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myriadof-fandoms · 2 years

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harringrove week day 3 - the summer of 1963

prompt: dirty dancing

ao3 link

Steve hates Patrick Swayze’s stupid face. He’s over it. They’ve watched Dirty Dancing approximately a thousand times and he’s had it. He knows the songs, and he knows the dances, and if anybody asked he could probably recite the entire thing by heart.

And yet, shockingly, upsettingly, frustratingly, Billy is still not done. He’s still just as obsessed.

Steve curses the day he thought it would be a good idea to force Billy to watch a romantic drama with him. He should’ve known better, in fact he does, he fucking knows Billy is a sap. He’s caught him reading romance dime novels intently more than once.

But no, some part of him had thought it’d be funny to watch Billy deny liking the movie. Except, it has backfired in so many ways.

It was funny, adorable even, at first. In the cinema, right at the back where they always sit, when Billy shushed him and leaned away when Steve tried to kiss him.

“Stevie, go away, didn’t you hear that Penny’s pregnant?”

And it was still adorable when Billy forced him into the cinema again the week after. Steve wasn’t about to argue that the film wasn’t entertaining, and after all he could definitely appreciate seeing both Jennifer Gray and Patrick Swayze once more.

There was also something about seeing Billy so invested. Even if it wasn’t the badly acted denial of interest he was originally hoping for.

They only saw the movie in the theater once more a couple days later when they took Max and Eleven to see it and that was it. The calm before the storm settled in.

The storm that arrived when Billy came home smiling like the cat that got the cream holding a VHS.

Ever since, Steve’s life has been hell.

Patrick Swayze is on their TV, all the time. They want to spend time alone on a Saturday night? Dirty Dancing. Max is over to visit Billy and they need something for background noise? Dirty Dancing. Billy feels shitty? Dirty Dancing. Robin and Eddie come for movie night and it’s Billy’s pick? Dirty Dancing. Billy’s feeling good? Dirty Dancing.

So Steve finds himself once again, on his sofa, just trying to read a paper for his class and there is Patrick Swayze once again.

“This is my dance space. This is your dance space.”

And Steve is about to scream, he really is, but then his eyes catch Billy in their kitchen. Their tiny space that barely deserves to be called a kitchen and is directly connected to the living room. Not too tiny to not be used as a dance floor apparently.

Billy’s moving to the song playing in the background of the film, really just swaying a little back and forth, but still, dancing.

And Steve, well, he might be annoyed as hell but he’s even more in love. And if he goes and joins Billy, hugging him from behind and moving along with him and then soaking up the smile he gets in response, then really nobody will ever know.

Maybe he should draw the line two weeks later. They’re high as hell and obviously the movie playing in the background is Dirty Dancing. It’s during the scene in which Johnny takes Baby to learn the lift in the water when Billy turns to him, “Let’s try that.”

“Are you insane?”

“C’mon, Harrington, you can pick me up any other way too.” Billy is grinning like he’s already won.

“You are insane.” Obviously, Billy has already won.

It does lead to them having to call Robin at 1am because as anyone could’ve expected they could not do the lift successfully and now Steve has a broken nose thanks to Billy's knee and Billy has a laceration on his forehead thanks to their coffee table.

Eddie has the courage, or maybe just the audacity, to call Billy out one day, “You have a fucking crush on him.”

“What?” Billy doesn’t even look away from the screen where Johnny and Baby are saying goodbye by his car.

"I guess we surprised everybody."

“You have a fucking crush on the dancing guy and that’s why you want to watch this goddamn film all the time,” Eddie’s laughing now.

“Shut up, Munson.” There’s a slight flush to Billy’s cheeks but he’s so focused on the movie itself that it barely even registers.

“Hey Steve,” Chrissy calls out to the kitchen from where she’s leaning against Eddie’s chest. “Do me a favor and stand next to the TV.”

Like most other people Steve would do almost anything if Chrissy Cunningham asked, so despite some confusion he does.

Both Chrissy and Eddie start laughing menacingly when the next shot of Patrick Swayze comes around.

Billy blushes some more and Steve remains clueless.

Sometimes, Billy cries when Baby’s father is so quick to dismiss Johnny, his judgement easy and harsh. Billy’ll hide his face against Steve’s chest and sniffle into the fabric of his shirt. He cries harder when Johnny talks about his prospects in life or the women who used him. The worst is when Baby goes to her father and tells him that he has to love all of her even if she isn’t exactly how he expected her to be.

Most times, Billy will kiss Steve with intent when Johnny gets fired after Baby stood up for him. Strong and secure kisses that say much more than words could. Kisses that make Steve think of the time he punched Neil Hargrove in the face after he had to drive Billy to the hospital with a traumatic brain injury.

“Nobody has ever done anything like that for me before.”

And Steve can’t really hate the film much in those moments.

He can hate it again easily when he wakes up to hearing Billy wail along to Hungry Eyes or Hey Baby though.

Steve is not having the time of his life and if he has to hear that goddamn song one more time-

He buys the vinyl of the soundtrack for Billy’s birthday.

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i did ignore one very specific fact for this so: enjoy joe keery doing the lift bye

#i love this film more than life thank you for your time #also dont tell me patrick swayze and steve harrington dont look like they could be related #harringroveweek #harringrove fic #billy hargrove #steve harrington #harringrove #stranger things fanfiction #harringrove fanfiction #stranger things #mimi's writing #mimi makes things

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mehmetkali · 1 year

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#IFTTT #0 554 1730000 I [email protected] / Güncel Havacılık Haberleri

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lillylunala · 2 years

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He wasn’t scared, he was startled!

