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#the perfection movie
lizardsfromspace · 4 months
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Still in awe of how well the D&D movie mimicked the feeling of D&D without doing anything as tediously literal as a "sitting around the table" framing device. The way some characters have names that sound like names a DM improvised on the spot, the sudden appearance and disappearance of a overpowered DM NPC for a single dungeon, the way they used the fact that characters can plausibly just mess up for no clear reason to escalate action scenes...that was cinema
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Matpat will always be welcomed into the FNAF universe
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freshmoviequotes · 1 month
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Perfect Days (2023)
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aspoonfuloffiction · 11 months
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I like to think of Across the Spiderverse as a massive fuck you to Hollywood bigwigs that keep treating animation like it’s an inferior form of storytelling only for children as they churn out live action remakes of animated features less than 5 years old because that’s the only legitimate form of cinema.
This movie proves that animation is a legitimate art form and no less powerful than live action.
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lockscreensfyo · 1 year
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H O R R O R M O V I E S
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useragarfield · 4 months
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I'll never be sorry. Neither will I.
DIRTY DANCING ━ 1989 (dir. Emile Ardolino)
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four EXTREMELY underrated glass onion moments:
"child = nft"
"it's so dumb!" "oh... it's so dumb it's brilliant..." "NO! it's just DUMB!!"
"uh, no one traihed ta kill ya, ya vainglorious buffOON" in that stupid accent
"you... dim-witted, brAINLESS, JACKASS! YOUR ONE MUHDUH WITH ANY PANACHE AT ALL AND YOU STOLE THE WHOLE IDEA FROM ME!!"
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goryhorroor · 9 months
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horror movies + my favorite posters
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Honour among thieves is good in ways that drive me a bit insane thinking about the state of modern fantasy in film/television.
Like, the scenes in the underdark were visible?!?! You know that in GoT or whatever other production that shit would be impossible to see because it's the underdark or whatever. But like no!?! The place was conveyed to be underground and fucked up and I could hear everything?!!
Also, Edgin expresses complicated feelings like sadness and self loathing and he's not belittles for it! The party sits on the rock with him and then he introspects and is framed as a positive male character who's not the most physically capable in a fight!
Holga's divorce, Simon's arc, these things drive me fucking insane because there's a lot of angsty shit in this film but it's not a sad film! There is love and joy and happiness in this shitty found family who bicker and support each other. I just, need shit like this, I need Avengers Tower Fics of the party because I genuinely believe they care about each other and that feels like almost a rarity
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khun-sam · 1 year
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You may see in her all of your greatest fears squeezed into one person. I spent most of her childhood praying she would not end up like me. But she turned out to be stubborn, aimless, just like her mother. But now I see. It's okay that she's a mess. Because just like me the universe gave her someone kind, patient and forgiving to make up for all she lacks.
EVERYTHING EVERYWHERE ALL AT ONCE 2022 | dir. Daniel Kwan and Daniel Scheinert
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galecstatic · 8 months
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that one review from letterboxd was so on point.
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horang-07 · 6 months
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FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!
i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.
i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.
in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.
this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable
it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.
then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.
he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.
finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.
it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.
in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.
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sflow-er · 9 months
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So many thoughts on the fabulous Barbie film, but especially on how anyone who thinks it’s “hateful towards men” clearly isn’t getting the message.
SPOILERS UNDER THE CUT
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[Credit for both gifs goes to their makers!!]
I mean... Ken’s arc is secondary to Barbie’s, and rightly so. This is her film, and her message deserves to be the main takeaway.
That being said, I just find it really sad that the people who could’ve definitely used the point of Ken’s arc just let it go right over their heads. Maybe it’s because they aren’t great at reading subtext, or because they just balk at anything presented as feminist, I don’t know.
Because to me, Ken’s arc is about as far from “hateful towards men” as you can get. It’s a multi-layered depiction of how restrictive, outdated views of masculinity can hold men back and make them susceptible to harmful ideologies that promise easy solutions for all their problems but only make those problems worse and hurt others around them.
The first layer is an allegory for real men don’t show their feelings. In the movie, this is represented by Ken’s need to look tough and cool all the time, and to keep his insecurities and sadness bottled up. Barbieland is a utopia where being happy is a social norm, and the main Barbie also starts to struggle with that. The difference is that she eventually tells her friends, and they all support her. Ken just puts pressure on himself not to look weak - in front of Barbie, or in front of the other Kens.
