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viadama0-0 · 1 year

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my movie ratings ( my taste are questionable)

Suzume - live laugh love suzume 10/10

Waktu maghrib - shouldve learned my lesson from Qodrat im never watching Indonesian horror movies 3/10

Pengabdi setan 1 and 2 - i actually liked this , i watched it bfr waktu maghrib and qodrat. 8/10

Luckiest girl alive - 8/10

Re/member - an 9/10 girl the way it was perfect but there's a slight plot twist that makes zero sense

A good nurse - 10/10 based on a true story

A chalk line - going in expecting nothing but it gave everything 8/10 i would say its decent

The host - 7/10 Hunger - shes a ten. loved everything about it the acting, metaphor, cinematography and the plot love love love

The sadness – 8/10 if you like gory movie go watch it . I love zombie movies but this one is fucking disgusting cause they still can talk like normal humans. And the scene with the one eyed girl in a wheelchair ughhhhhhhh.

Hard candy –8/10 i feel like it could’ve been better if they actually prove what the guy did and there was this one scene where elliot page castrate the guy it was so disturbing. I love elliot page‘s acting i love the way she talks ughh i just love her. The ritual - 8/10 i usually hate horror movie thats based on a cult or ritual but this one was good and fast paced . Plus there was minimal jumpscare which what i really like in a horror movie. AND what i love about this is that the demon or wtv looks real and was fucking scary . like if i saw that while hiking i wouldve shat my pants and literally let it kill me and rather than being chased by it istg. Dungeon and Dragons - shockingly a 9. the humor and the characters i just love it. they didn't unnecessarily squeeze any romance or whatsoever. love the the cgi i think looks real enough for me. the red witch i think sofina was scary af ngl . would i watch it again on purpose probably not. kids and family friendly approved. even if this love disappears from the world tonight - 10/10 fuck i watched this without knowing what I'm getting myself into. it was so good that i wrote this while watching it. It was all happy and shit IN THE BEGINNING. love the change of POV mid movie. Not for the soft-hearted girls. Definitely will recommend this if you wanna watch a tearjerker. Honestly i relate to izumi so much that it physically hurts me to watch this. in another life they got married with twins and adopted 3 cats. Btw at first i didn't wanna watch this cause the fl and ml used to act together in a drama where the were BESTFRIEND like super platonic, their relationship was like siblings. so yk it feels like incest at first.

your name engraved herein - 7/10 watched it cause people said its sad and suprisingly it actually is the ending was cute tho but i feel like it couldve been shorter plus one - 10/10 manifesting a relationship like this please they are sooooooooooooooooooooooooo funny together.

the hangover -10/10 this would be one of my comfort movie if i need a laugh or just to look at dilf bradley cooper

something borrowed - 7.5/10 I FEEL LIKE THE COUPLE IS CUTE but bcs the guy is engaged to her best friend so its wrong okayy tapi idk theres no way to justify it and wtv. but there was a small plot twist and now everyone is happy . plus ive been searching for 2000s romcom for a while now glad i stumbled into this. plus the FL is so cute.

inception - 10/10 watched it bcs of christopher nolan stayed because of Elliot page if i had known he was in it i would have watched it sooner. plus the cast ,top tier istg.

life - 9/10 watched it for ryan reynold and jake gylenhall. it feels weird watching ryan reynold in a serious movie even though he was still acting like himself. the ending thoooooo i was speechless

made of honor - 5/10 when the guy wearing a skirt shpuld have been a red flag not in a fashionable wayits just doesnt suit him. and honestly the male lead should have realized sooner that he likes hannah. btw i bet hes gonna cheat on her given his history.

bullet train - 1000/10 I LOVE THIS MOVIE SO MUCH THAT I WOULD RECCOMEND THIS EVERY MOVIE NIGHT AND SLAP PEOPLE WHO PLAYS WITH THEIR PHONE

you know what imma make another blog just for movies since i love it so much

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ratingtheframe · 3 years

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10 Films to watch this Valentine’s Day if you’re single as hell.

If anyone or anything is making you feel worthless on the Capitalist Holiday that is Valentine’s Day because you’re single AF, then don’t fret because it means one of two things;

You’re happy enough with yourself to not need anyone else.

You’re allergic to people.

Though mine is both the former and the latter, I can still get down to a good romance movie now and again. Now I’m not talking about those horrendous rom coms that Netflix seems to be churning out every damn minute, but those emotionally invested, earthy and well written dramas that has you ugly crying into your bathrobe for 17 minutes straight (me at the end of Her.). Here is a compiled list of some of the best romance films I’ve seen over the years and how each one doesn’t showcase an abundance of clichés and brands them as “acts of love”.

A Star is Born (2018 or 1953, take your pick)

I’ve found that both the 1953 version of A Star is Born with Judy Garland and the 2018 newer version to be a perfect and well rounded love story. What makes this love story so fierce is the vulnerabilities and downfall of its characters, which even though there are many sad moments, it perpetuates and strengthens the acts of love shown in the film. Both versions are similar in that they follow a woman who’s rise to fame as a performer becomes overshadowed by her jealous partner, who is also a notable celebrity. In the 2018 version starring Lady Gaga and Bradley Cooper, Gaga’s character Ally is helped by a country singer, Jackson Maine to become a successful singer and icon amongst the music industry. As she rises, Jackson falls and the character dynamics and intensity between them is a fitting love story. I was thoroughly bawling at the end and I guarantee you will too as Lady Gaga’s rendition of Love Again was the true scene stealer of the film.

Call me by your name (2017)

I have an incredible bias towards this film and it has nothing to do with the film’s context or characters or even Timothée Chalamet The reason why I feel so connected to this film and proclaim it as my favourite film of all time is because of when I watched the film. It’s almost like seeing a film about a political event right after it's happened; you have this rush and connection towards something that’s actually affected you in the real world. I had the same feeling with Call me by your name after going through a rough and confusing patch whilst trying to get over someone I thought I truly loved. Turns out I didn’t (thank god) and yet Call me your name was almost like a shoulder to cry on. It’s a film that’s taught me to love and love hard but most importantly, not beat yourself up or try to distinguish the pain felt by true love. If you haven’t been fortunate to catch this beauty of a film, it follows two men, Elio (Timothée Chalamet) and Oliver (Armie Hammer) and their brief relationship in the summer of 1983 in Northern Italy. 17 year old Elio lives with his parents and his father (Michael Stuhlbarg) is a scholar who invites students from outside the country for the summer in hope of passing on his wisdom to them. This is when Oliver arrives, a handsome twenty something American who becomes the infatuation of Elio.

I’ll never forget the first time I heard the monologue that Elio’s father gave his son at the end, explaining to Elio why he shouldn’t feel embarrassed by the pain he felt after loving Oliver:

“We rip out so much of ourselves to be cured of things faster, that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to make yourself feel nothing so as not to feel anything - what a waste”

That, ladies and gentlemen and all in between, is what love is.

Her. (2013)

Once again, another film about love that had a profound effect on me because of when I watched it. Her. follows the story of Theodore (Joaquin Phoenix) and his search for a story using an A.I to help him write. However, after getting to know this A.I named Samantha (Scarlett Johansson) and hearing the way she adapts and shows emotions, he soon falls in love with it. Some may deem this as rather sad (which it is) but I think it speaks to bigger constructs like internet dating and letting go of people you loved thus diminishing the fantasy and world you created for the two of you. This part of the film got to me a stark way as I felt the pain of letting go of not only a person, but a fantasy, just like Theodore had to do in letting his past partners go. Her. is truly beautiful, with some great production design, cinematography and acting.

Portrait of a Lady on Fire (2019)

The absolute queen of love stories would be Céline Sciamma’s Portrait of a Lady on Fire, a film about the romance between two women in the late 18th Century. Definitely not a narrative you see every day or one that’s been painted in such a way (pun intended). Marianne (Noémie Merlant) is commissioned to paint the beautiful and stubborn Héloïse (Adèle Haenel) and the portrait is to be gifted to a suitor of Héloïse’s from Milan. But instead of getting the painting done and sending it off, Marianne and Héloïse unexpectedly fall for one another at a subtle and well timed pace that had me gawping at the screen the entire way through. Slow, sensual and moving is Portrait of a Lady on Fire and I would definitely say is one of the best LGBTQ plus films ever made to date.

Broke Back Mountain (2005)

Ang Lee scooped up a BAFTA, Golden Globe and Oscar for his direction on his adapted screenplay of Brokeback Mountain. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) form a romantic bond after shepherding alone together on the side of a mountain. Once their time herding sheep comes to a close and they return back to their respective lives, it's clear that their bond is stronger than they had anticipated. They live in constant fear of their relationship becoming apparent to those around them, which leaves one of them taking matters into their own hands. A controversial yet extremely successful film of its time, Brokeback Mountain does a fabulous job of showcasing the consequences and despair of love using two of Hollywood’s finest actors.

Carol (2013)

It’s difficult to fully appreciate LGBTQ plus films set in the past as they mostly focus on the persecution of homosexuals as opposed to the love they wish to express. However, this was pretty accurate of the time and it's only very recently that we have begun to accept one another’s sexualities and genders fully so much that we play these stories out on screen without the persecution part. Carol is a film directed by Todd Haynes and stars Rooney Mara and Cate Blanchett. I found them to be an extremely intense pairing whilst they unravelled as their characters on screen. Therese (Rooney Mara) works in the toy department of a department store when one day she lays eyes upon Carol Aird, a beautiful and elegant married woman who becomes the infatuation of Therese. Therese throws all caution to the wind in order to be closer to Carol and because of this and the 1950s society they live in, their relationship is doomed from the beginning. I was in complete awe of the way Carol had been shot and created into this sensual and rich drama set in the 1950s. From the costumes, to the lighting to the acting, everything about Carol held weight to it showcasing the devotion of a truly talented director.

Eternal Sunshine of a Spotless Mind (2004)

Usually I’d pass on a Charlie Kaufman film, seeing as they make no sense, however I felt that it was time I delved into this cult classic starring Kate Winslet, Jim Carrey, Kirsten Dunst, Mark Ruffalo and Elijah Wood. It’s a really well made film with a clear and distinct message to it that’s represented in some phenomenal filmmaking techniques. The plot line of this film follows a man trying to erase a past lover and his memories of her get wiped away physically before your eyes on screen. It made me wish that I could do the same with people I’ve liked in the past, but the contradictory of this would be the trauma of eventually ending up with someone you had already met in another life. I haven’t experienced a break up nor felt the pain of one, though I could judge that this film tells that experience really well.

Moonlight (2016)

Moonlight is one of few films that I would genuinely worship if it were a religion. It's also one of the films that I outwardly shame people for not having seen, as it is truly a masterpiece and film lover’s film. Deep, emotionally connected, colourful, harsh, moving and eye opening, this film takes you on an emotional rollercoaster through the eyes of Chiron and the three stages of his life that have carved out his essence as a human being. Not only that, but he falls in love with another boy at his school, and when he does, he’s hurt rather badly. Literally. Moonlight is the definition of profundity and was awarded the top prize of Best Picture at the 2017 Academy Awards.

Loving (2016)

When I think of a truthful and honest testament of love, the film Loving comes to mind which is a fitting title for such a delicate yet strong story. The film is based on a true story of an interracial couple, Richard and Mildred (Joel Edgerton and Ruth Negga) being banned from Virginia in the 1950s for choosing to be together. If that ain’t a true sacrifice of love, then I don’t know what is. Choosing someone you love over your own home is an unfathomable thing and certainly shows the strength that this couple had in facing the judgements of others whilst remaining emotionally truthful to themselves.