#big difference #sam and max #sam & max #sam and max freelance police #freelance husbands #geek #darla gugenheek #comic #lillys doodles #Max watching high class cinema over there #fr tho dont google it..

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365days365movies · 3 years

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February 1, 2021: Dirty Dancing (1987)

There are two people to credit for the beginning of this month. The first is my girlfriend, who asked that I represent her with this GIF.

Thank you, dear. Anyway, this is one of her favorite romance films, and she’s also not a big romance movie person. She was shocked that I hadn’t seen it, and that’s because of the second person to credit here: my Mom.

That is my Mom in the late ‘80s with her Pomeranian, Pugsley. Yup. This is just the GODDAMN SURFACE of my Mom, who’s quirky as shit. Love her for it, though. But, OK, why is my Mom involved here? Because this is also one of her favorite films. My Dad’s, too, but I’ll talk more about him in April.

However, if you read the Romance February introduction from yesterday, you might be wondering something. If my Mom’s taste in romance movies was so prevalent in my early life, how in the hell have I never seen this movie, one of her favorites? Especially considering the fact that, TMI here, but I WAS BORN TO THE FILM’S SOUNDTRACK. YES. REALLY. HOW HAVE I ESCAPED THIS MOVIE?

Yup. No clue. Shall we remedy that? SPOILERS AHEAD!!!

Recap

It’s 1963 in the Catskills, where Frances “Baby” Houseman (Jennifer Grey), a politically conscious young woman on her way into the Peace Corps, is going on vacation with her parents, Jake and Majorie Houseman (Jerry Orbach and Kelly Bishop), and her sister, Lisa (Jane Brucker). The owner, Max Kellerman (Jack Weston), who’s a friend of the Housemans, welcomes them to the resort.

Later that night, Max is briefing the young male waiters and entertainment, all of whom are hired from Ivy League universities. Well...except for the intriguing young dance instructor in the sunglasses. THAT...would be Johnny Castle (Patrick Swayze).

I wanna just say before I forget, I miss Patrick Swayze. He’s awesome, and he left far too soon.

The next night, during dinner, Max introduces Baby to his grandson, Neil (Lonny Price), who’s just graduated from Cornell’s Hotel Management school. A school which, for the record, is the best hotel school in the USA, and second or third in the world. Also, hotelies (that’s what we called them) are CRAZY. They’re an interesting...bunch...

I, uh... I went to CornellMOVING ON

As Neil awkwardly hits on Baby, everybody encourages them having a relationship, despite her CLEARLY not wanting any of this. She instead watches Johnny skillfully mambo with another girl on center floor. After being roped into a magic act by Neil, and given a chicken by Stan (Wayne Knight, which I’m a fan of), she leaves, annoyed and irritated.

On her way back, she sees Johnny’s cousin, Billy (Neal Jones) struggling with a few GIGANTIC watermelons. She offers to help him, and he brings her to a secret house party, where some dancing’s happening. Some...dirty dancing.

Interesting side note here: racial integration! In 1963, remember, so that’s interesting. I mean, if anybody’s a fan of that, it’s gonna be me. At the party, Johnny arrives with Penny Johnson (Cynthia Rhodes), his dance partner from the mambo floor. Johnny sees her there, and questions her presence, to which she makes an adorably awkward comment. And then...they do a dance of their own.

The next day, Lisa makes a love connection with one of the waiters, and asks Baby to cover for her. Baby also speaks to Penny, who doesn’t come from the best background. That night, Penny’s missing, and Neil gives Cornell students just the WORST goddamn name as he very awkwardly hits on Baby. He takes her to the kitchen, and that’s where Baby sees Penny.

Yeah, Penny’s not OK. Baby goes to Billy and Johnny, who go to get her. Turns out Penny’s pregnant, but Johnny’s not the father. They’re obviously quite close, although they aren’t romantically tangled. Baby, coming from a place of much higher privilege, doesn’t quite understand how difficult this is. Penny berates her for this, and it’s revealed that the father is Robbie Gould (Max Cantor), one of the waiters, who’s also the guy that’s been hanging around Lisa.

Baby confronts him the following day, where he states that “Some people count, some people don’t.” He also offers her a copy of The Fountainhead, a well-known book for complete and utter douchenozzles. She warns him to stay away from her sister, then goes to ask her father for money for the abortion. Which, by the way, was very illegal in 1963. She gets the money from her dad, who gives it without asking many questions.

However, there’s an issue; Johnny and Penny have to dance on the only night she can get the abortion. And there’s nobody to replace her...except maybe Baby? Johnny’s entirely against it, they end up convincing him, for Penny’s sake. And now, we get a hallmark of ‘80s cinema: the training montage.

This is a pretty good time to note three things. One, Jennifer Grey is the daughter of Joel Grey, one of the GREATEST actor/dancers ever to grace Hollywood and Broadway. Dude was one of the main characters in Cabaret, for which he won an Oscar, and originated the role of the Wizard of Oz in Wicked. So, yeah, she’s got dancing blood. Secondly, Patrick Swayze and Jennifer Grey apparently HATED each other. Yeah, kind of a bummer. But their chemistry was SO GODDAMN POWERFUL, that they were able to push through their feelings and do this as well as they are. And third...THIS SOUNDTRACK BOPS.

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I get it. I GET IT.

