#billy coen my beloved

[autistic-dumbass]

Resident evil 1 but billy followed Rebecca into Spencer mansion:

#I love this au because I need more billy coen content #rebecca chambers #resident evil #billy coen #billy coen my beloved #if I had the power I’d change a lot about re1 due to my love of re zero

[shi-bxnii]

rebecca,,,....billyyy.... save me!!

#rebecca chambers #billy coen #resident evil #resident evil 0 #i wanted them to be together PLRSASEEE #THERES NO FANFIC OF THEM #PLEAASEEEEEE #PLEASEEEEEEEEEEWEE #i need them to kiss once #idc if its a kiss cheek PLES #billy my beloved #no longer a wesker fan now only billy #i will not shut up about them #thinkin about them #so much #ppl when they really like characters together want them to fuck #but not me #i need them TO KISS PASSIONATELY WITH LOVE #GIVE THEM GENTLE SOFT PLEASEE #anyways

[sapphire-weapon]

Regarding the Capcom Elections, someone on Resetera, showed all positions for RE characters & games:

Games: 1) Resident Evil 4 [2023] - 9,017 votes. 2) Resident Evil 4 - 7,134 votes. 3) Resident Evil 2 [2019] - 6,533 votes. 4) Resident Evil CODE: Veronica - 4,929 votes. 5) Resident Evil 2 - 4,301 votes. 6) Resident Evil - 3,448 votes. 7) Resident Evil 3 Nemesis - 2,678 votes. 8) Resident Evil 7 Biohazard - 1,761 votes. 9) Resident Evil 5 - 1,579 votes. 10) Resident Evil Village - 1,377 votes. 11) Resident Evil Outbreak - 829 votes. 12) Resident Evil 6 - 782 votes. 13) Resident Evil Outbreak File 2 - 557 votes. 14) Resident Evil 3 - 411 votes. 15) Resident Evil Directors Cut - 355 votes. 16) Resident Evil 0 - 276 votes. 17) Resident Evil Revelations - 259 votes. 18) Resident Evil Revelations 2 - 218 votes. 19) Resident Evil Operation Raccoon City - 95 votes. 20) Resident Evil Survivor CODE: Veronica - 61 votes. 21) Resident Evil Dead Aim - 50 votes. 22) Resident Evil The Darkside Chronicles - 42 votes. 23) Resident Evil The Umbrella Chronicles - 35 votes. 24) Resident Evil Survivor - 32 votes. 25) Resident Evil Gaiden - 17 votes. 26) Resident Evil The Mercenaries 3D - 14 votes. Characters: 1) Leon Scott Kennedy - 23,417 votes. 2) Jill Valentine - 9,399 votes. 3) Chris Redfield - 4,266 votes. 4) Claire Redfield - 3,926 votes. 5) Ada Wong - 3,023 votes. 6) Albert Wesker - 2,304 votes. 7) Ethan Winters - 1,053 votes. 8) Rebecca Chambers - 643 votes. 9) Hunk - 530 votes. 10) Ashley Graham - 473 votes. 11) Barry Burton - 359 votes. 12) Sheva Alomar - 254 votes. 13) Alcina Dimitrescu - 253 votes. 14) Zombie - 182 votes. 15) Piers Nivans - 130 votes. 16) Jake Muller - 122 votes. 17) Steve Burnside - 117 votes. 18) Luis Sera - 117 votes. 19) Billy Coen - 101 votes. 20) Tyrant - 94 votes. 21) Jack Krauser - 91 votes. 22) Sherry Birkin - 88 votes.

GAIDEN OUTRANKED MERCS 3D

That's so fucked LMAO Mercs 3D was not that bad.

AND OPERATION RACCOON CITY OUTRANKED BOTH CHRONICLES GAMES

Men shouldn't be allowed to have opinions. My GOD.

Ashley outranking Luis, Lady D, Piers, and Billy is genuinely and legitimately shocking. I would not have seen that coming.

Oh how the mighty have fallen, re: Billy. He was once the most beloved one-off character in the series.

I'm sure he'll reclaim his throne after RE0make comes out, but wow.

[biohazard-4ever]

Aside from Leon, what is the other most beloved male character in the franchise for you?

Billy Coen and Ark Thompson are like in my top 3. How can you not love Billy and how can you not love such a lovely guy as Ark? Boy pretty much took two boys under his wing as his own children!

HOW. CAN. YOU. NOT. LOVE. THAT?!

So...

1 Leon Scott Kennedy; 2 Billy Coen; 3 Ark Thompson; 5 Hunk (HE IS A BADASS. I'M SORRY I HAVE TO BE THAT PERSON); 6 Marvin (Look, in RE2 the little he appears just made me want MORE out of him. A lot more. We need a Marvin game showing the start of all that happened in RC.); 7 Barry Burton (I LOVE THAT CUDDLY BEAR MAN. I could talk nonstop about how I fell in love with him during Revelations 2. THE BEST DAD EVER! Like! HANDS FUCKING DOWN!);

And, that is it, for me. Those characters are the ones I would go as far as saying I care about and would love a new game with them.