The Shape of Water (2017)

The Shape of Water is a strange yet enlightening love story between Eliza, a deaf woman (Sally Hawkins) and a creature being tested on in a laboratory. Awards season went mental for this back in 2018, winning four of the THIRTEEN Oscars it was nominated for. I would categorize it as quite the niche film and wouldn’t usually think that such a film could be garnered with Oscar success. However everyone who worked on this film really pulled out the stops in creating an entire new world and perspective that has many layers to it, as well as an abundance of conflict and dynamics for audiences to lull over. The relationship between Eliza and the feared swamp monster that’s being cruelly tested in the laboratories where she works, is heartfelt and honest, which is strange seeing as Eliza’s virtually in love with a monster. The casting in this was outlandish yet it really worked as all actors in this melded well into the story as their prospective characters. It also has one of the most touching endings to a film I’ve ever seen.

And there you have it, ten Romance films for you to enjoy this Valentine’s Day. Watch them all at once, or maybe just watch one. Whether you watch it alone or with someone, it doesn’t really matter!

Lots of love

Ang x

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petruchio · 2 years

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long story short, I kind of don't think licorice pizza was that intelligent. Any intelligent connection I've made from it I feel like has been tenuous and a reach and I also feel like any points it was trying to make (if any) didn't land and were vacuous and self indulgent. like you, I don't know much about PTA but I also feel like if a piece of work is genuinely intelligent and profound, it'll stand alone and you won't have to know much about the maker and/or their entire body of work for it to make an impact and have it's integrity come through. I also found pretty much every scene inconsequential, so some of the bigger "inconsequential" scenes like the one with Bradley Cooper just didn't feel that enjoyable because the plot just wasn't moving or going anywhere. I ultimately felt like I got most of the film from watching the trailer lol. Beautifully shot and acted though! (I'm not gonna get into thoughts about the age difference thing rn cos that would be too long lol)

yes!! honestly i agree -- i think that's my ultimate take, which is that if the movie was going for a really subtle critique, it might have been too subtle on that critique. and i know there's a ton of film bros or whatever who will be like "ugh you guys just DON'T GET IT" but i feel like at a certain point if only really weird film bros get what your movie is about... then maybe the movie is being too subtle.

i think for me, a reading of it as a critique of nostalgia is the only way for me to really make all of it hang together? like -- yeah the age gap was super weird. but i honestly have a hard time believing that any movie made in 2021 would really want to go all in on the take of like, "age gap relationships good" so i have to believe that there's something deeper going on there? and maybe the movie didn't communicate it that well, but i think that must be part of what it's going for.

like, the movie is obviously very nostalgic for the setting of los angeles in the 1970s -- and i think (??) the movie is asking you to consider, did you get so swept up in nostalgia that you forgot how bad things really were? were you so distracted by the aesthetic, the clothes, the music, that you forgot how messed up all this stuff really was? the casual racism? the public homophobia? the abuse of minors? what happened in YOUR 1970s that was really, truly wrong, but you excuse it because "that's just how things were back then"?

and i think (I THINK) the age gap is meant to kind of further that argument -- like, alana is clearly nostalgic for her OWN teenage-dom. that's why she's so obsessed with hanging out with these children, because she feels so alienated by the adult world, she instead wants to cling to childhood when things felt easy and simple. i mean, she's given an age-appropriate love interest (the guy she works with who isn't the politician, the guy in the office who she calls), and when they almost kiss, and she RUNS AWAY. like, that's the visual we get, she's literally running away from him, she's running away from the adult world, because it scares her. she wants to return to this state of innocence and youth, because to grow up means to face things that are hard and things you don't understand. it's only with the innocence of youth that you could start a waterbed business or your own pinball arcade. the adults in the film are too jaded, too wrapped up in themselves, too distracted to do that. so, the nostalgia isn't just a macro-scale, 1970s period piece. it's also about the nostalgia you feel for your own childhood.

and all the adult characters are also kind of trying to recapture the freedom of youth in their own way -- the sean penn character just uses alana as a stand-in for grace kelly, in his own nostalgic fantasy. bradley cooper smashes the window just after we see the actual children smashing his window, which just emphasizes his own immaturity and his refusal to just "grow up." even danielle and este are still living at home with their parents, despite the fact that we can assume they're in their 30s.

and that's like, a genius film -- one that says, you love this song, you love this dress, you're so distracted by how well i've recreated an image of your youth, that you forgot to feel grossed out by this. and if you DID feel grossed out, maybe you kind of felt like you didn't want that out of your 70s nostalgia film. so the feeling you get at the end, when they kiss and she says she loves him, that feeling of, "wait, but that was kind of fucked, though" is exactly the feeling that you SHOULD have, because it's the same one you should have when you think about your own past. it's saying, take OFF those rose colored glasses and look the past in the eye, look at what happened to you back then and be brave enough to say "wait, no, that was wrong and it shouldn't have happened."

but all that being said, i kind of agree that i'm not entirely sure the movie was actually being that smart? or, maybe it was, but i don't think it necessarily communicated that in a clear enough way? personally, the whole way through, i thought it was going to be kind of a coming of age film for alana -- that she was going to realize that she was afraid of growing up, but that she was going to have to. and then the end just threw me for a LOOP! like i feel like i should've been more on board with a nostalgia reading from the whole film, and the ending should've been like OH -- so what you're saying is that this is wrong. like, i don't think the movie is endorsing the relationship, but the way it's shot and scored and edited doesn't really feel sinister enough to be confident in that! and i agree as well that i don't think you should have to know an artists entire body of work to make a judgement on one piece -- the piece should stand alone as it is.

so yeah. i guess it's either a genius commentary on the past, or it's a weird nostalgia wish-fulfillment for paul thomas anderson -- or maybe it's kind of both? maybe his own wish-fulfillment is the reason the critique didn't come across quite clearly enough? i don't know!! but it sure did make me think.

#answered #shewakesupwiththesun #sorry that was insanely long #ill put this in my essay tag lol #long thoughts

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papermoonloveslucy · 3 years

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LIZ HAS THE FLIMJABS

December 30, 1950

“Liz Has the Flimjabs” (aka “A Severe Case of Flimjabs”) is episode #112 of the radio series MY FAVORITE HUSBAND broadcast on December 30, 1950.

This was the 14th episode of the third season of MY FAVORITE HUSBAND. There were 31 new episodes, with the season ending on March 31, 1951.

Synopsis ~ Liz wants a mink coat from George, so she pretends to be sick in order to get his sympathy - and the coat! George is on to her tactics, and decides to give her the scare of her life - literally!

Note: This program served as the basis for the “I Love Lucy” episode “Lucy Fakes Illness” (ILL S1;E16) filmed on December 18, 1951 and first aired on January 28, 1952. The role of the Doctor was taken by Hal March, who was actually playing an actor friend of Ricky’s named Hal March pretending to be a doctor. On television, Lucy also adopts a psychological illness in addition to her physical ailments. There was no mention of Christmas or New Years on the television show.

“My Favorite Husband” was based on the novels Mr. and Mrs. Cugat, the Record of a Happy Marriage (1940) and Outside Eden (1945) by Isabel Scott Rorick, which had previously been adapted into the film Are Husbands Necessary? (1942). “My Favorite Husband” was first broadcast as a one-time special on July 5, 1948. Lucille Ball and Lee Bowman played the characters of Liz and George Cugat, and a positive response to this broadcast convinced CBS to launch “My Favorite Husband” as a series. Bowman was not available Richard Denning was cast as George. On January 7, 1949, confusion with bandleader Xavier Cugat prompted a name change to Cooper. On this same episode Jell-O became its sponsor. A total of 124 episodes of the program aired from July 23, 1948 through March 31, 1951. After about ten episodes had been written, writers Fox and Davenport departed and three new writers took over – Bob Carroll, Jr., Madelyn Pugh, and head writer/producer Jess Oppenheimer. In March 1949 Gale Gordon took over the existing role of George’s boss, Rudolph Atterbury, and Bea Benaderet was added as his wife, Iris. CBS brought “My Favorite Husband” to television in 1953, starring Joan Caulfield and Barry Nelson as Liz and George Cooper. The television version ran two-and-a-half seasons, from September 1953 through December 1955, running concurrently with “I Love Lucy.” It was produced live at CBS Television City for most of its run, until switching to film for a truncated third season filmed (ironically) at Desilu and recasting Liz Cooper with Vanessa Brown.

MAIN CAST

Lucille Ball (Liz Cooper) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Richard Denning (George Cooper) was born Louis Albert Heindrich Denninger Jr., in Poughkeepsie, New York. When he was 18 months old, his family moved to Los Angeles. Plans called for him to take over his father’s garment manufacturing business, but he developed an interest in acting. Denning enlisted in the US Navy during World War II. He is best known for his roles in various science fiction and horror films of the 1950s. Although he teamed with Lucille Ball on radio in “My Favorite Husband,” the two never acted together on screen. While “I Love Lucy” was on the air, he was seen on another CBS TV series, “Mr. & Mrs. North.” From 1968 to 1980 he played the Governor on “Hawaii 5-0″, his final role. He died in 1998 at age 84.

Bea Benadaret (Iris Atterbury) was considered the front-runner to be cast as Ethel Mertz but when “I Love Lucy” was ready to start production she was already playing a similar role on TV’s “The George Burns and Gracie Allen Show” so Vivian Vance was cast instead. On “I Love Lucy” she was cast as Lucy Ricardo’s spinster neighbor, Miss Lewis, in “Lucy Plays Cupid” (ILL S1;E15) in early 1952. Later, she was a success in her own show, “Petticoat Junction” as Shady Rest Hotel proprietress Kate Bradley. She starred in the series until her death in 1968.

Ruth Perrott (Katie, the Maid) was also later seen on “I Love Lucy.” She first played Mrs. Pomerantz, a member of the surprise investigating committee for the Society Matrons League in “Pioneer Women” (ILL S1;E25), as one of the member of the Wednesday Afternoon Fine Arts League in “Lucy and Ethel Buy the Same Dress” (ILL S3;E3), and also played a nurse when “Lucy Goes to the Hospital” (ILL S2;E16). She died in 1996 at the age of 96.

Bob LeMond (Announcer) also served as the announcer for the pilot episode of “I Love Lucy”. When the long-lost pilot was finally discovered in 1990, a few moments of the opening narration were damaged and lost, so LeMond – fifty years later – recreated the narration for the CBS special and subsequent DVD release.

Gale Gordon (Rudolph Atterbury) does not appear in this episode.

GUEST CAST

Frank Nelson (Dr. Stevenson) was born on May 6, 1911 (three months before Lucille Ball) in Colorado Springs, Colorado. He started working as a radio announcer at the age of 15. He later appeared on such popular radio shows as “The Great Gildersleeve,” “Burns and Allen,” and “Fibber McGee & Molly”. Aside from Lucille Ball, Nelson is perhaps most associated with Jack Benny and was a fifteen-year regular on his radio and television programs. His trademark was playing clerks and other working stiffs, suddenly turning to Benny with a drawn out “Yeeeeeeeeees?” Nelson appeared in 11 episodes of “I Love Lucy”, including three as quiz master Freddy Fillmore, and two as Ralph Ramsey, plus appearance on “The Lucy-Desi Comedy Hour” - making him the only actor to play two different recurring roles on “I Love Lucy.” Nelson returned to the role of the frazzled Train Conductor for an episode of “The Lucy Show” in 1963. This marks his final appearance on a Lucille Ball sitcom.

The doctor’s surname may be a reference to noted costume designer Edward Stevenson, who designed gowns for Lucille Ball in more than a dozen RKO films and would eventually become costume designer of “I Love Lucy” after the departure of Elois Jenssen in 1955.

EPISODE

ANNOUNCER: “And now, let’s look in on the Coopers. It’s evening, and Liz and George are sitting in the living room admiring their Christmas tree."