Something else I get, too. The chemistry between Grey and Swayze really does sizzle, GODDAMN. Over the course of the montage, they clearly get closer emotionally...and physically. And yeah, it’s definitely there. Although, given the fact that they’re from different class backgrounds, it’s probably gonna be one of those stories. Well, OK. Let’s do it.

After a little too much time practicing, the two take a break. And yet, while on a nature excursion, they continue their training in different environments. Most iconically, they practice lifts in the lake.

Yeah...yeah, I get it.

The day approaches, and Baby and Penny have a bit of a heart-to-heart. Penny asks Lisa to cover for her (and I’m betting that she won’t, LIKE AN ASSHOLE), and she heads to the dance gig. It mostly goes OK, but the lift is aborted at the last second. However, the performance is still received well. They leave JUST before an elderly couple from the resort sees them.

Johnny gives her a pep-talk, telling her that she did well, and the music on the car radio hints at their growing mutual attraction. But once they get there, tragedy’s struck. Turns out that the abortion doctor was a dangerous quack, and Penny’s now dangerous injured, in pain and possibly dying. Panicking, Baby does THE RIGHT THING, I can’t stress that enough, THE RIGHT GODDAMN THING, and gets her doctor father.

Understandably upset (and yeah, it is understandable, all things considered), Dr. Houseman forbids Baby from seeing Johnny or any of the others ever again. This situation...sucks. Damn. And Baby agrees, as she sneaks off to see Johnny anyway. She apologizes to Johnny for how her father treated her, but Johnny blames his own social status for it, rather than her father.

Their conversation becomes very real, and eventually turns into Baby declaring her love for Johnny. As a song comes on the radio, she asks him to dance with her. Giving in to his own feelings, he agrees. And together they engage in some...Dirty Dancing.

As the two dirty dance horizontally, the night turns to day. That morning, things are definitely awkward between Baby and her father, who almost takes his family away that night. But, his wife and Lisa convince him to stay. He even comes back to visit Penny, checking in to make sure she’s alright, which Baby finds out once she does the same.

Things are also a little awkward between Baby and Johnny, interestingly. Wonder how last night ended. Well, Penny figures it out, and warns Johnny about the risks off getting involved with the upper class. Which, remember, is how she ended up this way. The two have a tense-but-intimate exchange. Which just preludes this IMMEDIATELY happening.

Yeah, that’s not a surprise. Well, more heart-to-heart proceeds, and they continue to learn about each other’s lives. That night, Lisa tells Baby that she wants to go all the way with Robbie. Despite Baby’s warnings, Lisa simply tells her off, and is generally, I’ll be honest, a bitch. The next morning, though, Baby and Johnny have another dance session. And it’s THAT session. You know the one.

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Neil interrupts, and proceeds to give a bad name to Cornellians everywhere (I’m not like that putz, I SWEAR), and pisses off Johnny in the process. She asks why he didn’t stand up for himself, and then immediately hides Johnny from her father, who’s walking with Robbie and Lisa. Rightfully calling her a hypocrite, he storms off.

And then they immediately resolve it. Which, GODDAMN, do I appreciate. Robbie strolls by, makes a typical crass comment about Baby, and then Johnny BEATS THE EVER-LOVING SHIT OUT OF HIM

OH FUCK YES. And if that wasn’t enough catharsis, Lisa catches Robbie with one of the high society wives from earlier, as they sleep together in a cabin. OH. YES. THAT’S SOME GOOOOOOOOOOOOD SHIT.

Baby and Johnny, in the actual good and fully-developed relationship of this movie, spend the night together. And are seen the next morning by the high society wife, who had the hots for Johnny.

The wife, Vivian (Miranda Garrison), implicates Johnny in stealing a wallet. Johnny’s about to be fired, and then BABY ADMITS THAT THEY WERE TOGETHER IN FRONT OF HER FATHER HOLY FUCK

She did it. She actually did it. Goddamn. And then, AND THEN, she TELLS HER FATHER OFF AND CALLS HER OUT FOR HIS ELITISM HOLY FUCKING SHIT I AM IN LOVE WITH THIS MOVIE. And then, Jerry Orbach fuckin’ starts tearing up, and I AM SHOOK MOTHERFUCKER

And yet, even though the wallets were actually stolen by an elderly couple that Baby actually implicated, Johnny gets fired anyway. GODDAMN. After Baby completely loses heart, Johnny confronts her father, and learns that he believes that he was the one who got Penny pregnant. Johnny semi-tells him off, then walks away.

At his car, Johnny and Baby say goodbye with a kiss, and Johnny heads off forever. I mean, probably not, there’s a good 16 minutes left, and we haven’t gotten to the most iconic scene of the film yet. But anyway, Baby mourns her lost relationship, and her sister actually bonds with her over this whole thing. Hot damn.

I want to punch Neil in the goddamn face. Mostly just because he’s on screen, but also because he LITERALLY ruins the goddamn anthem of Cornell University, by setting the anthem for the resort against its melody. Goddamn you, Neil. GODDAMN YOU. Also, fuck Robbie, because he LITERALLY OUTS HIMSELF to Dr. Houseman as Penny’s former deadbeat partner. As the anthem continues (to my rage), who shows up but Johnny, who comes to stick up for Baby and all she’s done.