For the girls I'd say:

1 Claire Redfield 2 Sherry Birkin 3 Rebecca Chambers 4 Ashley Graham 5 Helena Harper (my friend actually made me really REALLY enjoy her!) 6 Ingrid Hunnigan (I would love to see her having a more active role in a game, not a survival horror game, of course. But maybe one of those "cinematographic games" with multiple choices where you guide Leon through and things like so)

#ask #question #answer #answered

[mk-wizard]

Top 10 Spinoffs that really need to happen

Hi, friends. I may not be a fan of cheap sequels or prequels we don't want, I do think spinoffs are underrated especially if they focus on characters that are beloved and have interesting stories to tell. I mean, look at the success of Star Wars' many series especially its two diamonds being Clone Wars and Andor. I was inspired to make this list after seeing the trailer of Daryl Dixon.

In this list, I will my top ten medias that could it even bigger if they make these specific spinoffs.

Marvel's War Machine (Film/TV Series) - Nevermind Riri. Let's focus on this guy who was not only around long before her, but since the beginning. In time where we want more black representation than ever, I think War Machine is should be the next big thing. War Machine aka James Ruper "Rhodey" Rhodes is a decorated soldier to begin and Iron Man's right hand man. Despite the similar gimmick, his personality is much more serious, professional and mannerly. He can hold out on his own and he is a hero anyone of any type can look up to.

2. Marvel's Mary Jane Watson (Mini Series) - While she started off as Gwen Stacey's replacement and would alter become Peter Parker's main woman, she has now come quite into her own. She has even gone on adventures of her own, has become more capable and even became an ally in action for Spider-Man. While the comics have gone sour, maybe TV can bring us back MJ and Spidey as not only a couple, but as equals who both have exciting stories to tell.

3. Marvel's (REAL) Spider-Girl (TV Series/Film) - Speaking of TV redeeming MJ and Spidey as soul mates, last I remember, at one point, they were not only happily married, they had a daughter Mayday Parker who had the mantle passed down to her long before Miles Morales, the other Gwen Stacey (Spider-Woman) and all these other modern incarnations. She is a very underrated heroine who fell into obscurity no thanks to how Marvel broke up one of its most iconic couples. She needs to make a comeback because she is the true Spider-Girl in every way possible,

4. Disney's Goofy kid's show (TV Series) - For a while, the Disney gang made a big comeback since Mickey Mouse Clubhouse and almost everyone got their own spinoff or reboot. Everyone, but Goofy which I find is a waste because unlike all the others with the exception of Pete, he actually is a father. So far, the only independent works Goofy has gotten are Goof Troop, the two Goofy Movies and two animated shorts in some holidays specials. I think Goofy can make for a great host in a kid's show because despite his goofiness, he is a very capable and in fact, wise father. He would be a lot like Mr. Rogers or Mr. Dress Up where instead just playing with kids, he's actually teaching them and even comforting them the way a father does.

5. Resident Evil's Billy Coen (Video Game) - I don't think there's an RE fan out there who hasn't wished to see what became of this beloved one off character. Between you and me, I think he's still alive and kicking zombie, and I would love see what became of him after RE0. He not only came from one of the few prequel media out there that was great, but he is a total badass with a compelling backstory. We even got to see what happened to Sherry Birkin later one. I think Billy is more than worth a chance in the spotlight.

6. Silent Hill's Heather Mason (Video Game) - I know what you're thinking, but hear me out. While she got her own game (technically, two if you count the first ever SH game), I don't believe her story should have ended with SH3. The Mason family is the closest thing to a true SH main protagonist as there is I would love to her a now adult Heather Mason still fighting the Order as it is still out there wreaking havoc. She was a great heroine and an underrated video game character in general.

7. Jurassic Park for grown ups (TV Series) - It's had a few spinoffs so far and the only that is a big hit is Camp Cretaceous. I think another one should be made and this time, it should be aimed for adults. In the beginning, JP showed a lot of promise when it came to making adult oriented spinoffs with the comics and the sequel The Lost World, but after that, it became more and more about the action and less about the horror factor and dinosaurs. Even the revival trilogy of Jurassic World lacked that horror element that adults appreciated in the first two movies and most importantly, the book. We need to make a spinoff that is aimed for grown ups without it feeling like it wants to be Indiana Jones.

8. DC's Batgirl (TV Series) - Nevermind Batwoman, Batgirl was around first AND she was solo before joining the bat family officially. I mean, even her father Jim Gordon got his own spinoff series before she did and she's actually a super. And apparently, her film never saw the light of day because it was not up to standard. I say, we make a TV series that does live up to standard AND we make it animated like we did Harley Quinn. Barbara Gordon set the standard for a lot lady supers came after her and she iconic. EVERYONE knows who Batgirl is. Even people who don't read comics know who Batgirl is. What I don't know is why she hasn't starred in her own solo media yet beyond comics.

9. DC's Catwoman (Film/TV Series) - Speaking of iconic DC heroines, it is funny how one of its most iconic anti-heroines, love interest's to Batman and just recently, bisexual supers still hasn't gotten any independent media beyond her comics. If there's one woman who doesn't need no Batman (let alone man in general) to stand on her own two feet and have a compelling story to tell, it's her. The only thing we have gotten are two films. One which is imposter media starring Halle Berry and another no one knows about. Seline Kyle deserves so much more than that. I say she gets her own proper show or at the very least, a proper film. She's worth it.

10. Capcom's Dino Crisis (Video Game) - I think this franchise only got one spinoff (two if you count the third instalment that went off the rails), and it wasn't a hit. Dino Crisis was clearly inspired by the original Jurassic Park especially when it came to horror and the feeling of being genuinely threatened by the dinosaurs. This game felt like the long lost twin sister of RE. With that said, it should get a spinoff because it's worth a last hurrah and who knows? It mind revive this lost gem of a series. I say we go for it and put our best foot forward doing it. Let it be true to the lore, the setting and theme. None of the dinos in space silliness.