George wonders if it is time to take the Christmas tree down but Liz doesn’t want to. They agree to put away their presents instead and start to talk about the gifts they didn’t give or get.

Liz nearly bought George a set of matching golf clubs. George says he nearly bought her a mink jacket. He says he saw it in the window at Millers, but realized he couldn’t afford it. Liz sadly reminds him that she has never had a fur coat and wonders if they could afford it if they all their Christmas gifts to the store. George says it still wouldn’t be enough, but Liz wants to wear something special to the Atterbury’s New Year’s Eve party.

Next morning, in the kitchen, Katie the Maid asks Liz why she is so sad. Liz tells her about her mink jacket dreams. Liz solicits Katie’s opinion on how she can’t best get George to get her a mink jacket in time for the party. Liz decides to play sick since George always gets her what she wants when she’s ill.

After dinner, Liz and George contemplate what to do. Liz suggests going to the movies to see Harvey starring Jimmy Stewart, which is playing at the Strand.

Harvey is a comedy about a man whose best friend is a six-foot tall imaginary rabbit. It premiered just ten days earlier before this broadcast and starred James Stewart. The film won an Oscar for Josephine Hull. The screenplay was based on the 1944 Broadway play of the same name by Mary Chase which won the 1945 Pulitzer Prize for Drama.

Before Liz can tell George the second feature, she starts to writhe in pain! Amid moans and groans, Liz details the pain for George. She says she used to have these attacks as a child. When she says the only thing that sometimes helps is little gifts to make her happy, George gets suspicious. He quickly leaves the room to make a phone call, which Liz thinks is to buy her a mink jacket, but he has actually called the doctor!

End of Part One

Bob LeMond presents a live Jell-O commercial, giving a basic recipe for preparation of all delicious six flavors!

ANNOUNCER: “As we look in on the Coopers once again, Liz is pretending to be sick and George, who is worried about her, has called the doctor.”

The doorbell rings and George admits Dr. Stevenson (Frank Nelson). Before seeing Liz, George tips him off that Liz may have a rare disease and that the only cure is a mink coat! George asks him to give her a good scare and the Doctor agrees to play along.

Entering the bedroom, Liz immediately tells the Doctor she feels much better. But after a quick exam, the Doctor diagnoses Liz with a rare tropical disease from the West Indies called the ‘Flimjabs’. The only cure is to operate and remove her ‘torkle’ but warns her that she will never be able to ‘yammle’ again. The Doctor explains that ‘yammling’ is an involuntary peristalsis of the transverse clavis.

GEORGE: “Doctor, do you have to remove the whole torkle?” DOCTOR: “Maybe we’ll be lucky and can save half of it. After all, half a torkle is better than none.” LIZ: “Well, I should say so! I’d hate to think of never yammeling again!”

The Doctor says that they must now wait 24 hours and see if she turns green.

DOCTOR: “If you turn green, three hours later (snaps his fingers) gone.” LIZ: (snaps) “Gone?” DOCTOR: (snaps) “Gone.”

For the television script, the ‘Flimjabs’ was renamed the 'Gobloots’ - a rare tropical disease that carried into America on the hind legs of the 'boo-shoo bird.’ It can necessitate a person having to undergo a 'zorchectomy’ – total or partial removal of the 'zorch’. Even if doctors are able to save half a person’s 'zorch,’ the patient will never be able to 'trummle’ again. 'Trummling’ is a mysterious involuntary internal process. Finally, if you turn green while suffering from the 'gobloots’ you will be dead in 30 minutes!

Iris Atterbury drops by to see Liz on her way to the Bridge Club meeting. Liz tells her that she has been diagnosed with the Flimjabs.

IRIS: “Oh, how exciting! This will make Betty Ricky’s gallstones look sick! She’ll be absolutely green.” LIZ: “She's not the only one. That’s one of the danger signs. I may turn green.” IRIS: “With a green face and red hair, you’ll be out of this world.” LIZ: “Yes, that’s what I’m afraid of.”

Iris is overcome with emotion at the thought of losing Liz. She doesn’t want to leave, but the ice cream for the Bridge Club meeting is in the car and it’s melting!

That night, Doctor Stevenson returns to check on Liz. Answering the door, George confesses that he’s put a green light bulb in Liz’s bedroom light. As soon as George turns on the lights, Liz shrieks seeing her green hands! Her face and hair have turned green, too! Liz thinks the men have Flimjabs too, because they are also green, but then the truth sets in.

LIZ: “Oh, no! This is the end! I’m looking at the world through green colored eyeballs!”

Liz dramatically declares that she’s dying. George accuses her of being over-dramatic.

LIZ: “I’m sorry, George. But I don’t die every day and it’s new to me.”

Before her imminent demise, Liz confesses to all the car accidents she’s had and hidden by having the car fixed without telling him.

LIZ: “In fact, the only thing left of the original car you bought is the ashtray in the back seat!”

Then Liz bravely confesses to pretending to be sick to get him to buy her a mink coat. George also needs to make a confession: it was all a trick. There is no such thing as ‘Flimjabs’ and the light is from a green light bulb!

The phone rings and it is Iris, tearfully calling from the Bridge Club meeting. The girls have just had a memorial ceremony for Liz by turning her chair to the wall and smashing her teacup in the fireplace. Before Liz can tell Iris that it was a joke, she learns that they all chipped in and bought her a goodbye present: a mink coat! Liz hangs up in tears. George is confused.

GEORGE: “Isn’t that what you wanted?” LIZ: “Yeah, but I have to die to get it!”

END OF EPISODE

In the live Jell-O commercial, Lucille Ball and Bob LeMond play a couple of nomads lost in the desert. Lucy uses her ‘Isabella Clump’ voice as ‘Smith’. Bob is looking for his camp, near a big dune.

LUCY / ‘SMITH’: “A dune? What’s a dune?” BOB: “What’s a dune????” LUCY / ‘SMITH’: “I dunno. What’s a-dune with you?”

Smith sees a mirage - a big bowl of Jell-O! After describing the six delicious flavors, Bob suggests they go home.

BOB: “Go home? We’re lost in the desert!” LUCY / ‘SMITH’: “Why don’t we each take one of those cars.” BOB: “What cars?” LUCY / ‘SMITH’: “The ones over there. That’s a two-car mirage!”

The same date this episode was broadcast, columnist Sid Shalit in the New York Daily News reported that a television situation comedy was being prepared starring Lucille Ball and Desi Arnaz in the mold of “My Favorite Husband”. Clearly, the radio series was winding down. This was the final episode of 1950 with only 16 episodes left.

Meanwhile, in addition to radio and television, Ball was on the nation’s movie screens in two 1950 films: The Fuller Brush Girl and Fancy Pants.

#My Favorite Husband #Liz has the Flimjabs #I Love Lucy #Lucy Fakes Illness #Lucille Ball #Richard Denning #Bea Benadaret #Ruth Perrott #Bob Lemond #Radio #CBS #Jello #1950 #Harvey #Jimmy Stewart #Frank Nelson #Fuller Brush Girl #Fancy Pants

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noramoya · 4 years

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#ThrillerLiveCloses #ApprovedByMJon2009

“Right now our world has been turned upside down, with a pandemic that is changing our way of life. It is affecting us all, financially, emotionally and socially. For me it has resulted in THRILLER LIVE closing prematurely (and permanently) in the West End, as all theatres around the country have been shut, in the public’s best interest. Myself and the rest of the team totally understand and respect that we must all practice social distancing, working together to beat this virus. But yesterday was a very sad day as I joined the cast, crew and other creatives at the Lyric Theatre for one last time. We wanted to come together to say goodbye to each other at the theatre that had become our home for the past 11-years. Ironically we were just two more performances away from becoming the 11th longest ever running show in the West End. Still to be 12th, and the longest ever running show at the Lyric Theatre is an incredible achievement. Another thing the coronavirus has shown us is that we never know what is around the corner and we shouldn’t take what we have for granted. Through hard times, we get to see what matters most and what we really need to value.

One of our cast members said that leaving the Lyric Theatre was like losing a loving partner. And that is partly true, in that sometimes you don’t appreciate what you have until it is gone. But I am sure that each and every one of the Thriller Live cast and crew will go on to great new ventures, just as previous associates have. It’s been an INCREDIBLE journey which has formed great friendships, partnerships and even relationships with babies to boot! For me it seems that things have gone full circle. For it was 30 years ago today (20th March 1990) when I first met the King of Pop, Michael Jackson, and he inspired me to see a world of endless possibilities. He showed me humility, kindness and a laughter like I’d never heard before.

We were at Record One Studios where he was free and at his creative best, producing the ‘Dangerous’ album. Watching a genius at work, who since the age of 5 had been perfecting his craft to become the world’s greatest ever entertainer was a true privilege. And then came an invitation to lunch at Neverland. That was the most memorable weekend ever. I’d never seen a landscape and home so beautiful. A place where Michael could dream peacefully, and one could lose themselves in magical abandonment. Which I did playing on the arcades, riding on the funfair and watching movies in the theatre. Just before I left, as I walked out the oak door, Michael said come back anytime. And I did, at least once a year - return to Neverland, as did many lucky fans, and various charitable organisations that Michael opened his doors for, because he loved to give, help and see others happy. That was the Michael Jackson I knew - a humble, innocent soul, who also happened to be one of the greatest artists of all time. There are many, many other stories that I have shared over the years, and fans and friends will know. Each one of them still as colourful in my mind now as it was when I first lived them. I thank Michael for those memories, and even though he is gone, it has never felt like a goodbye.

From all of us at “Thriller Live”, we want to Thank everyone who came to see the Show in the West End. We are Grateful that we could keep Michael’s Legacy and Music alive through the production and cá look forward to continuing touring the world in years to come. Now here follows a long, long list of thanks to just a few of the many people who made the show possible in the West End. There has been literally hundreds of people involved on and off the stage, so apologies that I can’t list everyone, but each of you are just as important in making this show a special part of West End history ! Producers Paul Walden & Derek Nicol, Mark Strange – General Manager, Ginette Sinnott – Head of Marketing, and everyone else at Flying Music (past and present) – thank you for believing in the show and all you have done to make it a worldwide success.