He brings her up on stage, and interrupts the anthem (THANK YOU CHRIST) to perform the last dance of the season, as he always does. Despite Dr. Houseman’s would-be objections (prevented by his wife, who has moved up on my list of favorite characters), the two are left alone on stage. And that...is when the song plays. YOU KNOW THE GODDAMN SONG

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Y’know, it’s funny, because this song is definitely an ‘80s song, making this whole sequence pretty goddamn anachronistic, but WHO CARES!? It’s one of the most iconic sequences in film history, especially of the era, and I love the hell out of it. The crowd cheers, the rest of the kids join in, the lift happens, father and daughter make up, everybody dances, I dance with my girlfriend, I LOVE IT! They kiss, they dance and the film fades to black.

Dirty Dancing! See you in the Review! Oh, I’m changing the name of that section, by the way. Alongside a few more things. You’ll see.

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things-we-used-tc-share · 4 years

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hostage

"Let me crawl inside your veins,

I'll build a wall, give you a ball and chain,

It's not like me to be so mean,

You're all I wanted,

Just let me hold you,

Like a hostage,"

-hostage, Billie Eilish

Ship: Logan/OMC, Platonic or pre-romantic (up to reader to discern) Logince.

Warnings: This fic contains implications of emotional abuse and domestic violence. There is some displays of emotional abuse, this work may be triggering for some readers, and viewer discretion is advised.

Plot: Logan is getting rather tired of his life repeating itself.

Read on AO3

Logan feels like he can’t breathe. He’s felt this way for months but today, tonight, it’s such a heavy feeling that it crawls inside his throat and strangles him from the inside. A panic attack; he’s not had one of those in so many years, for the most part he’s almost a little disappointed in himself, he’d thought he was past that. Past this…this senseless panic. He’s fine, Logan Sanders is always fine.

Right up until he isn’t.

“Lo…Logan…” His head feels like it’s underwater despite the fact he knows logically he is on dry land and safe. Sort of. He’s not in any immediate danger, but then he feels a warm hand on his arm and finds himself feeling like the walls are pressed to his skin, snapping is bones as they draw closer and closer. He’s not breathing, he wants to breathe. He wants to see but his eyes are swimming, suddenly he is at the bottom of the ocean and the entire world is just a broken mirror in front of him. So close, but he can’t walk into that world. Everything is too close, and Logan cannot breathe.

“You’re making it worse, let go of him,” The hand removes itself, and Logan knows that voice; he knows it’s a safe voice. His breathing stutters and he finds the air again. Those vacant blue eyes recognise unruly red curls and he breathes in deeply, wanting to be closer to them, wanting to find the freckled hands that those curls and calm green eyes belong too. The walls crumble. “It’s okay Logan, in through your nose, out through your mouth,” Logan breathes in “Good, in and out…1…2…3…4,” And the voice continues to talk in such a slow and calm way, like the pulse of a heart or a metronome. “There you go bud,”

The tears dry on Logan’s face, his eyes find the ones that have been watching him, crouched against the floor like a wild animal trying to make itself smaller for its cub. “Roman,” Logan’s voice croaks, his hand scrambles to grip the soft hand that is outstretched to him. “Thank you,”

“No problem, Microsoft nerd,” He chuckles.

Logan notes out the corner of his eyes, the narrowed gaze of the cause of his panic attack. Logan lets go of Roman’s hand and sinks against the floor again, taking a deep breath. Roman does not miss the movement and his gaze goes cold as he looks up at the other occupant of the room. “Why was he panicking so much, James?” The way Roman says Logan's boyfriend's name is like a poison in his mouth.

“I don’t know,” The man replies, his eyes far too innocent. “I just came home, and he was like this, I didn’t do it, maybe he should go back to therapy,” Logan rests his forehead on his folded arms and takes a shaky breath in. He doesn’t speak, but he screws his eyes shut, he’s getting tired of his best friend and his boyfriend arguing over him; but there again he’s almost sick of denying the truth to the one person who could actually help him.

“He is right here, and listening,” Logan interrupts, rubbing his temple with a stressed expression “I’m fine, it was just a minor inconvenience, I’m fine,” He stands on shaky legs, his hand resting on the back of the couch as he crawls to a standing position, swaying where he stood. Roman’s eyes seem to stare straight through him. “Why are you here Roman, don’t you have class?” There’s a flicker of hurt in the other’s far too kind eyes, and he sighs; ‘great, Logan, push away everyone,’ he thinks to himself. It’s for the best really, the other really doesn’t need busying himself in Logan’s trauma again, or his upset, or his worry, or whatever it is that he’s been feeling for months.

His suffocation.

Like he’s being buried alive.

“Empty schedule this week, you said we were going to the cinema, remember?” Logan’s shoulders sag and he inhales deeply, his eyes closing in preparation for the inevitable. James’ gaze goes sharp as he turns to stare at the thinner, smaller, more exhausted man. Logan can feel the heat in that gaze.

“Babe, we already had plans,” They didn’t. Logan nods anyway, swallowing dryly. He stares at the floor and nothing else. The words don’t sound like a request, they sound like someone’s holding a knife to his throat, Roman’s jaw tenses a little and Logan just knows this is it, the waves of fury rippling off the other, the hurt, he knows what an explosion looks like.

“Just re-schedule, you always have plans, I should get to spend time with my best friend,” Roman’s teeth are gritted, his hands balled into fists by his side. Logan shakes a little, he feels like someone is laying his corpse into dry earth, like he’s about to choke on the weight of soil and the ground beneath him will pour into his lungs. Why does he feel like someone is dressing him up for a funeral? He wishes he could understand why his brain feels like it’s on fire. Why he can’t breathe around his lover. Why he’s scared of Roman’s anger.