Anyway, that is my list. What is your opinion on it? Would you like to see these spinoffs or can you suggest another? Let me know.

Thanks for reading and as always, stay safe.

#comic #film #tv series #mini series #dino crisis #catwoman #batgirl #spin off #jurassic park #marvel comics #dc comics #selina kyle #barbara gordon #rhodey rhodes #war machine #goofy #goof troop #fandom

[aliveandfullofjoy]

idea stolen from my beloved @if-only-angels-could-prevail. it's officially been two weeks since my covid vaccine, i'm putting a cap on my quarantine viewing log. of the 528(!!!) movies i've watched since march 2020, these are my 75 favorite first-time feature-length viewings and my 15 favorite first-time short viewings, in alphabetical order!

feature-length:

Ace in the Hole (dir. Billy Wilder, 1951)

American Utopia (dir. Spike Lee, 2020)

The Band's Visit (dir. Eran Kolirin, 2007)

Beau Travail (dir. Claire Denis, 1999)

Blood Simple (dir. Joel Coen, 1984)

But I'm a Cheerleader (dir. Jamie Babbit, 1999)

Cameraperson (dir. Kirsten Johnson, 2016)

Closely Watched Trains (dir. Jiří Menzel, 1966)

A Cottage on Dartmoor (dir. Anthony Asquith, 1929)

Crip Camp: A Disability Revolution (dir. Nicole Newnham and James Lebrecht, 2020)

Crossing Delancey (dir. Amy Micklin Silver, 1988)

Daisies (dir. Věra Chytilová, 1966)

Design for Living (dir. Ernst Lubitsch, 1933)

Dick Johnson is Dead (dir. Kirsten Johnson, 2020)

Distant Voices, Still Lives (dir. Terence Davies, 1988)

Divorce Italian Style (dir. Pietro Germi, 1961)

Driveways (dir. Andrew Ahn, 2019)

Eat Drink Man Woman (dir. Ang Lee, 1994)

Education (dir. Steve McQueen, 2020)

The Father (dir. Florian Zeller, 2020)

First Cow (dir. Kelly Reichardt, 2019)

The Freshman (dir. Fred C. Newmeyer and Sam Taylor, 1925)

The Hero (dir. Satyajit Ray, 1966)

The Hitch-Hiker (dir. Ida Lupino, 1953)

Kuroneko (dir. Kaneto Shindo, 1968)

L'Atalante (dir. Jean Vigo, 1934)

Le Bonheur (dir. Agnès Varda, 1965)

Le Notti Bianche (dir. Luchino Visconti, 1957)

Like Father, Like Son (dir. Hirokazu Kore-eda, 2013)

Local Hero (dir. Bill Forsyth, 1983)

Love & Basketball (dir. Gina Prince-Bythewood, 2000)

Lovers Rock (dir. Steve McQueen, 2020)

Mad Max 2: The Road Warrior (dir. George Miller, 1981)

Malcolm X (dir. Spike Lee, 1992)

Meek's Cutoff (dir. Kelly Reichardt, 2010)

Metropolis (dir. Fritz Lang, 1927)

Mikey and Nicky (dir. Elaine May, 1976)

Monsoon Wedding (dir. Mira Nair, 2001)

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

Never Rarely Sometimes Always (dir. Eliza Hittman, 2020)

Nights of Cabiria (dir. Federico Fellini, 1957)

Nomadland (dir. Chloé Zhao, 2020)

One Sings, the Other Doesn't (dir. Agnès Varda, 1977)

Only Angels Have Wings (dir. Howard Hawks, 1939)

Pandora's Box (dir. G. W. Pabst, 1929)

Pennies from Heaven (dir. Herbert Ross, 1981)

Pickup on South Street (dir. Samuel Fuller, 1953)

Quo Vadis, Aida? (dir. Jasmila Žbanić, 2020)

Red, White and Blue (dir. Steve McQueen, 2020)

Rocco and His Brothers (dir. Luchino Visconti, 1960)

Romeo + Juliet (dir. Baz Luhrmann, 1996)

Rushmore (dir. Wes Anderson, 1998)

Scattered Clouds (dir. Mikio Naruse, 1967)

The Sea Wolf (dir. Michael Curtiz, 1941)

Seven Samurai (dir. Akira Kurosawa, 1954)

Sleepless in Seattle (dir. Nora Ephron, 1993)

Sound of Metal (dir. Darius Marder, 2019)

Stop Making Sense (dir. Jonathan Demme, 1984)

Sweet Smell of Success (dir. Alexander Mackendrick, 1957)

Symbiopsychotaxiplasm: Take One (dir. William Greaves, 1968)

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

Tea and Sympathy (dir. Vincente Minnelli, 1956)

They Shoot Horses, Don't They? (dir. Sydney Pollack, 1969)

Three Colors: Red (dir. Krzysztof Kieślowski, 1994)

To Wong Foo, Thanks for Everything! Julie Newmar (dir. Beeban Kidron, 1995)

Two for the Road (dir. Stanley Donen, 1967)

Uptight (dir. Jules Dassin, 1968)

The Watermelon Woman (dir. Cheryl Dunye, 1996)

Wendy and Lucy (dir. Kelly Reichardt, 2008)

What the Constitution Means to Me (dir. Marielle Heller, 2020)