•Gary Lloyd our amazing Director & Choreographer. I could write a book about his character and talent, so please go read his own ! John Maher our meticulous Musical Director extraordinaire. • Every single band member past and present including Damien Cooper, Oliver Latka, Ryan Alex Farmery, Adam Kovacs and Mike Bradley - the greatest compliment you can pay these guys, is that some audience members still ask if the show is ‘live’. Yes! Applause when screen goes back and our musicians are revealed ! • Yasmin Yazdi, Jo Dyce, Rose Wild and Aisling Duffy – our fierce Resident Directors and Assistant Choreographers whom over the years have put hundreds of cast members through their paces. • Sharon Speirs and Caroline Stroud, our two long running and outstanding Company Managers over the past 11-years. And thank you to others who stepped in. • Nigel Catmur – Lighting Designer, Chris Whybrow – Sound Designer, Jonathan Park – Set Designer, Rob Jones and Catherine Teatum – Costume Designers – thank you for making this show look and sound so great ! • Our hard-working crew – Dawn Harvey, Paul Bond, Glenn Jenkins, Sophie Kemp, Kelvin White, Bill Dimeo, Matthew Giles, Alice Johson, Sara Markwick, Gemma Tucker, Melissa Cooke, Karli Can Heerden, Inca Jaackson, Rosie Woods and Jo Conlon – thank you for being there every day and making the show possible. • Not forgetting dozens of former crew members from Becky Potts and Jessica Plews to Craig and Kate Garratt and many, many more. • A big shout out to Haydon Eshun and John Moabi, our longest running West End cast members. These two guys are stage legends, whose performances did Michael proud every single night. • Respect to Kevin Wilson PR for keeping our name up in lights and doing it always with the utmost enthusiasm. • Thank you to Debbie O'Brien Casting – the talent we have seen over the years has been incredible including Zoe Birkett, Hayley Evetts, Maria Lawson, Samantha Johnson Carter, Cleopatra Madonna, Britt Quentin, Alex Buchanan, Jerome Singer, Trenyce Cobbins, David Jordan, MiG Ayesa and so many more outstanding vocalists ! • We have also been blessed with hundreds of amazing dancers since 2006 and through to the end of this West End run. They, with the singers and musicians are the life blood of the show, which relies, not on massive production, but pure heart and soul to deliver the energy, authenticity and chemistry that was part of Michael Jackson. • Thank you Nica Burns at Nimax for giving us a home for 11-years, and all the staff at the Lyric Theatre for looking after us, and over 2 million audience members throughout the years. • Massive appreciation to Kerys Nathan, our original Director & Choreographer from 2006-2008. You’ll always be a part of the show. • Thank you to every single cast member from the original West End cast featuring Ben Forster, Roger Wright, Denise Pearson, Ricko Baird, Kieran Alleyne, Layton Williams (OFFICIAL), Sterling Williams, Lewis Davies, Kamilah Beckles, Christabelle Field, Elliot James, Earl Perkins, Emily Rumbles, Dannielle Rothman, Sean Williams, Ashton Russell, Ross Sands and Jordan Darrell, to our last with – Wayne Anthony-Cole, Vivienne Ekwulugo, David Julien, Miles Anthony, Florivaldo Mossi, Lauren Gore, Filippo Coffano, Leslie Garcia Brown, Deavion Brown, David Devyne, Mitchell Eley, Ike Fallon, Eliza Hart, Gabriela Hernandez, Amelia-Annie Layng, Arnold Mabhena, Rishard-Kyro Nelson, Oskarina O'Sullivan , Shola B Riley, Triple Calz, Cannon Hay, Isaiah Mason, Ishaan Raithatha and Messiah Unusudimi. • To everyone on our suspended touring production, and all those before which has seen us visit over 34 different countries, thank you, thank you and thank you again. We will see each other hopefully soon as we continue this journey. Until then stay safe, and don't eat too many pies, there is only one costume budget. •Apologies too many not named above, some whom I greatly admire and some whom I am proud to now call friends, you are all in my thoughts.

Lastly, and most importantly – thank you to MICHAEL JACKSON ! “THRILLER LIVE” is your Music, your Artistry and your Magic ! Thank you for your Inspiration , Love and Humanity . 🙏🏼

Dreams do come true — Adrian Grant .

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kevinskorner · 4 years

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A Little Late Series: It Was Good Until It Wasn’t by Kehlani

Kehlani is one of my favorite artists of all time. Ever since I found her music in one of my favorite youtubers’ video I was watching in 2014, I have been completely obsessed. Immediately after hearing her first mixtape Cloud 19, I turned so many people I know onto her and we’ve been together ever since then haha. I can’t believe all the growth and achievements she has received since then but it also feels like she’s just beginning. In the time between this album and her first studio album, she has been thee queen of features, and every single one has been great. I cannot believe that her second studio album is out but, here we are!

“Toxic” was not my favorite on first listen but as time goes on, oh my god, its so addicting. I just want to scream on the top of my lungs “THAT DAMN DON JULIO MADE ME A FOOL FOR YOU”. Ty Dolla $ign’s background vocals suit the song so well and they compliment each other so well over this beat. “That dick always been problematic” is classic. Ohhhh “Can I”. I really dont have a lot to say about this one. Its incredible. “Sniper game no Bradley Cooper”?!?!?! Kehlani got better bars than a lot of rappers in the game. Its just such an absolute vibe that I want to feel forever. I don’t usually like Tory Lanez but his feature is actually nice here. I think hearing the other person’s side of the story perfectly blends the song together. On “Bad News”, I love the vocals and harmony on the “give all that shit up” parts. It can be a very beautiful song at some parts but sometimes the verses can be a little unmemorable. “Real Hot Girl Skit” is so fun, real poetry! Thank you Megan Thee Stallion <3 “Water” was probably my most anticipated song to hear because I just love water. Haha. Anyway, on my first listen I didn’t like it and was really disappointed, but! Once I played in a few more times, I fell in love. The chorus is so cool and having her go down an octave every time she says “water” was such a neat effect. I love how after the first chorus she starts speaking faster than in the first verse. her flow?!?! I did not expect rapper Kehlani to be all over this project but I live. I loveeee the chorus on “Change Your Life”. The beat bounce is so cool. Jhene and Kehlani coming together is so amazing. They compliment each other beautifully and as two modern-day R&B powerhouses, its so great seeing these two women come together. The “Belong to the Streets” skit is so upsetting because those are normal conversations that a lot of people have on the daily. People discuss women’s lives so harshly and grossly and find no problems with it. I don’t like this skit because its a sad reality but I guess I just have to accept it. “Everybody Business” is the PERFECT response to the prior skit. She’s owning who she is and talking about how she’s a grown woman who can make her own decisions! I love how the lyrics are really badass but the mood and vibe is really stripped down. It’s stunning to see how much she’s grown as a person. Since I’ve stanned for a long time, I know some things Kehlani has struggled with on the daily like what other people think of her. Seeing how she has tuned those outer voices out and started focusing on herself more is *chefs kiss*. I really didn’t expect to love "Hate the Club” as much as I have. The sax is so juicy and adds a jazzy twist to modern R&B. As someone who doesn’t participate in partying, drinking, smoking etc, I too hate the club! It’s just not my scene and I’m happy Kehlani feels the same way. I don’t ever want to have to “drink enough” as she says, in order to do something. I also absolutely am in love with the bridge. That switch! “Serial Lover” seems like a standout to a lot of people since it was produced by longtime Drake collaborator, Boi-1da. I love when she says “I think I should be single, for awhile” because after that comma she goes down an octave and sounds so sick. My favorite lyric is “I got girls I wanna give my last name”. It’s not my favorite song but its really smoothhh. “F&MU” is such a clever song. Truly, that line “fuck and make up like its mabeliene” is so clever! How has nobody thought of that before? The only thing that really stands out to me on this song is the chorus. It’s still one of my faves, I just wish it was longer. The squeaky bed in “Can You Blame Me” is everything. I don’t know how I feel about the Lucky Dayes’ feature though… he adds something but nothing special. "Grieving” was the MOST SURPRISING song on the whole album! I was so shook when the chorus came in omg. How come I haven’t seen more people talk about it?! Even the blending of when James says “Grieving” with Kehlani is heavenly. The transition on “Open (Passionate)” is soooo gorgeous. I like the verses better than the chorus on this one, which is surprising for me. I like the connection between being very open but its only because your so passionate about the love your in. I feel like I can very much understand and relate to that! Regarding, “Lexii’s Outro”, I knew she was going to do something for Lexii on this album ever since I found out about her passing. When You Should Be Here came out, Jealous was one of my favorite songs on the project and I loved Lexii’s verse. I’m happy Kehlani ended her second studio album this way by showing the world what this girl had.

All honesty, on my first listen I don’t think I paid that much attention to the album and lyrics and it felt more like background noise. As time has gone on, I completely have appreciated this album and love how my girl Kehlani is progressing as an artist. This is definitely her most mature project to date and I love that for her. It’s not my favorite project from her and thats okay. It’s not bad at all. I will always like literally whatever Kehlani does. She can do no wrong in my book. Even if sometimes it feels like background noise than anything else, its still better than half the other projects ive listened to.

Standout track: “Toxic”, “Can I” feat. Tory Lanez, “Everybody Business”, “Hate the Club” feat. Masego, & “Grieving” feat. James Blake.

Rating: ★★★☆☆

#kehlani #it was good until it wasnt #kehlani album #r&b #r&b album #2020 #2020 music #music in 2020 #2020 albums #female artist #lgbtq #queen #a little late #a little late series #new music #nmf #new music friday

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netflixandgrill-blog · 4 years

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We’re Just Not That Into He’s Just Not That Into You

9 Netflix and Grill Takeaways

1. Ginnifer Goodwin Acts Her Ass Off

We both had a sudden realization when watching this movie: Ginnifer Goodwin is (or at least should be) America’s sweetheart. She’s cute, likable, intelligent, vulnerable, and funny, and she carried this movie like she was Atlas and this turd of a movie was the world resting on her shoulders.

2. It’s Chock Full of Stars

Even the smaller roles are played by like A-List actors. How they got all these assfaces to sign on for three total minutes of screen time in this dud is the biggest head-scratcher of 2009 (and that was the year everyone was still trying to figure out what caused the financial crisis.) There are roughly 700 major characters in this film, and their lives all loosely intersect like a way-shittier Magnolia or a slightly-shittier Love Actually.

There are so many characters, in fact, that perennial star Drew Barrymore pops in and out so infrequently that you forget that she’s in the movie. It seems Drew Barrymore’s character’s sole function is to plug the barely-still-relevant MySpace in the 3 scenes she’s in. We half-expected Tom to make a cameo.

3. Jennifer Connelly Is Way Too Intense for This Romcom

Someone shoulda told J-Con, “This isn’t Requiem For a Dream, this is just some light viewing for couples on date night or boozed-up quarantiners. Let’s take it down about 5 notches.” But instead, J-Con swings for the fences in this fairly banal role as if she can smell an Oscar within reach. Like when she flips out on her poor home renovator (Luis Guzman), delivering a diatribe aimed at him with the same intensity that Liam Neeson directs toward the kidnappers in Taken. And over what? She suspects he and his fellow workers have been smoking. (Cue members of the audience clutching their pearls.)

In fact, the whole subplot of her paranoia about everyone around her enjoying a cig on the down-low feels like a “truth” anti-smoking ad. She even lets husband Bradley Cooper off the hook for nailing ScarJo behind her back as long as he wasn’t smoking during it!

4. Jennifer Aniston is Somehow a Pathetic Character

We are supposed to buy that the other characters in the movie look down on the still-unmarried Jennifer Aniston like she is a pitiable, kooky old maid with 39 cats when in actuality she is literally the most beautiful woman in the world (see People Magazine in 2004 and 2016).

To both of their credit, Jennifer Aniston and on-screen beau Ben Affleck prove their star quality with a touching proposal scene that could easily have become a romcom cliché. Heidi definitely got a bit misty-eyed. Mike wept openly.

5. And Justin Long Is Somehow the Heartbreaker

Remember Justin Long as Warren Cheswick, the super dorky teen in the TV show Ed? Well, that’s how we will always remember him. How did he make the insane leap from that (very appropriately cast) role to one where he is slaying puss like Leo at Cannes? The world may never know.

6. ScarJo Is Apparently a Rising Music Star and We Never See Her Sing

A struggling musician, ScarJo connects with music exec Bradley Cooper and they exchange numbers, so at their next meeting he obviously he comes to see her at a venue where she’s performing, right? Wrong, it’s at a yoga class that she apparently teaches, as if yoga has anything to do with anything. E from Entourage also has the hots for ScarJo and is chasing her all over town, so we see him catching up with her at an open mic, rehearsal room, or recording studio, right? Wrong, wrong, and wrong. When does she perform/rehearse? ScarJo’s character might be the least disciplined artist since, well, us.

Then, at the end of the movie, we finally see a snapshot of ScarJo performing without sound as if they are hiding the fact that she can’t sing, which is completely bizarre, as ScarJo has released two albums in real life and, oh, by the way, has a song on the film’s fucking soundtrack.

Of all the silly choices the filmmakers made for this movie, and there are many, this bungled subplot is by far the most baffling.