“I’m just more important to him, I guess,” James shrugs, and their gazes both go to Logan’s shaking body. Maybe it’s the smug look on James’ face that pushes the final piece into place and the man remembers why he was panicking in the first place, why Roman saved him, over and over again.

“No, you’re not,” He whispers, voice small and scratchy and terrified. “You’re not more important,” Logan swallows, his spit feels heavy in his throat. “He’s just as important to me as you, he’s my best friend, he’s been my best friend since pre-school,” The silence is deathly, a knife couldn’t tear through the tension, Roman’s face would look proud if he couldn’t see how fearful Logan is. “And I guess he’s seen this one before,” The laugh that leaves Logan’s lips is not humorous, it holds no happy, no excitement; it is a dry, stale laugh, the laugh someone gives on their death bed. “What is it about me that attracts men like you?” He whispers, he wants to cry, he does not cry.

“Logan,” Roman utters, warning a little as the expression on James’ face changes. “We should go, now,”

“No,” Logan shakes his head “What’s the point, really, we always seem to end up here,”

“The past isn’t an indicator of the future, nor is the present, you told me that,” He’s right, fuck, he’s right but Logan is tired. He’s so, so tired. His life is a repetitive motion, he exists to be used, to feel suffocated. A hostage in a broken game of love. Roman holds out his hand, the freckles crawl over his pale skin and Logan is distinctly taken back to a time where Logan would draw constellations between the little stars of Roman’s skin. He misses high school; he misses life before all of this started to happen to him.

He takes the hand that is offered to him, as he always does.

“We’ll have someone come around to collect his stuff,”

And just like that it’s over. There’s no screaming match, no thrown punches, he just walks away. James was a lot of things, but not exactly dumb enough to add domestic abuse charges to the long list of things he had done to Logan; all of which the other has no proof of. It’s infuriating that these people keep getting away with it, but at least he’s safely away from the man.

“It’s not your fault,” Roman says, Logan doesn’t believe him, so he just buries his face in his neck instead. He doesn’t feel like he’s suffocating when Roman holds him, he feels like he’s flying. His best friend. His stupid voice of reason. "Come on, you can crash on my couch for a while, I'll give Picani a call, and it's pizza and hot chocolate for dinner tonight," the gentle kiss against his temple has Logan melting, he's safe here. He's always safe here.

Ko-Fi

–

@analogical-mess // @unikornavenger // @mycatshuman // @creativity-killed-thekitten// @theresneverenoughfandoms // @charmingprincey // @heck-im-lost// @k9cat // @stilljittery // @romansleftshoulderpad // @sanderssideslibrary // @max-is-tired // @demigodnamedathena // @sevencrashing // @jemthebookworm // @sandersandthesides // @penguinkool // @georganabanana // @ao-koshka // @dangerous-doodle // @hell-or-high-waters // @no-sleep-gang-posts // @marshmallow-the-panda // @flix-net // @omni-hamiltrash // @an-absolute-failure // @mason-does-a-thing // @iceoblivious // @fandermom //

#ts sides #sanders sides #logince #ts sides fic #sanders sides fic #fanfic

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stargazing-enby · 4 years

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20 Facts for 2020

Tagged by @tsauergrass! Thanks darling 💗

1. Do you make your bed?

I try to! Whether my bed is made or not is probably an indicator of whether I am having a good or a bad day, although sometimes I don't make it simply because I need to rush to class in the morning and don't come back home till night 😂

2. Favourite number?

Don't have one!

3. What's your job?

Being a student 😂

4. If I could would I go back to school?

NO. I still have nightmares from school quite often

5. Can you parallel park?

I can't drive, so no

6. A job people would be surprised I had

N/A 😂

7. Do you think aliens are real?

I do believe it's possible that other planets out there bear life or have done/will do it at some point, yes. But I'm not scared an evil horde of aliens is going to conquer Earth anytime soon 😂

8. Can you drive a standard car?

I probably could if I had to, but...nope

9. What's your guilty pleasure?

I had to Google the definition of guilty pleasure because I've never been quite sure what that is (first result: something, such as a film, television programme, or piece of music, that one enjoys despite feeling that it is not generally held in high regard.)

And uh... I used to watch America's Got Talent despite it probably being the least ethical show I've enjoyed in the past few years, but I stopped when one of their golden buzzer YouTube headers was "girl defeats autism...". So now I guess I could say my guilty pleasure is probably reading fics on Wattpad sometimes 😅😂 everyone dislikes Wattpad, but I don't. Oops?

10. Tattoos

They're beautiful, but not for me, at least not at this stage in my life. I feel like I'm so young, and if I tattooed anything on my skin with any sort of symbolism right now I'd feel unable to grow up a few years from now; stuck in who I was when I got it. Does that make sense? I don't want to anchor myself to a moment in time and have to remember it when I've moved on from it.

11. Favourite colour?

Shiny, translucent, pale, and soft shades of light blue!

12. Things people do that drive you crazy

Ummm, LOTS 😂

- Smoke, scream, spit, litter, and use the car honk on the street.

- Keep sniffing over and over again instead of blowing their damn noses 😭 I've spent whole minutes staring at exams unable to write down a single word because someone nearby was sniffing and I could... Hear it...

- Prank people about things that aren't funny? Like if you tell me something bad happened I'm going to get worried! You can't just laugh and tell me it was a lie, that you just wanted to play with my feelings for fun! I don't trust you anymore. 😂

- Be on their phones in the damn cinema. Watch the movie at home if you're gonna ignore it 😒 or at the very least turn the brightness down?!? I swear.