Whisper of the Heart (dir. Yoshifumi Kondo, 1995)

Who Framed Roger Rabbit (dir. Robert Zemeckis and Richard Williams, 1988)

Within Our Gates (dir. Oscar Micheaux, 1920)

Wolfwalkers (dir. Tomm Moore and Ross Stewart, 2020)

A Woman Under the Influence (dir. John Cassavetes, 1974)

shorts:

Asparagus (dir. Suzan Pitt, 1979)

Bambi Meets Godzilla (dir. Marv Newland, 1969)

Black Panthers (dir. Agnès Varda, 1968)

Coming Out (dir. Cressa Maeve Beer, 2020)

Fireworks (dir. Kenneth Anger, 1947)

The House is Black (dir. Forough Farrokhzad, 1963)

The Human Voice (dir. Pedro Almodóvar, 2020)

Kapaemahu (dir. Joe Wilson, Dean Hamer, and Hinaleimoana Wong-Kalu, 2020)

The Meaning of Life (dir. Don Hertzfeldt, 2005)

The Music Box (dir. James Parrott, 1932)

An Occurrence at Owl Creek Bridge (dir. Robert Enrico, 1961)

Popeye the Sailor Meets Sindbad the Sailor (dir. Dave Flesicher, 1936)

Uncle Yanco (dir. Agnès Varda, 1967)

World of Tomorrow, Episode Three: The Absent Destinations of David Prime (dir. Don Hertzfeldt, 2020)

Zero for Conduct (dir. Jean Vigo, 1933)

:')

#sometimes elliott watches movies

[brian-in-finance]

Kenneth Branagh’s semi-autobiographical film “Belfast” is opening in theaters this week and has already attracted an immense amount of Oscar buzz, currently sitting as the frontrunner for best picture, director and several other categories. With honors and audience awards from various festivals, the Focus Features black-and-white drama has the famed filmmaker on a path to make Oscar history.

For “Belfast,” Branagh serves as one of the producers (along with Laura Berwick, Becca Kovacik and Tamar Thomas), which makes him eligible to be nominated for best picture, along with director and original screenplay. He’s received five nominations during his career, all across different categories – director, actor, supporting actor (“My Week with Marilyn”), adapted screenplay (“Hamlet”) and live action short (“Swan Song”).

Pending any unforeseen catastrophe, Branagh is on track to add two new categories to his arsenal (picture and original screenplay). This possibility could set a couple of records for the Ireland native. First, he would tie George Clooney, Alfonso Cuarón and Walt Disney as the only ones to be nominated in six different categories, if he picks up one of the two. Second, capturing both would make Branagh the first person in Oscar history to pick up noms in seven individual categories, surpassing all of them.

In addition, Branagh would join the company of Clooney and Warren Beatty as the only people to have received noms in every eligible major category — picture, director, lead or supporting acting and either screenplay.

It should be noted that this record comes with technicalities and asterisks as you factor in Walt Disney who, during his 59-nomination career run, garnered nominations and wins for some projects he didn’t personally produce. In the case of Cuarón, when “Roma” won international feature, the country (in this case Mexico) is the official Oscar nominee in the record books.

Branagh has been a respected actor and director for over three decades. After getting his start with more minor roles in “A Month in the Century” (1987) and “High Season” (1987), and an uncredited role as a Cambridge student in the best picture winner “Chariots of Fire” (1981), he took on the words of William Shakespeare for his directorial debut “Henry V” (1989), which he also adapted and starred in playing the titular role. Garnering universal acclaim, the film has long been beloved within the Shakespeare adaptation canon. The film won an Academy Award for costume design (Phyllis Dalton), with Branagh nominated for directing and acting. There have only been ten instances of a person being nominated for both acting as the lead in and directing the same feature film.

Branagh’s not the only filmmaker playing triple duty as a producer, director and screenwriter in heavy contention for Oscar glory this year. Current major contenders include Pedro Almodóvar (“Parallel Mothers“), Jane Campion (“The Power of the Dog“), Joel Coen (“The Tragedy of Macbeth“), Asghar Farhadi (“A Hero“), Maggie Gyllenhaal (“The Lost Daughter”), Rebecca Hall (“Passing”), Adam McKay (“Don’t Look Up”), Jeymes Samuel (“The Harder They Fall”) and Denis Villeneuve (“Dune”).

In 93 years of Oscar ceremonies, only eight people have pulled off the “hat trick” of winning picture, director and screenplay in a single year:

Leo McCarey, “Going My Way” (1944)

Billy Wilder, “The Apartment” (1960)

Francis Ford Coppola, “The Godfather Part II” (1974)

James L. Brooks, “Terms of Endearment” (1983)

Peter Jackson, “The Lord of the Rings: The Return of the King” (2003)

Joel Coen and Ethan Coen, “No Country for Old Men” (2007)

Alejandro G. Iñárritu, “Birdman” (2014)

Bong Joon-ho, “Parasite” (2019)

Can Branagh join the elite list?

Far from the season being locked for any contender, various factors can tilt an awards season in any direction. Support for the film will be dependent on actors, the largest branch of the Academy. Five cast members are seeking recognition, with young Jude Hill facing the most significant hurdle in a stacked best actor field. Jamie Dornan and Ciarán Hinds hope the trend for double-dipping for supporting men continues (as three of the last four years have shown). Caitríona Balfe and Oscar-winner Judi Dench (“Shakespeare in Love”) are competing in the most competitive of the four acting races. If all four supporting roles are nominated, it would be just the third film in Academy history to receive an acting “double-double” – following “Peyton Place” (1957) and “The Last Picture Show” (1971). The latter won two acting prizes for Ben Johnson and Cloris Leachman.