7. The Story Incorporates Pointless Confessional Vignettes

The writers of this movie evidently watched When Harry Met Sally, saw the confessional interviews interspersed throughout the movie, and said, “Let’s just copy those and make them strange non-sequiturs instead of using them to connect the narrative.” It’s almost as if the writers were getting paid by the movie minute, making this already-too-long-movie even longer.

8. E From Entourage’s Character Is the Most Hard-Up Person in History

E from Entourage has it bad for ScarJo, his friend who he used to date. ScarJo exploits his attraction to her in order to gain emotional support, but that’s fine with him because he is obsessed with her and will take what he can get. She’s all, “Could you just tell me I’m beautiful?,” and he’s all, “Could you just touch it, blow on it, look at it for a second, literally anything?” In one scene where she greets him with a hug we expected him to immediately need a change of pants.

9. Heidi’s Favorite Song Is In the Movie

It’s the Talking Heads’ “This Must Be the Place,” which is ironic, cause this 41-per-cent-on-Rotten-Tomatoes chick flick is the last place she wanted to hear this song.

#hesjustnotthatintoyou romcom chickflick badmoviereview cheesymovies quarantine datenight scarjo bcoop netflixandchill

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gibelwho · 4 years

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Reflections on Authenticity: A Star is Born

Remaking a film that has been done three times before sets up a baseline challenge for a film’s success. Throw in a major actor’s directorial debut, casting a novice actor to portray the star, and you’ve got a film that is destined to either exceed its potential or completely fall apart. Thankfully, A Star is Born (2018), directed, co-written, and starring Bradley Cooper, alongside a headlining debut of Lady Gaga, delivers on many fronts - artistically, musically, and perhaps more importantly - authentically.

Singer-songwriter Jackson Maine (Bradley Cooper) is a world famous, hard drinkin’ country artist who is just past his prime. After a concert, he meets Ally (Lady Gaga), who is performing at a drag bar; he is instantly smitten and convinces her to spend the night talking, where he discovers that she is a talented singer-songwriter herself. The next day, he flies her out to his show, where they perform the song she shared with him the night before. This performance kicks off her singing career, as well as their fiery relationship. As Ally’s star begins to rise, Jack’s descent into alcoholism becomes more apparent; despite their shifting paths, they decide to get married. However, their troubles only intensify, culminating in a drunken and embarrassing event at an awards show that lands Jackson in rehab. He successfully goes through the program and is welcomed back by Ally, but he ultimately recognizes that his addiction will only hold her career back, so he makes a choice to end his life. Ally, devastated, performs a tribute song to her man; his star has fizzled out as hers continues to shine brightly, although a bit diminished from heartbreak.

Bradley Cooper set himself up for a double challenge in this film - directing himself in a lead role in his first directorial debut - and he rises to the occasion. His character spends the majority of the film on a spectrum of haze from being drunk or high and Cooper is able to capture this altered state, even showing the difference in his eyes; however, the heartbreak of the film wouldn’t work without his winning over the audience with his genuine heart. The performance is truly amazing, not only considering his significant amount of screen time, but also the majority of those in difficult and vulnerable scenes; he has set the stage for his future directorial career, even more notable if he can pull off this duo role additional times.

There are also stellar turns from other players, from Dave Chapelle to Sam Elliot, both who contribute to the film’s tone of being grounded in reality. More credit must be given to Cooper, who co-wrote the script and knew the story inside and out, but also has emerged as an actor’s director, understanding the language necessary to speak directly to his fellows. A highlight is the authentic interplay between Elliot and Cooper, who felt like true brothers with weighted history. Even after their falling out, when they see each other again at a loud venue, the way that Elliot’s character is conscious of Jackson’s hearing difficulties is such a small detail, but one that demonstrates the residual care and deep understanding of these siblings. Also, their final scene, where Elliot drives away after an emotional Jackson tells him a truth that was hard to say and yet means everything, the look on his face as he drives back in reverse...well, that is some good acting while operating heavy machinery.

And finally, the star of the show, Lady Gaga, a worldwide mega-star herself who must capture the journey of a nobody, rising star, and transformed diva, all in her first starring acting role. A herculean effort, but one that she pulls off with humor, strength, and vulnerability. The audience will surely be aware of her queen of pop status when entering into the theater - talented singer-songwriter with outlandish costumes (that include a meat dress), and songs with hooks that get stuck in your head for days. Lady Gaga herself has crafted her career on constructing her image and brand, clothing and making up her body with extravagant concepts and creating pop hits with a clearly studio produced sound; at the same time, she is an accomplished piano player, sings with skillful technique, and has collaborated on jazz albums with Tony Bennett - so her musical bonafides are also legit. This interplay between constructed image and underlying authenticity is at the heart of this iteration of A Star is Born, and Lady Gaga was perfectly cast, as her star persona and career is already a mixture of these two concepts.

The first time we glimpse Lady Gaga as Ally, she is performing at a drag bar, where she is dolled up on stage, performing La Vi En Rose. She catches Jackson’s attention, who is intrigued enough to visit backstage and, in an intimate moment, assists in taking off her fake eyebrows. She emerges from the dressing room as a subversion of her current star persona - she appears with no makeup, regular hair, and street clothing. Once Jackson pulls her onstage and ignites her career, Ally has transformed into the Gaga we know, with outlandish clothing and dyed hair, pop beats that overwhelm perceived musicality, and appearances on popular talk shows. Once tragedy has unfolded, we are presented with a new sophisticated Ally, singing a torch song in an elegant dress and with an orchestra, the focus of the music on her powerful voice.

These various iterations of Ally set the stage for the exploration of the theme of authenticity - what defines it, who controls it, and what is allowed within image, music, career, and love. What can be considered real? The film’s narrative posits the belief that acoustic rock is natural and that the world of pop, with its outrageous outfits, designed makeup, and vapid lyrics, are a construct and therefore not as real. Jackson clearly resents that Ally chooses that path in her career - they have the same conversation three times in the film - on the rooftop in full view of her billboard, an epic fight in the bathroom, and finally her visit to him in rehab - and each time he asserts his disappointment in her choices; only in the final conversation does she see that he won’t back down from this belief. While she defends her career and brand, she does show some early reticence about adding dancers to her act, stating “I don’t want to lose the part of myself that is talented,” implying that adding elements that contribute to spectacle takes her further from the authentic music.

And so, the question is posed - is she asserting her own personality in the pop star version of Ally? Is it an act that she is even conscious of making? When Ally is first presented on-screen, she is completely made up at the drag queen bar and Jackson’s first act is to remove her stage makeup - and they never really break out of this pattern until the end of the film. Does his death shock her out of a constructed inauthentic state - so much that in tribute to their love, she asserts a new star persona - abandoning the roles of the rock sidekick or designed pop star - and evolving into a refined singer in a beautiful dress, backed by an orchestra, and singing a torch song to the man she loved. The film seems to pass judgement on the type of career that Lady Gaga herself personifies and yet, must acknowledge that any presentation on stage is a constructed image, just as the composition of the film itself is a construction as well. Striving for authenticity is a noble task in all works of art, but what defines something as authentic? When asked in an interview for the film about whether it was scary to show her face on-screen with no makeup, Lady Gaga responded that was a representation of Ally and that she herself, as Lady Gaga, felt more authentically herself when dressed up in makeup and hair done. In the end, authenticity is a representation of one’s true nature or belief - who am I (or Jackson Maine) to question someone’s true definition of themselves - whether sans makeup or outrageously painted, expressing studio produced pop music or live acoustic ballads.

Speaking of music, the soundtrack for this film is delightful, not surprising given the talent of Lady Gaga writing the songs, but Cooper contributes to his long list of accomplishments for this film by adding his guitar, voice, and musicality to the songs. Music is integral to the dna of this film, which takes time to feature the multitude of songs, not just in clips or sequences, but sometimes highlighting an entire set piece. To justify spending that much film time, the songs must carry weight in the storytelling. For example, a song lyric that Jackson croons - “maybe it’s time to let the old ways die” - captures the story arc of Cooper’s character in a single melodic expression; he is the old, Ally is the new, and the song is almost a predictive, mournful lament to his future. The variety of the soundtrack is also notable, tracking the various stages of Ally’s persona and career - demonstrating the talent of Gaga’s ability to craft songs that serve story and character, but also that can be listened to and enjoyed on their own merits.

Another aspect of the film that shows a thoughtfulness of direction was the use of light, adding a layer of commentary on character to the scenes. For example, the beginning of the film shows Jackson performing a concert while high and the bright, blurry lights and constant camera movement captures that feeling and invites the audience to (almost) share that experience. After he returns from rehab and enters his dark house, a sign that reads La Vi En Rose turns on and floods his empty house with red light and a burst of Ally’s energy and spirit, a touch that reminds the character and the viewer of the beginning of this couple’s journey. Additionally, when he is settling into the house, sober and playing with the dog as Ally watches from afar - this is literally the most pure that he’s been and the light shows that quality; it is warm and golden and shines bright, almost taking over the entire frame with its radiance, but only for a moment, which parallels his character’s trajectory. Pure in that moment, but winking out soon, for when the camera returns to the house later, flooded with the police’s flashing red and blue lights, interplaying hauntingly with the red sign in the house, the audience knows that this light means death.

The bookends of the film show the crossing of the two people’s careers, life, and energy. At the beginning of the film, Jackson invites Ally to attend one of his concerts, and he sends her a car to pick her up; here, he has the power in the relationship, but by the end, she is the one with the concert, she offers to send a car, she has the complete power in the dynamic. The narrative is truly one of his star falling and hers rising.

The final conclusion to Jackson’s fall from stardom is a heartbreaking one, pushed by a music executive that is selfishly concerned with his pop star’s career rather than a human being’s fragility. Tragically, rock stars too often live the story that is dramatized by Jackson’s character - extremely talented, leaning into the rockstar lifestyle, only to flame out from drugs. For Jackson, addiction is a powerful disease and the chances of relapse could be high; he is vulnerable and listens to a voice that expresses all his fears out loud, internalizes that message, and then makes his decision. At the same time, it is infuriating that this person (who has dragged down multiple people he loves), who put in some work and had been making amends with those people, to be so completely in a vulnerable place and to be thrown down by a ruthless stranger was heartbreaking to watch. Because you want to root for people. But old habits die hard. And he really did love her and want the best for her and so decided to take his potential destructive behavior out of the equation so she could go on to better heights than he could ever have achieved.

This film may be the fourth remake and may be telling a familiar story about artists rising and falling, but ultimately, it is about the journey of that story, the music that is created, the moments that are captured, and the chemistry of the players. A Star is Born, 2018 edition, captures the essence of these characters, highlights the stellar music, and delivers a heartbreaking ending that leaves viewers thinking about the question of authenticity in art, love, and oneself.

#a star is born #lady gaga #bradley cooper

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milkchu · 5 years

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❝my oscar-nominated crush.❞

Summary: (Y/N) (L/N) is nominated for Best Actress in the 91st Academy Awards and is a huge fan of the Bohemian Rhapsody movie. What happens when she meets the Male Friends™?

Pairing: Joe Mazzello x Actress!Reader

Warnings: Swearing (a lot)

A/N: i’ve had this idea in my head for a long time now so i decided to just make a fic about it. i had a dress in mind (the third picture shown in the article) but it’s really up to you what dress you’d want to wear! happy reading! 💓

tags; @icantgetnorelief // @b-hardys // @spideyyypeter // @hunterswearingplaid

“Oh my god, are we late?” You asked your manager slash best friend, who was sitting beside you, softly squeezing her knee in worry.

“Don’t worry, (Y/N). It’s normal to arrive at this time, Gaga hasn’t even arrived yet.” She reassured, holding your hand in comfort.

“Holy shit, holy shit, holy shiiit,” You babbled, feeling an entire zoo fill up in your stomach.

It was your first time getting nominated for an Oscar, for Best Actress, if I may add, hell, it was even your first time at the Oscars.