- Keep their phones at max volume on the train. Like. LSKDKQJDJQN the other day this man kept getting calls over and over and over again, and he was ignoring them instead of picking up, and the volume was so high you could hear it over your headphones. Wtf man.

- A lot of other stuff 😅

13. Any phobias?

Not that I know of (or at least not that I know the name of. I have this recurrent intrusive thought of something I'm terrified will happen to me someday, but I'm not gonna name it for my own safety 😂)

14. Favourite childhood sport?

Soccer and rollerskating!

15. Do you talk to yourself?

Doesn't everyone? 😅

16. What movie do you adore?

Frozen/Frozen 2, Moana, Tangled, Beauty and the Beast (the one starring Emma Watson), quite a few Ghibli ones...I'm not really a movie person save for my comfort movies. Like, I'll watch random movies very rarely and enjoy them a lot, but I haven't watched a lot of them and I tend to constantly rewatch the same ones.

17. Do you like doing puzzles?

I actually love doing them!!!!

18. Favourite type of music

At this point in my life, pop/indie and videogame/shows/movie soundracks, and also a little bit of symphonic metal, alternative rock, and folk/classical rock. But mostly the first two.

19. Tea or coffee?

HOT. CHOCOLATE. 😤

20. The first thing you remember you wanted to be when you grew up?

A biker! I was like 4-5 years old and would prattle for hours about wanting a motorbike of every colour I knew. I'd walk up to strangers with cool motorbikes and reassure my parents I would always wear a helmet 😂

It me riding a fun fair motorbike 😂

Tagging @april-thelightfury115 @keyflight790 @julcheninred @gamerfreddie @tsundanire @sweetlialia anddd whoever else wants to do it, consider yourselves tagged! Please don't reblog this post, but tag me on yours so I can see 👀

#20 Facts for 2020 #Personal #Ableism mention #Intrusive thoughts mention #Long post

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letterboxd · 4 years

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How I Letterboxd #6: Sean Boelman.

Talking 2020 movie trends, the year’s best documentaries, and Elijah Wood’s death-stare with peach emoji lobbyist Sean Boelman.

“Honestly, there’s not much I like to do other than watch movies or go to theme parks, and one of those things wasn’t an option for months.”

In a year like no other for the movie business, it’s still possible to see hundreds of new films if you have the right connections. For professional critics, the downside of missing the in-person festival buzz and tent-pole previews is somewhat offset by the upside of being able to pace out your screenings in the comfort of your own home.

Wondering who might possibly hold the title of “the Letterboxd member who has watched the most new releases so far this year”, we poked around in the server room and found Sean Boelman, who has logged well over 400 films from 2020 in his diary. So far this year, Sean (20) has covered the Sundance, SXSW, Tribeca, Florida and Fantasia Film Festivals; he also reviews films via screeners sent through from PR firms. Sean hails from Orlando, Florida, and is the founder of movie review platform disappointment media, which he created to promote a wider range of voices in film criticism.

Park So-dam and peach in ‘Parasite’ (2019), directed by Bong Joon-ho.

How long ago did you join Letterboxd? I joined Letterboxd back in 2015. I attended a film class that summer and the teaching assistant had an account and encouraged all of us to create our own. I’ve been using the app religiously ever since.

You’re our youngest ‘How I Letterboxd’ participant to date. How would you describe your experience on Letterboxd as a teenager? When I was in high school, I was one of the earliest adopters of the app, so I told all of my friends about it and suggested that they use it too. By the time I got to college, it was already in the mainstream within the film community, so I was just the guy with the most extensive account. I love how Letterboxd is a community for film fans to talk about films we love, and with the exception of a few trolls every once in a while, it’s really conducive to good discussions.

Which features have you found the most useful? I’m definitely an obsessive logger. The diary feature is without a doubt my favorite part of the app. I started logging in June 2015 and have logged every feature-length film (and some shorts) I’ve watched since. I made the decision not to retroactively mark everything I’ve seen in my life as watched, because that would be too monumental a task. I also find Letterboxd particularly useful during a festival. It’s interesting to see the buzz about what movies people do and don’t like so that I can adjust my schedule accordingly.

And what’s a feature you wish Letterboxd had? I really loved when you guys changed the stars to flames for Portrait of a Lady on Fire. It would be awesome if you started doing that more regularly for releases that get a sizeable following. Like, give Parasite peaches.

Ivana Baquero and Doug Jones in ‘Pan’s Labyrinth’ (2006), directed by Guillermo del Toro.

What film kicked off your passion for cinema, and specifically, which films or community of film fans motivated you to watch as many films as you can find for the current year? I’ve loved cinema for as long as I can remember, but the film that I credit with really birthing my love for film as art is Pan’s Labyrinth. When I saw that in theaters at the—probably too young—age of six, I felt like [Guillermo] del Toro transported me into Ofelia’s world, and I then realized what magical capabilities the medium of film has.

As for why I’m motivated to watch so many new releases, I have a bit of an issue with saying no, haha. As a film critic, I’m inundated with requests to review movies, from major studio releases to B-movies most people have never heard of. I’ve done my fair share of adding titles to TMDb. I end up reviewing anywhere from ten to twenty new releases a week, depending on the season.