We’re just waiting to see how it all shakes out. You can listen to the “Variety Awards Circuit Podcast” episodes with Balfe and Dornan.

Remember… Branagh would join the company of Clooney and Warren Beatty as the only people to have received noms in every eligible major category — picture, director, lead or supporting acting and either screenplay. — Variety

#Tait rhymes with hat #Good times #BelfastMovie #Variety #8 November 2021 #Belfast #In cinemas 12 November 2021 #Canada & USA #In cinemas 21 January 2022 UK & Ireland #Worldwide 2022 #Twitter

[fictionz]

New Fiction 2022 - January

"2 B R 0 2 B" by Kurt Vonnegut (1962)

This is the first Vonnegut I’ve read in full. Is it satire? It’s certainly dark. I will continue.

"From the Deposition of the Vaginal Teeth" by Elizabeth H. Turner (2022)

They speak for themselves.

Avatar: Book One by S.D. Perry (2003)

This really should have been grouped with its latter half... but as an opening statement, it’s a bold one. I’ve been looking forward to this longer work from Perry since reading some of her short entries in the Deep Space Nine anthologies. Rather than settle into the peaceful promise of the end of the series, it shakes things up with some fairly shocking moments.

Avatar: Book Two by S.D. Perry (2003)

And I just gotta say, the Avatar duology is phenomenal. I love the focus on Kira as commander of the station and that Bajoran faith and religion continue to play a vital role. As a post-war trauma narrative, it's also fascinating to see them deal with their feelings in the aftermath.

"Lot's Wife" by Anna Akhmatova (1973)

I’ve started reading the bible and allow me the heresy of saying that--much like The Simpsons--other stories becomes that much better when I understand the references. I’ve known about Lot’s wife for a while but now I really understand the outrage. God didn’t have to go that hard.

"The Door in the Kitchen" by Abby Howard (2019)

My love of creepy horror comics continues unabated.

Displacement by Kiku Hughes (2020)

Written in the time when Trump was dominating the public consciousness against our will, this is a nuanced examination of experiences we don’t read about in history books. “Never again” feels like something we aspire to and never achieve, so I hope we continue to get books like these to remind us.

"Slide in the Woods" dev. Jonny's Games (2021)

Listen, do you want creepy things? Because that’s what happens when you put a slide in the woods.

Florence dev. Mountains (2018)

I loved everything about it. Light on gameplay, heavy on the feels.

"The Snowman" dir. Dianne Jackson (1982)

I can’t believe this isn’t as big a deal outside the UK as it should be. It’s an amazing animated film.

"Baker Bobb" dir. Billy Burger (2018)

Cute little short from a local group.

"Magnetic Rose" dir. Kōji Morimoto (1995)

Goddamn, that nineties anime hits hard.

Cowboy Bebop: The Movie dir. Shinichirō Watanabe (2001)

If you’re going to make a movie from a beloved series, this is the way to do it.

The Tragedy of Macbeth dir. Joel Coen (2021)

German expressionism gets me every time.

The 355 dir. Simon Kinberg (2022)

I want more of these. More women-led action is the way to go.

The King's Man dir. Matthew Vaughn (2021)

What a bizarre movie. Tonally, it's trying to be a period war drama but also a ridiculous action comedy.

Scream dir. Matt Bettinelli-Olphin & Tyler Gillett (2022)

I guess it’s neat, but I hadn’t seen the fourth before I watched this. Then I did and this was missing a crucial character...

Scream 4 dir. Wes Craven (2011)

Bring back Kirby.

Belle dir. Mamoru Hosoda (2021)

This was a great movie, it seems like it's going to be one thing but then takes a turn. And the animation is :chefkiss:.

Licorice Pizza dir. Paul Thomas Anderson (2021)

Nothing has ever inspired me to run for the joy of it like Licorice Pizza does. I had a real strong aversion to it based on the trailer... you know, more nostalgic dude filmmakers who grew up in the valley in the sixties and seventies. But I liked its meandering. I like a good meandering plot. The cast were great of course. Also so white as are all these nostalgic era movies. I think that's strong points against it. It makes me wanna go rewatch The Wood or Dope.

What If...? - "What If... Captain Carter Were the First Avenger?" (2021)

I intended to watch the series, but after the first episode I really just want more of Captain Carter.

Cowboy Bebop (1998)

Yep it’s a classic. I’ll have to rewatch this sometime soon. The early aughts was an embarrassment of space western riches.

Cowboy Bebop (2021)

This isn’t the anime and I think their attempt to be like the anime hurt the series. I enjoyed it as its own work, and really wished they’d gotten a second season to smooth out the rough edges. The casting in particular is great.

#new fiction #2022 #cowboy bebop #what if #licorice pizza #belle #scream #tragedy of macbeth #magnetic rose #the snowman #florence #slide in the woods #displacement #abby howard #star trek #ds9 #deep space nine #Elizabeth H. Turner #kurt vonnegut #the 355 #the king's man

[the-dubstep-strawberry]

Get-to-know-you game

Thanks for the tag, @kittinkanin​!

Last song - Nasty. by Blair Rouge, discovered recently in a cyberpunk mix which I really enjoyed until it got the dreaded “Video blocked in your country” strike on Youtube. Link here if you’re curious:

https://www.youtube.com/watch?v=VKCdhcqGxiY

Fav musician - The Knocks - I almost never hear a track of theirs that I don’t like.