Which brings us to the second level: a competitive and inherently hostile view of the other Kens, aka. toxic male relationships. Some of them are friends, and all of them work together for a while to build the Patriarchy, but they don’t actually bond for real. Even their boys’ nights are mainly about getting back at the Barbies for all their girls’ nights (which really were about bonding). When push comes to shove, the Kens still see each other as competition, which is one of the reasons why the Barbies are able to play them against each other.
Another reason is the third layer: the idea that Ken only has value if Barbie loves and admires him. It starts out as unrequited love that makes you feel sorry for him...until he turns bitter. He basically starts on the path that could lead him down the incel/mra rabbit hole and into a mindset where Barbie owes him love and admiration and the relationship he wants in exchange for his devotion to her. He decides that everything would be better if Barbies were subservient to Kens, but of course that’s not true. None of the Barbies’ newfound admiration for their Kens is real, and his own Barbie still rejects him.
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All this is of course underpinned by the final layer, which is Ken’s lack of self-respect and sense of purpose. He’s got a pointless job, he’s not particularly qualified for anything, and he just feels kind of lost in Barbieland - a society run by successful Barbies who are living up to their full potential. That’s why he gets so caught up in the idea of the Patriarchy, which is supposed to make him successful, get others to respect him, and give him a sense of purpose. (This can be generalised to all kinds of harmful ideologies in the real world, e.g. the alt-right movement.)
However, the success he achieves is superficial and not based on any real passion; he even admits that he wasn’t happy in his new position and already lost interest in the ideology. The (forced) respect of others does feel good for a while, but it only goes so far. At heart, the whole thing is still mostly about his feelings of inferiority and unrequited love for Barbie, and instituting this harmful new system did not resolve those for him.
So what does? In essence, breaking out of all these harmful patterns and internalising the idea that he is enough.
He ends up reflecting on his feelings, finally puts them to words (or rather, song and dance), and manages to connect with the other Kens through those feelings. He even cries in relief and acknowledges that it doesn’t make him weak. He and Barbie finally have a proper talk, he lets go of their (non-)relationship, and he listens when she says he needs to figure out his real self. He starts to see himself not through his job, his girlfriend, or even his competition with the other Kens, but as just Ken, who is enough.
I honestly can’t think of a less hateful message to send men and boys.
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filmnoirsbian · 9 months
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I think more people would realize they like horror (this goes for all genres, horror is simply the one I have the most experience with) if they stopped thinking they had to like every type of horror. The amount of times I've had someone say they don't like horror, only for me to introduce them to horror comedies or creature features or psychological horror etc and watch them delight in it again and again borders on the absurd. Why are people convinced they must enjoy every inch of such a broad, expansive landscape in order to be able to claim some fondness for it? I don't love every poem I read; still, it would never occur to me that that means I must not really like poetry. There are many horror movies I outright dislike and many more I simply don't jive with. That doesn't take away from the fact that it's my favorite genre. I see this the most regarding horror and romance--always interesting to me, the similar ways in which those genres are treated--and in fact I've been guilty of assuming that because I dislike most of the more popular romances, it must mean I don't like romance as a whole. Which, of course, is unfair to the wide range which romance has, a deep ocean which I have and do occasionally find solace in. Still, I've always struggled to say I like it. Why? Romance as a genre has far more to offer than just Harlequin novels and American comedies from the 2000s. Just as there's more to horror than slashers and anatomical queasiness. Nothing wrong with liking or disliking those things, but pretending they are the be all/end all or even the majority of their respective genres means shutting the door on countless opportunities not just of enjoyment but real, genuine love.
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pinkiepiehole · 11 months
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Gotta say, really love the little touch in the newest Barbie trailer where Barbie jumps back from the cold shower water even though there isn't any water
Because the water's pretend
Because the Barbie dream house doesn't actually have running water
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corviiids · 1 year
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so for nanowrimo this year i decided to not write a novel but instead write a screenplay for my dream project, A MUPPET ODYSSEY, which is homer’s odyssey but it’s muppets, a la muppet christmas carol. i didn’t finish it :( but here's some of it.
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that’s from the teaser. this is the first scene:
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odysseus makes it to the castle in phaeacia:
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thanks for reading a muppet odyssey. if you enjoyed please hit that subscribe button and petition disney to let me write a muppet odyssey
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