You’re a film critic, but you only post short summaries on Letterboxd instead of your full reviews. Why share only brief thoughts? Much of this boils down to the fact that when I watch something, it’s still under embargo for full reviews, so I can only log it in my Letterboxd diary and leave a little blurb. I also find that there isn’t as much room for humor in my full reviews, so I like using this platform to get my jokes out.

So, as of writing, you’ve ranked 457 films from 2020. What percentage of your total films seen are from these new ‘Roaring Twenties’? Out of the films I’ve logged on Letterboxd, it seems like about ten percent are listed on Letterboxd as movies from 2020. The actual percentage would be quite a bit lower than that, though, since my Letterboxd doesn’t include anything I watched prior to June 2015.

Before Covid-19 shutdowns, how many of these films did you have the opportunity to see in theaters? Which were your most memorable theatrical experiences of the year? In 2020, I was able to see 29 films in theaters, either paid or in a theatrical press screening, before they shut down. I’ve also gotten to see some since the shutdown in drive-ins or from the Florida Film Festival holding socially distanced, in-person screenings. But I definitely went through a bit of theater withdrawal. I missed the smell of popcorn dearly.

For my favorite theatrical experiences in 2020, seeing The Invisible Man on opening night with a packed crowd was definitely a hoot. I was sad at first to have missed the press screening, but like most great horror movies, it was awesome to see it with an audience and hear them gasp in surprise in the action sequences. Another one was getting to see Weathering with You in 4DX. Normally you wouldn’t think of that as a big, spectacle-driven 4DX movie, but it was super-immersive in all of the Sunshine Girl scenes.

And I have some awesome memories from SXSW 2019. At the world premiere of Us, I was pushed into Elisabeth Moss. I once got a death stare from Elijah Wood who seemed to think I was going to approach him. Don’t get me wrong, I love his work—but I wasn’t going to because of etiquette. I watched Long Shot with one of the world’s leading geneticists and then got to see Boyz II Men perform live. And I laughed hysterically when Robert Patrick said in a Q&A that even he didn’t understand the movie he was in. It’s a fun time. I definitely encourage any cinephiles to attend an in-person festival when things get back to normal.

You have more than seventy films in your 2020 list with five or four and a half stars. Would you describe yourself as a generous rater? I was definitely a lot more generous when I started my Letterboxd than I am now. I’m sure if I rewatched some of those films I logged in 2015 and 2016, they’d get a lower rating today. But I really don’t mind it. I don’t see my purpose as a critic as to tear apart the filmmaker’s art—I want to appreciate it. Maybe I’m a little liberal with my five-star rating, but what can I say? Gosh, I love movies. And for me, a five-star rating doesn’t mean perfect, it means great. I don’t think there’s such thing as a perfect film. A five-star [rating] from me means that it connected with me in an extraordinary way. I reserve the ‘like’ for films that set themselves apart from the rest of the five stars by some virtue. If I give it a five and a like, now that’s something you should definitely not miss.

Tunde Adebimpe in ‘She Dies Tomorrow’ (2020), directed by Amy Seimetz.

Your best film of 2020 so far is Amy Seimetz’s She Dies Tomorrow—it’s also your number three of all time. What resonated so strongly with you about the film? Are you surprised about its divisive reaction? I absolutely adore She Dies Tomorrow. I’ve really admired Amy Seimetz’s work as an actress for a long time, and her work behind the camera on this blew me away. I haven’t seen Sun Don’t Shine yet, but it’s on the top of my list. It connected with me because it really captured some of the anxieties I’ve been going through recently. She obviously didn’t set out to make the definitive Covid film, but that’s what it ended up being. And of course, how could you not love that film’s extraordinary use of color. It looks magnificent. But I’m not at all surprised at how divisive it is. It has a very segmented and unorthodox narrative, and not everyone is a fan of that type of structure. I understand why it hasn’t worked as well for some people.

What are the other most overlooked films of 2020 so far? In terms of overlooked 2020 films, I think the big one is the Russell Simmons exposé On the Record. I think that Kirby Dick and Amy Ziering’s The Hunting Ground is one of the most harrowing documentaries I have ever seen in my life, and On the Record combines a lot of that relevance while also offering a really compelling look at the life of a powerful woman in the music industry. It’s great, and only about one thousand members have logged it on Letterboxd. Watch it on HBO Max!

There are a lot of great movies released in 2020 that are widely available and [fewer than] 5,000 people having logged them on Letterboxd. A White, White Day is a great little revenge thriller from Iceland. But what makes it stand out from the genre is that it’s a lot more understated and character-driven than most. It has similar vibes to You Were Never Really Here, but perhaps even quieter. Maria von Hausswolff’s cinematography is absolutely breathtaking, and Ingvar Sigurðsson gives one of my favorite performances of the year. It’s just a gorgeous film.

Hlynur Pálmason’s Icelandic revenge thriller ‘A White, White Day’(2019).

The Painted Bird is a bit harder to recommend because it is by no means fun, but it’s one of those that you have to watch once and will never want to see again. I described it as “auteur shock cinema”. It’s a three-hour-long Holocaust drama that’s bleak and filled with torture, but it’s powerful, heartbreaking and harrowing. It also features great performances all around, especially from child actor Peta Kotlár.

I think Michael Winterbottom is one of the best directors working right now and I’ve always loved what he did with the Coogan-Brydon combo in his The Trip series, and this year’s entry, The Trip to Greece, is probably the best one yet. Over the course of the decade the series has spanned, Coogan and Brydon have changed a lot, and this series—in which they play themselves—has adapted to reflect that. This one’s a lot more heartfelt, but still features plenty of great impressions and tantalizing food shots. This really is one of my favorite film series of all time, so you should check all four out! Some other overlooked films I can think of are Jasper Mall, Aviva and Sword of God.