Color - Pink, blue, purple, black, gray.

Last film - I have actually forgotten. Movies seem like such a long, long time ago. I think it was the Downton Abbey movie, with Hubs (who supposedly hates costume dramas, but secretly stans Carson the butler). I was planning to go and see Wonder Woman 1984 this year, but we all know how that worked out.

Last TV show - What We Do In The Shadows, season 2.

Fav characters - Cthulhu (H.P. Lovecraft’s Cthulhu mythos), Godzilla, Mothra, Paladin Danse (Fallout 4), Corvo Attano (Dishonored), Billy Coen (Resident Evil Zero), Charles Reed (The Sinking City), Sansa Stark (Game of Thrones/A Song of Ice and Fire), Susan Ivanova (Babylon 5), Vir Cotto (Babylon 5 again) Sam Vimes (Discworld), and Philip Marlowe from Raymond Chandler’s detective novels. To name but a very few.

Sweet, savory or spicy - Sweet, I literally cannot exist without sugar (or caffeine for that matter). I also crave salt, both literally and figuratively.

Pets - Strawberry Kitty, my beloved adoptive feline son. One day he will rule the world and to be honest, I’m okay with that.

Tagging: @solesurvivorkat, @itsmesaberaltered, @avaleon, @pchberrytea, @bethanthrax, @thegreatdivide, @theartofblossoming, @falsenostalgia-sundries, @charomiami, @redwing907 and @ashleyanthrax!

#thanks for the tag! #personal... kinda #file in the misc drawer

[thewrosper]

Cannes Film Festival flashback: Most memorable editions, from post-WWII beginnings to its 2009 pinnacle

May holds a special place in the calendar of film lovers across the world. It is when the privileged few of them gather at that most hallowed rendezvous on the Croisette for Cannes Film Festival — and it sure is a privilege to discover the best films of the year, before they are coated with all that promotional sheen. Sadly, Cannes 2020, originally scheduled to run from 12-23 May, will not be held in its "original form" this year due to the ongoing coronavirus crisis; but it was announced on Sunday that it will screen an official selection of its films at fall festivals like Venice. Meanwhile, all its parallel sections — Directors' Fortnight, Critics' Week, ACID — have been cancelled. With many other festivals also cancelled, cinemas closed, and productions on hold, the COVID-19 pandemic has paralysed the film industry.  It is unfortunate especially following the success of last year's edition, which proved exactly why Cannes is still considered the barometer of quality in cinema. Some of the most beloved films of 2019 began their journey at the festival: Beanpole, Bacurau, I Lost My Body, Invisible Life, Once Upon a Time in Hollywood, Pain and Glory, Portrait of a Lady on Fire, The Lighthouse and, not to mention, the eventually Oscar-winning Parasite. It was truly an exceptional line-up, in terms of scale, variety and substance. Turning back the clock, we time-travel to Cannes film festivals over the years with equally exceptional line-ups. End of a war, birth of a festival Highlights | Beauty and the Beast (Jean Cocteau), Brief Encounter (David Lean), Gaslight (George Cukor), Gilda (Charles Vidor), The Lost Weekend (Billy Wilder), Notorious (Alfred Hitchcock), Rome Open City (Roberto Rossellini)

Proposed as an alternative to Venice Film Festival (then politicised by Mussolini), the first edition of Cannes was initially supposed to be held in 1939. Louis Lumière, the man who gave us cinema, was announced as president. MGM had chartered an ocean liner to bring all the stars from Hollywood. Cary Grant, Douglas Fairbanks Jr., Gary Cooper, James Cagney, Mae West, Norma Shearer, Spencer Tracy, and many more had arrived on the Croisette. Then, Germany invaded Poland and they all had to book return tickets. The world had to wait till the war ended for a taste of what Cannes had to offer — and boy, did they deliver. Alfred Hitchcock got everyone's hearts racing and adrenaline pumping with Notorious. Billy Wilder followed up Double Indemnity with a grim portrait of alcoholism in The Lost Weekend. David Lean served a romantic tearjerker for the ages in Brief Encounter. Italian neorealism began to take shape with Roberto Rossellini's Rome, Open City. Jean Cocteau crafted an anti-Disney treatment of Beauty and the Beast, where the surreal and real, the ugliness and beauty come together in a magic realist concoction. Out of the 44 feature films screened, 11 of them (one from each participating country) were awarded the top prize, Grand Prix (now called Palme d'Or), for reasons of diplomacy. This included India's sole Palme d'Or crown (till now) in Chetan Anand's Neecha Nagar.  However, it was anything but a smooth-running operation. In a comedy of errors, the reels of Hitchcock's Notorious were reversed, screened with the ending reel first, while the projection of George Sydney’s The Three Musketeers was turned upside-down. There was also tension brewing over the beginning of the Cold War. Russia blamed every technical issue on the US; the US cried sabotage over last-minute parties being scheduled at the same time as Hollywood films.  Despite reversed reels and upside-down projections, Cold War scandals and consolation awards, the inaugural edition proved it could only get better. Cannes 1946 helped France regain its status as an economic power in Europe post-WWII, also enhancing its cultural weight over the rest of the world — at least, in terms of cinema.  The glitz and glamour Highlights | Ballad of a Soldier (Grigori Chukhrai), La Dolce Vita (Federico Fellini), L'avventura (Michelangelo Antonioni), The Virgin Spring (Ingmar Bergman), The Young One (Luis Buñuel)