Sure, you went to some award shows and premieres, but this was the first ever major event you’ve ever been to, it was the Oscars, for crying out loud.

You continued to bounce your knee in anticipation, just waiting for the car to pull up at the Dolby Theatre.

“What if I fuck it up? Oh my god,” You fretted, immediately burying your face in your hands.

“Hey, hey, hey,” Your manager whispered, pulling your hands away from your face, “I’ll be here to guide you all throughout, I’m your manager for a reason.”

“Okay, all right,” You exhaled slowly, trying to calm your nerves.

Slowly arriving at the Theatre, your manager, tapped your knee, “All right, here we go.”

After some guy in a black suit opened the car door, your manager stepped out first before offering her hand to you, helping you out of the car.

As you stepped out, she helped fix and adjust your very long custom Paolo Sebastian white gown that had a cape.

Afterwards, your manager went to your side and began walking towards the red carpet, you following her.

Immediately being blinded by all the lights and the cameras, you already heard some people shouting your name. It was so surreal.

“(Y/N), over here!”

“Give us a pose, (Y/N)!”

“(Y/N), look!”

Even though you were extremely nervous and overwhelmed, because there were so many stars literally in the same area as you, you still kept your composure and kept calm.

After being called over by Ryan Seacrest and some other hosts you were familiar with, your manager continued to guide you through the venue.

As you were walking down the painfully long red carpet, you immediately spotted a familiar head of grey curls that caught your attention.

“Holy shit, is that Brian May and Roger Taylor?” You grabbed your manager’s arm, stopping her.

Squinting your eyes to get a better view, you confirmed that it was indeed, Brian May, with some other men.

Immediately wailing your arms around in excitement, you squealed, your manager shaking her head, laughing, “Just go, (Y/N).”

Without hesitation, you pulled your skirt up, and since you were wearing heels, running was not an option so you just started to fast walk towards the group.

Your manager chuckled, immediately following you, making sure you didn’t trip.

She knew how much you loved Queen and their new movie, Bohemian Rhapsody.

Like, right now, she just witnessed you completely bypass Bradley Cooper, who was about to greet you but then you didn’t even notice him as you were too excited to meet the rock legends.

She would have to remind you to apologize to him later on.

Approaching the group, one of them had already spotted you so they had already turned to you.

“Oh my goodness, hello,” You smiled at each and every one of them, “I love love loved the movie!” You beamed.

“I’m happy to hear that, love, Congratulations on the nomination,” Brian shook your hand, giving you a smile.

“We hope you win tonight,” Roger added, immediately sending you a wink.

You laughed, a bit nervously, tucking your hair behind your ear, “We’ll see about that.”

“All right, everybody, we’re gonna go now, have to set up for the opening and everything,” Brian said before waving goodbye to all of you, leaving you with the four men.

“You guys were incredible! I mean, all of you absolutely embodied each character,” You complimented them, before they thanked you.

As you all were talking about random things and them congratulating you for the nomination, you were particularly taken with Joe, the guy who played Deacy, your all-time favorite Queen member.

You knew him from Jurassic Park, of course, and his other movie that you absolutely loved, which was Undrafted.

So, let’s just say, you’re kind of. . . attracted to. . .him his acting ever since.

After taking a picture with the four of them, you immediately positioning yourself beside Joe, for certain reasons, you felt your manager nudge you on your side, you immediately felt your heart sink.

“Oh, sorry guys, I have to go now,” You pouted, “I’ll see you all inside, yeah?”

They all said their goodbyes, each one giving you a hug for good luck, but probably lingering a bit longer for Joe.

You waved at them before walking away towards inside the theatre, “We hope you win!” You heard Joe shout from behind, immediately making you laugh and feel your heart being lifted.

“I noticed that mozzarella guy literally staring at you with heart eyes the whole damn time,” Your manager smiled smugly, nudging your arm.

You rolled your eyes playfully, “First of all, it’s Mazzello, second of all, he was not, okay?”

“Alright, whatever you say,” She sang, continuing to lead you inside the theatre.

Finally seeing your favorite band of all time perform live at the opening, it was nothing like you’ve ever experienced.

As they were playing, you were full on standing throughout ‘We Will Rock You’, just singing out the words you knew so well.

You maybe even shed a few tears when you saw Freddie appear on the big screen behind them.

But, eventually, the moment you’ve been dreading for was fast approaching.

“Glenn Close. . .The Wife.”

“Lady Gaga. . .A Star is Born.”

“(Y/N) (L/N). . .(Movie Name).”

“And the Oscar goes to. . .”

You swore you felt your heart climbing your throat.

“(Y/N) (L/N).”

And your whole world just completely stopped. Your manager was hugging you, jumping in her seat, your co-stars were kissing your cheek, and hugging you.

As you walked up the stairs to the stage, one of presenters lending you his hand to help you up, you felt your heart beating faster at each step.

After hugging each of the presenters and receiving the golden statue, you went towards the microphone and started,

“How did this happen?” You said into the microphone, the audience immediately erupting in laughter.

You genuinely thought you wouldn’t win, especially alongside these amazing actresses, so you actually did not have a speech prepared.

But, you managed to get some words out, despite the nervousness, it consisted of you thanking some people, especially your manager, who has been by your side all your career, and fangirling over Lady Gaga, who was seated right up front.

Eventually, the show came to an end, but you still had to go over to the Engraving Station to have your name engraved on the statue.

As you sat down on one of the seats, watching as the person was engraving your award, you felt a presence beside you.

“(Y/N), hi,” You turned around, to see none other than Joe Mazzello himself, and felt your heart jump.

“Oh my god, hi Joe,” You smiled, immediately pulling him into a warm hug in which you definitely felt some sort of electricity that sent your heart beating faster.

As both of you were hugging, you swore you saw Gwilym, Ben, and Allen in the back, snickering and pointing towards you two.

After you pulled away, Joe sent you one of his soft smiles, “Congratulations, on the award.”

After thanking him, he added, “You deserved it, you’re one of the best actresses I’ve ever seen,” He said, a blush making itself known on your cheeks.

“Oh, that’s too kind of you, Mr. Mazzello,” You laughed, trying to cover up the warmth in your cheeks.

“I really mean it,” He smiled, both hands inside his pocket, probably trying to hide the fact that they were sweaty.

You thought he was so cute so you giggled softly, before he continued, “I was wondering if. . . maybe. . . you’d wanna hang out sometime?” He looked up at you.

Just near you was your manager, whom you could already hear her screaming in her head for you to just say yes.

“I’d love to,” You smiled, him immediately lighting up and grinning at your answer.

“All right! I’ll just message you on Instagram, is that okay?” He asked, before you nodded, “That’s perfectly fine!”

After saying your goodbyes to each other, your manager immediately ran to you side, “Oh, honey,” She drawled.

“Not only did you win a fucking Oscar, but you also won a boyfriend.”

#kinda shitty but meh #hardyzello #joe mazzello #joe mazzello x reader #joe mazzello imagine #borhap #bohemian rhapsody #borhap imagine #borhap boys #borhap cast #joe mazzello fic #joe mazzello fluff

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ethenell · 5 years

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Best Films of 2018: Honorable Mentions

The time, once again, has come. The Oscars nominations are out there, and they’re ... puzzling ... But anyone interested in an alternate take can look no further.

The cinema of 2018 offered too many notable treasures to whittle down to a simple list of ten, so before we get into the meat of my countdown, here is an alphabetical list of ten films that just missed out on making my list, but are essential viewing for anyone looking to take in the best that 2018 had to offer.

Enjoy!

Blindspotting (dir. Carlos López Estrada)

I’m still waiting for the moment when the world collectively discovers the thing at which Daveed Diggs is not amazing. He had already garnered acclaim as a part of the experimental hip-hop group clipping. before reaching a wider audience and netting himself Grammy and Tony Awards for his role in the paradigm-altering musical, Hamilton. To that already distinguished list, we can now add co-writing and co-starring in one of 2018’s most original films. Blindspotting, set in Digg’s hometown of Oakland, CA, is a searing take on gentrification, racism, and police brutality that show off a deep understanding of the myriad political problems in the rapidly-changing Bay Area, while displaying an equally deft touch with the characters who find their lives irreparably damaged as a direct or indirect result. It’s impressive work from Diggs and co-writer/co-star Rafael Casal that first-time director Carlos Lopez Estrada brings to life with singular vision. Something tells me we’ll continue to see more of everyone involved, but Diggs is undoubtedly headed for greatness.

The Death of Stalin (dir. Armando Iannucci)

You’d be forgiven if you thought the creator/director of Veep, The Thick of It, and In The Loop had already mined politics’ deepest, darkest depths for the pitch-blackest comedy that one could possibly generate from the toxic combination of bureaucratic incompetence and egotistical narcissism. However, as The Death of Stalin shows with brutal precision, you would be wrong. The Death of Stalin is at times so bleak its difficult to even describe as a comedy without a bit of a cringe on your face, but it revels brilliantly in the theater of the absurd and probes ruthlessly at the ruling class with chilling contemporary resonance. And that’s all without mentioning that it features one of the best ensemble performances of the year. In a time when its easy to despair how much our everyday political reality has started to resemble a particularly discomfiting episode of Veep, Iannucci makes a triumphant return with an even more discomfiting message - never forget, things can always get much, much worse.

Hereditary (dir. Ari Aster)

Another year, another Sundance horror breakout. Even if it doesn’t quite match up with some of its more distinguished predecessors (I wouldn’t quite put it at the level of It Follows, The Babadook, or The Witch) Hereditary is clearly the year’s best horror film, featuring a handful of sequences sure to push you to the edge of your seat, and then keep you up at night. The perennially under-appreciated Toni Collette delivers a performance of such vast emotional range that it deserves mention among the absolute best performances of the year – which, of course, meant that it was doomed to be ignored by the Oscars. Nevertheless, any fans of the genre should stop what they’re doing (including, presumably, reading this list) and watch this film immediately. You won’t be sorry.

If Beale Street Could Talk (dir. Barry Jenkins)

A pairing like Barry Jenkins and James Baldwin makes so much sense, and has such immense creative potential, that it’s generally something that could exist only in cinephile dreams. It simply makes *too* much sense. Yet, here we are, and Jenkins’ follow-up to the critically-revered Moonlight, an adaptation of one of Baldwin’s lesser-known novels, If Beale Street Could Talk, is very much real. Does it measure up to the immense expectations thrust upon it, due in no small part to Moonlight’s rapturous reception and the much-hyped pairing of Jenkins and Baldwin? In some important ways, no. Is Jenkins’ script at times overly-reverent of its source material? In some important ways, yes. But when Jenkins filters Baldwin’s story of the redeeming power of love in the face of oppression through his own unique cinematic voice, the results are breathtaking. Jenkins remains one of cinema’s greatest emerging artists.

Mission: Impossible – Fallout (dir. Christopher McQuarrie)

At the very least, this latest installment in the M:I franchise was the most balls-to-the-wall fun I had in a theater this entire year, hurtling at a breakneck pace from one jaw-dropping set piece to the next with one of the world’s biggest stars carrying the screen from the first frame to the last. But at most, you could call it one of the decade’s best action films, with some of the most breathtaking stunt work ever put to film with an absolutely singular star who continues to push his penchant for cheating death and tempting fate for our entertainment to daring new heights. The truth probably lies somewhere between the two extremes, but either way, the Cruise’s latest ride as Ethan Hunt is undeniably one of the most thrilling yet.

