, and it’s a very dangerous difference at that, and the way the movie deals with it is absolutely brilliant, as well as the fact that it answers what it can be done about it. It’s a crime mystery with a good enthralling mystery, and really smart commentary that also works within the context of the world, so even if you wanted to completely eliminate the message of this movie being connected to the real world in any way (though that’d be something really difficult to do), you can- the movie still works! The idea of taking a really beautiful, utopia and showing its ugly insides is a much smarter, more clever approach to deliver this kind of message; while there’s an obvious right and wrong, the morality is a little bit more grey and that allows you to discover shades about the characters and the world and how they all grow and develop into what, I consider to be, one of the true masterpieces of the decade. (2,636 words. This has, undoubtedly become my most positive review to date- and no, Finding Dory doesn't count because I spent half of that ranting about Pixar. Music: Shovel Knight- High Above the Land)

You know, back when I reviewed this movie the first time I gave it a... admittedly, joke review, and a joke score to go with it, but that was an intentional decision to exaggerate how I felt about the movie at the time. Though... that may not have been as far from the truth as I thought.

Yes, you're reading that right- not a 10, but an 11. I thought about this long and hard, but I can definitively say that Zootopia has joined an elite club of movies that I would call my unquestionable favorites. There's the 10s, movies which are absolutely perfect in every way, but then there's these movies- these are the movies that go above and beyond and will forever be part of a very small pantheon of movies that I not only find truly spectacular but absolutely worth watching again and again and never get tired of it. Now, if you have any problem with this... well, I'm assuming you made it 'till the end of the review, but hey that's what the comments are for, aren't they? And if not, then you're more than welcome to drink a cool, tall glass of "Shut the Fuck Up". Either way, it ain't going to ruin the way I sleep at night. Sigh... if only the next movie I had to talk about was going to be as fun as this. Next time, guys... I destroy Batman v. Superman: Dawn of Justice. Oh yes, it WILL be a bloodbath. Until then~

#The Wall #Movie review #Zootopia #Disney #Catch Up January

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