Within a decade, Cannes had set a new precedent for other festivals. Call it a temple of cinema or a glamorous vanity fair, it was beginning to attract the best filmmakers in world cinema. It also became the new locus for the golden age of Italian cinema, as two of its canonical entries, Fellini's La Dolce Vita and Antonioni's L'avventura, were both screened at the festival. Not without controversy of course. La Dolce Vita and L'avventura divided the critics and the public, stirring the deepest admiration and aversion. The former ended up winning the Palme d'Or, the latter the Jury Prize. However, for a large portion of the public, La Dolce Vita was an overlong decadent affair intended to outrage all good taste and sensibilities. They also didn't care for the pacing or abstract narrative of L'avventura, having expected it to be a straightforward investigative thriller. The boos and barbs got so severe, lead star Monica Vitti left the screening hall in tears. Cannes has become a stage for glitz and glamour, parties and photo calls, and the army of paparazzi that comes with them. With La Dolce Vita, Fellini sums up the hope and despair, the beauty and ugliness to this superficial celebrity lifestyle, testifying to the social malaise underneath. In L'avventura, Antonioni created a new visual language of his own, one which reflected its synthetic nature while merging the realms of reality and abstraction. Before Come and See and Ivan's Childhood, Grigori Chukhrai gave us an equally lyrical meditation on war in Ballad of a Soldier. Also screened at the festival were Bimal Roy's Sujata and William Wyler's Ben-Hur (out of competition). With Marché du Film established just the previous year, Cannes had also set the stage to become the premier global film market we know it as today, giving film professionals the opportunity to shake hands with the best in the business. Pulp Fiction puts American indie films on the world cinema map Highlights | Exotica (Atom Egoyan), The Hudsucker Proxy (Coen Brothers), Pulp Fiction (Quentin Tarantino), Three Colours: Red (Krzysztof Kieślowski), Through the Olive Trees (Abbas Kiarostami), To Live (Zhang Yimou)

Cannes 1994 will forever be remembered as the year Quentin Tarantino's Pulp Fiction won the Palme d'Or, thanks to jury president Clint Eastwood. The film beat favourites like Krzysztof Kieslowsk's final feature, Three Colours: Red, and Nanni Moretti's Dear Diary, which was eagerly championed by jury vice-president Catherine Deneuve. The victories of Sex, Lies, and Videotape in 1989 and Pulp Fiction in 1994 gave American independent cinema global validation. Pulp Fiction of course benefited from producer Harvey Weinstein's "Iron Curtain Strategy" to increase the buzz with limited screenings, while targeting selected American critics to deliver glowing reviews. It began his enduring love affair with Cannes, as he returned as jury president 10 years later and delivered three more of his films (Death Proof in 2007, Inglourious Basterds in 2009, Once Upon a Time in Hollywood in 2019) in the race for Palme d'Or.  The edition boasted a particularly rich line-up across the various sections. Un Certain Regard, the official selection which was created in 1978, and favoured atypical films and lesser-known filmmakers, included Olivier Assayas' Cold Water (L'eau froide), Pedro Costa's Down to Earth (Casa de Lava), Claire Denis' I Can't Sleep (J'ai pas sommeil) among others. Adding to the festival's scale and eclecticism were the parallel sections. Critics' Week featured Kevin Smith's Clerks, while Directors' Fortnight had a commendable line-up of films from Aki Kaurismäki (Take Care of Your Scarf, Tatiana), Ang Lee (Eat Drink Man Woman), Michael Haneke (71 Fragments of a Chronology of Chance) and Shekhar Kapur (Bandit Queen). John Waters' hilariously absurd satire, Serial Mom, was also screened out of competition. The pinnacle of eclecticism Highlights | Palme d'Or: Antichrist (Lars von Trier), A Prophet (Jacques Audiard), Bright Star (Jane Campion), Broken Embraces (Pedro Almodóvar), Enter the Void (Gaspar Noé), Face (Tsai Ming-liang), Fish Tank (Andrea Arnold), Inglourious Basterds (Quentin Tarantino), Thirst (Park Chan-wook), The Time That Remains (Elia Suleiman), Wild Grass (Alain Resnais), Vincere (Marco Bellocchio), Vengeance (Johnnie To), The White Ribbon (Michael Haneke) Un Certain Regard: Dogtooth (Yorgos Lanthimos), Father of My Children (Mia Hansen-Løve), Mother (Bong Joon-ho) Out of Competition: Drag Me to Hell (Sam Raimi), Pixar's Up (Pete Docter)

Andrea Arnold, Bong Joon-ho, Jane Campion, Gaspar Noé, Lars von Trier, Park Chan-wook, Quentin Tarantino, Michael Haneke, Pedro Almodóvar, Yorgos Lanthimos and more. Talk about an umissable festival line-up. But with this diversity came division, as some of the jury members ended up in a bitter battle. Jury President Isabelle Huppert and fellow juror James Gray reportedly fought over the former favouring Antichrist, and in the end, reached a compromise with The White Ribbon. The 2009 edition was also an example of how Cannes is a unique showcase for little-known filmmakers to introduce their films to larger audiences. It is hard to imagine if we would all have been raving about Lanthimos and the Greek Weird Wave, if Dogtooth hadn't won Prix Un Certain Regard. Ditto, with Mia Hansen-Løve. It is no wonder filmmakers and producers organise their production schedules in order to be able to present their films at Cannes. Cannes 2020 could have matched the 2019, if not 2009, edition with a line-up, which would have probably included Annette (Leos Carax), Bergman Island (Mia Hansen-Løve), The French Dispatch (Wes Anderson), Last Night in Soho (Edgar Wright), Memoria (Apichatpong Weerasethakul), Mona Lisa and the Blood Moon (Ana Lily Amirpour), Peninsula (Yeon Sang-Ho), Pixar's Soul (Pete Doctor), Tenet (Christopher Nolan) and many more. We'll know more when Cannes chief Thierry Frémaux makes an announcement on the selection in June. Even if there's no physical or online edition of the festival, just imagining a "What if" wishlist makes for a comforting exercise in these strange times. Read the full article