Private Life (dir. Tamara Jenkins)

With 11 years having passed since her Oscar-nominated feature debut, The Savages, hit the silver screen, news that Netflix was financing and developing a new film from Tamara Jenkins was met with nearly unbridled optimism. More than delivering on that promise, Jenkins once again delivered a film that delves deeply into all-too-common but dramatically under-explored modern adult experiences. While The Savages followed two adult siblings dealing with the mental decline of their elderly parent, Private Life details a couple in their 40s going through fertility treatments. Like her debut, Private Life uses this trying, even destabilizing experience to explore the ways in which our long-established adult lives can be uprooted as much by our own choices as by external, unforeseeable events. With two sterling performances from Kathryn Hahn and Paul Giamatti at its center, Private Life is rife with incisive observations about overlooked truths of aging together. It’s beautiful work, and undoubtedly one of Netflix’s best “original” offerings.

The Rider (dir. Chloe Zhao)

Using a cast of untrained actors to spin a poetic tale lost opportunity by way of the American rodeo, director Chloe Zhao’s sophomore feature has keyed her as a rising master of cinematic realism. The film follows the struggles of a former rising rodeo star dealing with the fallout of a traumatic head injury suffered during a bronc riding competition, and mirrors the real-life experiences of its star, Brady Jandeau. who Zhao befriended while shooting her debut feature, Songs My Brothers Taught Me. Drawing out brilliant performances and setting them against the perma-golden picturesque of the Badlands, The Rider is a testament to what truly independent cinema is capable of and is sure to springboard Zhao to greater heights.

Spider-Man: Into the Spiderverse (dir. Bob Persichetti, Peter Ramsey, Rodney Rothman)

The most unexpected triumph of the year, Spider-Man: Into the Spiderverse is not just a high watermark in the Spider-Man film series, it is almost certainly the best film to ever come out of Marvel Studios, and possibly the greatest superhero film since The Dark Knight. With an airtight script that spans several universes (literally) with ease, and featuring some of the most glorious and inventive animation ever to grace the big screen, Into the Spiderverse is a rare and perfect marriage between the words on the page and the visual language employed on screen. It a testament to what’s possible when talented artists with an original vision take big risks - it’s a breath of fresh air.

A Star is Born (dir. Bradley Cooper)

Even with an improbably underwhelming Oscar campaign sputtering its way to the finish line, it’s hard not to peg A Star is Born as the year’s most-talked about film. Bradley Cooper brought his gestating passion project to life with scope and vision rarely seen from a first-time director and Lady Gaga turns in an absolutely electric performance that elevates the film whenever she’s on screen. From the spine-tingling live concert scenes to the beautiful on-screen chemistry between Cooper and Gaga, there’s an awful lot to love about this latest iteration of this long-tenured Hollywood classic. Sure, there’s also plenty to nitpick at - obviously more than enough to fuel a backlash against the once-assumed Oscar frontrunner - but when this film is firing on all cylinders, it’s right up there with the greatest cinema of 2018. Cooper is officially a filmmaker to watch, and A Star Is Born looks every bit like a directorial debut that will stand the test of time.

You Were Never Really Here (dir. Lynne Ramsey)

One of the year’s most boldly-directed films, Lynne Ramsey’s latest is a lean thriller that goes for your throat but takes up permanent residence in your gut. Ramsey and star Joaquin Phoenix (delivering yet another show-stopping performance) bury you deep inside the mind of killer for hire, traumatized by his abusive childhood and haunted by his military past, as he embarks on a job to rescue a young girl from sex traffickers. If this premise seems familiar, believe me, the execution is anything but. Ramsey’s direction is unerringly brilliant, elevating You Were Never Really Here well beyond it’s pulpy origins to bracing, almost hallucinogenic heights. Oh, and did I mention it boasts one of Jonny Greenwood’s most adventurous scores to date? If that’s not enough to get it in your Amazon Prime queue (hint hint), then I don’t know what to tell you ...

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littlemissidontcare · 8 months

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I can’t stand that shipper blog. But I had to go see what the convo was over there about the sightings. I’m not the anon from NYC arguing with that mod. I’m a New Yorker that knows Seb gets spotted. But if you don’t live in New York you don’t understand that it’s just not a big deal to us imo. That I can agree with the anon in that blog. Something people are not understanding is that Seb knows how to hide in our city. He looks like an average tall dark haired typical guy. We New Yorkers literally just want to get from point A to point B in as little time as possible. The vibe here is different. We don’t walk slow or look around other than to pay attention to where we’re going. Yeah we see celebs all the time but we go about our day. I can’t tell you how many times I’ve seen Bradley Cooper and his baby mama. (She is so annoying but their daughter is adorable) So I do agree with the other NY anon that it’s just not a big deal. He’s gonna get a tweet or DM sighting on occasion but it’s not as much as fans think. Even back in the day 2016-2018 with Marvel being so hot, he could go weeks 4-6 without a fan selfie in NY. The only reason we knew he was there was his own social media use because he would post stories but even then he was really careful. Sooooo this long with no sightings of him isn’t uncommon. And he could very well be in NYC right now. But he could also be anywhere in the world. No one knows but ruling NYC out completely because he hasn’t been spotted is dumb. We’ll know where he is/was when he’s seen.

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kelnius · 5 years

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A Viewer’s Review of...

I've already reviewed Avengers: Infinity War, and I felt like that movie was an achievement on multiple levels. Not only did it manage to tell a compelling story with so many characters, but it also managed to be a "Part 1" film which didn't feel like a movie that was cut in half. Which is ironic in a sense, when you think about it, since the plot of that movie was a villain who was literally trying to cut the population of the universe in half, but maybe I’m reading too much into it...

This movie starts where that one ends, literally picking up the broken pieces and strewn characters, and putting them back together so that we can see just how different the world has become after the events of the last film. And if this movie does one thing better than its predecessor, it is pacing. I felt like the last movie was in a rush to get started, but this movie starts off slow and sombre, building in pace as the story progresses. The only major downside I can see in this movie is that what makes it so enjoyable is the fact that it's the swansong of the Marvel Cinematic Universe's Phase 4, in particular the last story in the Infinity Saga - and if you don't know what "Phase 4" is, well, that's my point

[For the record, Marvel Studios' refers to each chapter of their connective cinematic story (each ending with an Avengers crossover movie) as a "phase" and this ends the story arch that these first 22 movies have been telling for the last... wow, eleven years - which is called “Infinity Saga”.]

In retrospect, a lot of this plot is right there on the screen, so you probably could watch this without seeing the previous movies. Although you may not understand - for example - who exactly "Captain Marvel" is, the way she acts and others act around her, you could probably understand most of what's going on based entirely on context clues. Except maybe where the talking bipedal raccoon came from. But, even if that's a possibility, I still feel as though it is preferable to watch these movies together. Especially since this movie serves as a kind of victory lap for how far the films have come, and it includes a lot of cameos and call-backs to the previous movies that might not hit the same note if you'd never seen these characters before.

Also, although it's kind of petty, I don't like the title - I assumed it would be "Infinity Gauntlet", and honestly I prefer that title (gauntlet like both “glove” as well as “challenge”... no?). I can see why they went with Endgame, but still... Anyway, that is opinion. What isn't opinion is that the acting here is, for the ultimate majority of the cast, totally on-point. Robert Downey Jr. and Chris Evans are front and centre, and I would argue that they are the main characters in this film as Iron Man and Captain America - with both characters being noticeably developed from their prior iterations, and they drive this plot forward. There are some surprisingly moving moments from Karen Gillan as Nebula, a character who always had a lot of complexity under her metallic, blue surface, but that comes out as she is forced to confront her past, and show just how much she's grown. I also felt like Don Cheadle as War Machine was given a bit more personality here, and I appreciated seeing Scarlet Johannson and Jeremy Renner's platonic chemistry as Natascha Romanoff and Clint Barton, both equally pained yet hopeful for the future. And, Bradley Cooper somehow still manages to remain both flippantly funny as the voice of Rocket the Raccoon as well as deeply empathetic (also, Sean Gunn is the actual guy on-set in the motion capture suit for Rocket, so he deserves praise as well).

The only aspect of this film which was oddly distracting, was some of the comedy. One character in particular, despite the tragedy he's gone through, is basically played for laughs - a powerful figure downgraded to a clown. His antics feel like a distraction rather than any kind of development. But, I am probably in the minority since most people loved this kind of portrayal in his last movie, so maybe you'll love it too, and this really wasn’t enough to downgrade the movie.

I’ve been talking about the acting and the context, but the ultimate element that makes this so fantastic is, without a doubt, the story. This was an amazing conclusion to this saga. A lot of people have been theorizing about who would die, who would live, how the villain will be defeated, how the heroes will be saved and what new powers would be introduced to resolve this. Some theories were better than others, but I feel like this film managed to utilize the most reasonable solution, whilst also maintaining the dangers therein. Also, this film's final act is basically awesome spectacle followed by awesome spectacle. I was on the edge of my seat through the action scenes and fight choreography for a sequence that lasted for what felt like a full 20 minutes. I struggle to explain how great this extended scene was to watch without going into detail, but if nothing else, it's well worth the ticket price.

So, all in all, I recommend this film. It's certainly no spoiler to say that almost every Marvel movie has had a post-credits scene, and so I waited through the credits to see what the future holds for this series. The credits themselves were impressive, with the actors literally signing their work since they're clearly proud of this achievement. But something most people don't seem to be talking about is that the "end-credits scene" is actually just and end-credits sound - what sounds like a hammer hitting an anvil. This may be a reference to the first Iron Man movie, but I feel like it's much simpler than that - the future movies are still "under construction". This is the end of an era, the last chapter of a great saga, and the future hasn't been written yet. Sure, we're getting a Spider-man sequel soon, for what is most likely to be contractual reasons (since those films are still made with the permissions of Sony), but this is the final part of this story, so far. So, you should definitely see this, and I'm happy to say that you shouldn't be disappointed.

A Spectacular End to a Marvelous Saga … - 8.5 ⁄₁₀

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sizequeen1 · 5 years

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Marvel Movies from Worst to Best

Thor: The Dark World: Pure garbage. I honestly can’t remember anything about except how pissed I was that i wasted money on two tickets. Just an absolute waste of time.

Iron Man 2: This one seemed rushed, as if they had churn out a sequel as quickly as possible. Some inadvertent hilarity with Poor Mickey Rourke’s accent and costuming.

Captain Marvel : Terrible. Just the epitome of paint-by-the numbers-Marvel factory junk. Destroyed Nick Fury’s characterization. A poor story in which Carol’s secret is already revealed the audience before she knows it leaves the film devoid of suspense. Carol herself is just incredibly dull. Her character makes no sense and her lack of connection to the other members of her group leave the betrayal she discovers at their hands limp and unemotional. Finally, at this point the anti-SJW crowd is being blatantly used to market films starring minorities and women and to encourage those who support films starring marginalized groups by tickets in groves to fight sexism and racism. The film industry knows that we think that we’re doing politics through buying movie tickets. And all we do is further enrich a bunch of wealthy white men.

Ant-Man and Wasp: Every singe moment of possible pain or suspense is wrecked by the worst imitation Whedonesque humor. The only saving grace is how nice everyone is.

Ant-Man: Luis is the only reason to rewatch this. It wastes every scrap of the inventiveness inherent in the premise.

Avengers: Age of Ultron: Honestly, not the worst film in the world but the plot and characterization of Tony Stark and the bland jaw droppingly bad romance between Bruce and Natasha is hard to recover from and the lack of consequences for Wanda beyond the death of her brother is a head scratcher. I did like Ultron though. He was appropriately creepy villain, and I got his motivation: Peace can only be achieved if humans are gone.

Thor: Meh. I think I rewatched this once. Thor’s wig is bad, the story is basic, and Natalie Portman is embarrassed to be there. Also, the Loki cult was born here, and I never got the appeal.

Doctor Strange: Who cares? I just got nothing out of this. It’s not a bad movie at all and has lovely visuals but I have no interest in a sequel.