[autistic-dumbass]

Replaying re: zero again and realizing billy coen and Rebecca Chambers are the only college graduates among the resident evil protagonists

#it’s not been confirm if Clair went to finish her classes #and given code Veronica it likely she just dropped out #I know a college degree doesn’t do much for a zombie apocalypse #just something interesting #which also mean Billy did a minimum of 4 years of college and never learned how to roll a blunt #rebecca chambers #billy coen #billy coen my beloved #resident evil

[tonightontv]

In a video that seems designed to have gone viral, Alden Ehrenreich was interrupted in the middle of a recent TV interview by Harrison Ford, who jokingly told him to “get out of my life.” The gag is simple: Ehrenreich has stepped into the shoes of one of Ford’s most iconic and beloved characters for the latest Star Wars Story: He’s playing Han Solo, and while Ford hasn’t always expressed love for the character or the Star Wars franchise, it’s still one of his biggest claims to fame. This jokey moment speaks to what may have always been the largest concern of Solo: A Star Wars Story — no matter how bad the directorial upheaval on this Film-to-watchonline was, could any actor other than Ford play the scruffy nerf herder, and do it well?

The short answer is “not really.” Ehrenreich acquits himself as well as possible in Solo, but there’s never a point at which his performance becomes so convincing as to feel like a natural extension of the character we all fell in love with in the original Star Wars trilogy. Ehrenreich isn’t attempting to do a perfect impersonation of Ford, but does sound a bit more clipped and gruff than he did in his comic turn in the Coen Brothers’ Hail, Caesar! Yet even though Ehrenreich is embodying, as best he can, the larger-than-life character and actor, there’s simply too much excitement within the performance and the character, so much so that it feels at odds with Ford’s famously dismissive attitude toward Han Solo. It’s strange that such dismissiveness can translate into such a great performance, but that’s a major part of what makes Han so fascinating.

To be fair, Ehrenreich always had an uphill battle, as any young actor would in playing Han Solo. A decade ago, we nearly had a passing of the torch, symbolically, between Ford and a young actor in the Indiana Jones franchise. But Indiana Jones and the Kingdom of the Crystal Skull was not a big favorite with critics and audiences, and it even ended without allowing for Indy to pass the fedora and whip onto his long-lost son, played by Shia LaBeouf. LaBeouf, even at his most charming, wouldn’t cut the same type of heroic figure, just as Ehrenreich doesn’t in Solo. Part of that speaks to the script, by Lawrence Kasdan and his son Jon Kasdan. Though the elder Kasdan has a longstanding connection to the original trilogy, the version of Han Solo we meet here never feels like he’s close to being the world-weary, seen-it-all cynic that Obi-Wan Kenobi and Luke Skywalker meet in the Mos Eisley cantina.

As we first meet him, Han is a scruffy young man, but much more upbeat even after losing Qi’ra (Emilia Clarke), the young woman who grew up with him on the rough planet Corellia. Throughout the Film-to-watchonline , even after spending years in the Imperial watchonline so that he could become a great pilot, Han has more energy and enthusiasm than in any of the original Star Wars Film-to-watchonline s, in spite of the events of Solo taking place mere years before A New Hope. (Solo ends with Han winning the Millennium Falcon from Lando Calrissian and heading off to Tatooine to work with a gangster, never mentioned by name but clearly Jabba the Hutt.) Ehrenreich doesn’t feel much like Ford in this Film-to-watchonline , but then, the script doesn’t give the actor material that would line up with that of the character we know and love.

The contrast of performances is no starker than in the banter between Han and Lando, as portrayed by Donald Glover. The latter, much more so than Ehrenreich, embodies his character to the point where his line readings sound distinctively like that of Billy Dee Williams. In short, Glover’s doing something closer to a successful impression, along with having some of the best material in the Film-to-watchonline . Ehrenreich, probably wisely, isn’t trying to echo Ford in his line readings, but it only serves to show how different his performance is when held in contrast to Glover's take on Williams' performance.

But could any young actor have played Han Solo successfully? Leaving aside some surface-level criticisms — Ford is a bit taller than Ehrenreich, and this Film-to-watchonline doesn’t try to hide the younger actor’s height — Ehrenreich had an impossible task in front of him. Few actors in modern cinematic history loom so large over popular culture as Harrison Ford does; while Ehrenreich does try to make his Han feel like Ford’s (such as when young Han points his finger fiercely a la Ford), it can’t measure up. Thus is the case with Solo: A Star Wars Story, which may end with the promise of another Young Han Solo tale, but feels like a one-and-done prospect simply because Ford’s performance as Han Solo is so singular, so impossible to duplicate. Some things are best left alone.

Solo: A Star Wars Story