The Incredible Hulk: This movie was...fine? It was fine, It was decent. It was like a cafeteria pizza. Okay.

Spider-Man: Homecoming: Great casting can’t defeat the fact that this is the third go-round on this character in a decade. Despite this, the fact that destroyed the soul of the character by taking away his guilt over the death of his uncle, making the franchise a non-starter for me. Spider-Man isn’t Spider-Man without his pain. He also isn’t Spider-Man in a high-tech robot suit.

Guardians of the Galaxy: I saw that the film was quality, but almost nothing made me laugh. I thought Gamora was such a boring warrior chick stereotype and Peter was just an unbearable man child. Drax made me alternately laugh with his literalness and wince at his sexism. The only characters I liked completely were Rocket and Groot. Rocket is a tragic figure. This is the only Bradley Cooper movie I could sit through.

Iron Man 3 2013: I liked this one surprisingly well. The plot twists were great and we got to see who Tony is without the suit, and he is more than a philanthropist billionaire. I liked that Pepper got to fight and save Tony for once. The banter with Rhodey was also good.

Captain America: The First Avenger: The end drags a bit, and the villain is disposable, but this is the Steve Rogers that I originally fell in love with. The first half creates a character that is indelible and moving as Christopher Reeve’ Superman.

Iron Man 2008: Some of this hasn’t aged well but I guess Tony was supposed to be a repulsive scumbag, but RDJ knocked the character out of the park. Tony’s losses, his suffering, his betrayals, shaped him into a better man.

Avengers: Infinity War: The film is solid, emotional, and the end packs a wallop. The only problem is that it is incomplete.

Guardians of the Galaxy Vol. 2: I didn’t bother seeing this in the theater since I was underwhelmed by the first one, but when I did see it, I was surprised by how moved I was by the story of fathers and sons and sisterhood, and surviving abuse. They managed to take some pretty shallow characters, like Yondu, and create people whose lives and feelings I cared about. I got to know Gamora and Nebula, a seed that really comes to fruition in Endgame. In this film Gamora began to be a character for me beyond “reluctant love interest” and I came to understand the source of Peter’s childishness. The sexism and racism in the film are still jarring, and those aspects won’t age well.

Captain America: Civil War: Woo. Where do I start with this one. I actually thought they did a great job of expressing Tony and Steve’s philosophical differences although I know that these people are too smart to ever let it come to blows. There were real emotional stakes and consequences here to Rhodey’s health, Bucky’s freedom, and Tony and Steve’s friendship.The originl of Black Panther was entertaining and perfectly integrated into the film. The break up at the end felt genuinely heart breaking. It also had one of the best fights (Steve and Bucky vs. Tony) since the elevator fight in CATWS.

Marvel's The Avengers: Joss had a hell of a challenge in making this, the first real superhero team up, and he did an amazing job. He had to have costumed (no in all black leather) heroes on the screen and have the audience take this seriously. He had to make Loki scary enough to warrant the assembly of super heroes. He had to quickly get the audience up to speed on the characters. The end battle goes long as these movies tend to, but all of the action told a story, was exciting to watch, and illuminated character. Yes, Cap’s characterization is a little wonky, but this is the first version of Black Widow that felt three dimensional and the best, most accurate Bruce I have ever seen.

Black Panther: Great sets, costumes, characters and a unique story put this one high on the list, but the politics are wonky (they made the CIA the good guys WTF and portrayed Erik’s desire for revolution as sheer psychotic violence). In addition, the political mobilization around the film was disturbing to me. It scares me that black people think we’re doing politics by buying movie tickets that will just make a lot of rich white men even richer.The film also suffers from having an uninteresting protagonist. I’m also concerned about the fact that it eliminates two out of three of BPs major antagonists (Klaue and Killmonger) and makes an ally out of the third.

Avengers Endgame: I’m putting this third but honestly, I enjoyed every part of this movie from beginning to end. The Stony shippers, the Stucky people’s complaints, the time travel arguments? All of that shit perplexes me. I honestly thought the entire film made sense emotionally. The deaths made sense. Those who were brought back made sense. I don’t watch these films for scientific accuracy or to have my slash itch scratched. It was straight up fan service. I left the theater was a scratch in my throat from all my joyful shouting.

Thor: Ragnarok: Just spectacular. I found the first two Thor movies forgettable and didn’t bother watching this one in the theaters. Waititi took certain aspects of the character teased them out more fully and let Chris be Chris. The visuals are gorgeous. I laughed. I cried.

Captain America: The Winter Soldier: Yeah, this is still the best Marvel Movie, probably because it feels least like a Marvel movie. It’s a tight spy thriller from start to finish. The last James Bond movie attempted a similar plot about government surveillance, and frankly crashes and burns. The plot, characterization, dialogue, and action in CAWTS in addition to being utterly fantastic, all work together to show how Steve is and is not getting along in the present. It shows me who Steve really is always will be the guy who fights for what’s right no matter what. This film brings Steve into the 21st century and he’s the same guy but somehow more so, and his old fashioned morality turns out to be exactly what we need. Finally: elevator fight.

#marvel #avengers #avengers endgame #movie list #movie review

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letterboxd · 5 years

Photo

Pop star.

Dominic Corry heads to the AFI Fest screening of Natalie Portman’s new film Vox Lux, then hears what the Oscar winner has to say about it.

In Vox Lux, late 2018’s other pop star drama, Natalie Portman gives one of her rawest ever performances as Celeste, a global superstar about to embark on a huge tour. Even among fictional singers, Celeste has a unique backstory.

The first third or so of the film chronicles how a young Celeste (played by English actress Raffey Cassidy from Tomorrowland and The Killing of a Sacred Deer) barely survives a high school mass shooting. At a memorial for her fallen friends, she performs a song with her sister, and it goes viral. A manager (played by Jude Law) takes notice, and Celeste is on her way to Taylor Swift levels of idolatry.

The film then jumps ahead two decades to 2018, with Celeste now played by Natalie Portman. In a high-concept casting gambit that ends up working extremely well, her teenage daughter Albertine is also played by Cassidy.

Like in A Star Is Born, there is a resentment-laden relationship with a talented older sibling, Celeste’s sister Eleanor, played in both time periods by the ethereally ageless Stacy Martin (Nymphomaniac).

But ultimately Vox Lux treads a very different path to Bradley Cooper’s smash hit. This is an intensely intimate film that culminates with a spectacular meltdown and an arena-worthy pop star performance from Portman, who absolutely kills it performing songs written by prolific pop music genius Sia. It’s rare that “fictional” hits sound so convincing.

Raffey Cassidy and Natalie Portman in Brady Corbet’s ‘Vox Lux’.

Vox Lux was written and directed by Brady Corbet, who first came to prominence as an actor in films such as Gregg Araki’s Mysterious Skin (2004) and Michael Haneke’s 2007 remake of his own Funny Games. Vox Lux is Corbet’s second film behind the camera, following the 2015 period drama The Childhood of a Leader.

With Vox Lux, he ties tragedy and celebrity together in a thorny character study.

Following a recent screening of the film in Los Angeles, Portman got on stage to discuss making Vox Lux. Here’s some of what she had to say:

On what drew her to the role: Natalie Portman: It was an incredible opportunity to play a character that I’d never had the chance to play before. And also to work with someone like Brady who I think is incredibly talented and interesting and full of great ideas. And then also, I think a lot of the themes are really relevant to the world we live in. It feels like a really accurate portrayal of what it’s like to live in this moment in history, which feels very specific in a way that I hadn’t seen reflected before.

On how she approached the character: The biggest part of the character was the writing. Brady wrote such a specific character that felt so rounded and just like a real human being. Sometimes she’s really authentic and sometimes she’s totally fake. Sometimes she’s cruel and sometimes she’s gentle. And sometimes she’s performing and sometimes she’s being. It was really just remarkable reading it. So I feel like that really provided a great blueprint.

On whether or not she discussed how to approach Celeste with Raffey Cassidy, who plays the younger Celeste: We actually didn’t and I think that was intentional for Brady because he really wanted them to be different characters. Because she’s really changed obviously from this innocent young woman at the beginning and then we catch her after twenty years of hard life and I loved the fact that he chose to skip that period because we all know how to fill it in, we know plenty of, you know, the hard times of a pop star, the rocky road until their resurrection, it’s such a familiar tale to us so we don’t have to see it.

On working alongside Cassidy, who also plays her daughter, Albertine: Raffey’s remarkable. We didn’t rehearse together, we just started working together. The first time I saw her as young Celeste was when I saw the finished film, so to see how she could modify her performance so subtly [as Albertine] and really be believable as two completely different characters. I really thought Brady was nuts, I was like, “Are you sure? You’re gonna make me stand next to the actor that played me in the beginning and try to make people believe that we’re the same character?” But Brady was really convinced about it, and I think it’s so powerful in the film. I think we still often see our kids as versions of ourselves, and how we relate to them with all the self-hatred and self-love, alternately, or sometimes all at once. And then I think it’s just so powerful to have it embodied, the entire time she’s with her daughter, she’s also with her younger self. Both as what that means for everyone experiencing parenthood, but also for the film to see both of these versions of this woman together. I think it works because it’s like a metaphor but it also works literally. She does such a great job of acting. You do always believe that both characters are different people, but she holds within her both characters, so there’s like a doubling of meaning all the time.

On working with Jude Law again: Jude is just one of the greatest actors. His voice in this is different than I’ve ever heard. It has such amazing resonance. He is again also one of the kindest most wonderful people I know, a real major talent. It was very lucky ’cause this is the fourth film I’ve been in with him. We worked together for the first time on Cold Mountain almost twenty years ago, and then Closer, and we both were in the Wong Kar-Wai film My Blueberry Nights, [but] we didn’t have scenes together. So I’ve known him over the course of like, twenty years. We’ve never been like buddies or hanging out or anything, but I’ve worked with him and so it was lucky going into this that we had a history and comfort level to play off of, so like day one, I already felt at ease.

On performing songs written by Sia: It was incredible when I received the script to have the Sia songs with it, I remember getting an email with these attachments of the songs, and she sings them herself on the demos so of course they’re just gorgeous. Beautiful, beautiful songs, really great pop songs so I knew that it was realistic, because if you read a script and it says “and then she writes a hit pop song” and you don’t see the song, you’re like: okay good luck getting that. But it was clear from the beginning that it had this incredible music. And then getting to record it was really fun, because I got to work with [longtime Sia collaborator] Chris [Briade] who’s incredible and just the loveliest person. To see what they can do, they’re the real artists, they can do so much magic to make things sound like what we’re used to hearing.

On how she prepped for the lengthy song and dance performance finalé: Physically it was a lot of preparation, I worked with [movement coach] Raquel [Horsford], I worked with my husband on the choreography, across like a month. I actually prepped the film twice, because the night before, I think I was on my way to the airport, the first time, and they were like, “Turn home, the financing has come apart”. The movie was cancelled and I had prepped everything. When everything got pulled back together again it was a few months later, even though of course it was relatively recent in my memory, I had to kind of start over. So that was kind of nice because it gave me a longer time to prep, and a longer time to sit in my head and my body and all that.

So physically, it was dance training, physical training to have this endurance, and then emotionally I kept asking Brady if I should be kind of ‘off’. She’s had this massive breakdown, she’s had this drug experience, and he was like, “No, she’s out of it but she’s a professional, and she’s done this a million times…”.

She can handle it to the point where the audience isn’t aware that she had a drug-fuelled meltdown minutes earlier. So that was really informative in terms of the headspace, that she can kind of enter a space and leave everything behind her. Which is an interesting key to the character too because there’s a certain kind of erasure that I think must have to happen.

‘Vox Lux’ is in US theaters now.

#letterboxd #natalie portman #interview #film #vox lux #brady corbet

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