Which 2020 films would you say are the most overrated? Any absolute must-avoids? This is going to be a really hot take, but there was a trifecta of homebound horror flicks that came out in July—Relic, The Rental and Amulet—and I didn’t care for any of them. I think all the directors are talented and show a lot of potential, especially Natalie Erika James, but I wasn’t a fan of any of the films. As for ones to avoid, I try not to call out bad movies unless there’s a reason to [do so], and there are only two of those this year: Coffee & Kareem and Elvis from Outer Space. Coffee & Kareem is just offensive, and Elvis from Outer Space tries to be so-bad-it’s-funny and falls flat.

Jahi Di’Allo Winston in ‘Charm City Kings’ (2020), directed by Ángel Manuel Soto.

What films that you’ve been fortunate to preview via screeners or film festivals are you certain will be a big deal once they’re available on general release? Ugh, there are some I wish I could talk about but I’m still under embargo! So I’ll have to talk mostly about festival ones. Alice Gu’s The Donut King is wonderful. It was supposed to debut at SXSW, but obviously that got cancelled. On one hand, it is a food doc about donuts—who doesn’t love donuts?—but it’s also a moving story about the immigrant experience. It scored distribution from Greenwich and should be released soon. Charm City Kings is great, and HBO Max picked that up to be released sometime this year. That’s a really awesome coming-of-age movie with a story by Barry Jenkins. And I saw a work-in-progress cut of this indie called Millennium Bugs made by an up-and-comer named Alejandro Montoya Marín. He was part of the Robert Rodriguez show Rebel Without a Crew. It’s a great little movie about Y2K and the Latinx experience that will be debuting online at Dances with Films and is looking for a distributor after that.

Fill in the blank: “2020 is a great year for ____ in film”. What patterns have you noticed? I really think that 2020 is a great year for documentaries. We thought 2018 was a great year with Won’t You Be My Neighbor?, Free Solo, RBG and Three Identical Strangers, among others, but this year is shaping up to be even better. Boys State, The Donut King, On the Record, Rebuilding Paradise, Dark City Beneath the Beat, A Secret Love and Disclosure are all excellent, and that’s just scratching the surface.

I think what makes these documentaries stand out is their ability to make the viewer feel connected to their story. I love documentaries that take a story you might not have otherwise heard of and tell it in a way that feels intensely personal. By taking these stories like the problems inherent in American democracy, the immigrant experience, the California wildfires, the #MeToo movement, and issues with trans representation on screen and telling them in a way that people can relate to them even if they can’t personally identify with their subjects, these documentary filmmakers are making the world a more compassionate place.

What films are you most looking forward to that are scheduled to release in 2020? Any awards season predictions you feel strongly about? In terms of mainstream releases, I’m most excited for No Time to Die, unless it gets pushed to 2021 like some have rumored. I’m a huge Cary Joji Fukunaga fan, so I’m excited to see what he does with the franchise. For indies, I’m really looking forward to seeing Promising Young Woman, The Green Knight, Save Yourselves!, Nomadland and Another Round.

For awards seasons predictions, there are a few I’m pretty confident about based on what I’ve seen. Boys State is an early frontrunner for Best Documentary. I think Eliza Hittman will get some love for Never Rarely Sometimes Always. Dev Patel is a pretty good bet for a Best Actor nod for The Personal History of David Copperfield, even though the movie itself probably won’t get much more love. And there’s an upcoming Netflix movie that has a screenplay nomination in the bag, and maybe a couple other categories too, but shhhh, I’m under embargo on that one so I can’t say more.

Dev Patel in ‘The Personal History of David Copperfield’ (2019), directed by Armando Iannucci.

You keep thorough distributor rankings as well as year and franchise lists—how would you sum up the way each of these recently formed companies inspires you? Obviously A24 and NEON have amassed a pretty big cult following, and for good reason. There’s a particular identity their films have, despite the differences in genre, and I enjoy ranking them because of that. For the streamers, their films are a little more diverse, but I use my lists as a way for people to discover some of my favorite films they can watch at the click of a button. And for Blumhouse, it’s just because I absolutely adore the work Jason Blum does in supporting filmmakers’ voices. I’m usually pretty cool-headed around celebrities because interacting with high-profile people is a part of our job as critics, but I admittedly froze when I met him at SXSW since I’m such a big fan of his. I’ve always said that once I score an interview with him, I can “retire” as a critic, haha.

You’re of Guatemalan descent. Which films do you best relate with your Latino heritage? Of course, Pan’s Labyrinth is a big deal for me given the fact that it was a formative film in my life. [Alejandro] Jodorowsky’s The Holy Mountain is one of my favorite Latino classics. El Mariachi is great because Robert Rodriguez is the epitome of Latino DIY filmmaking and has always been such an inspiring figure. I got to interview him last year for Alita: Battle Angel, and it was an awesome experience. And in terms of more recent films, I think the Netflix doc Mucho Mucho Amor really captures the importance of community amongst Latinos.

What films are highest on your list of shame? I will say that I’ve seen more classics than I have logged on Letterboxd, but there are still a few embarrassing gaps on my list. I love the work I’ve seen from Akira Kurosawa, Brian De Palma, Agnès Varda and Chantal Akerman, and I really want to finish up their filmographies. Probably the most shameful omission I have is the fact that I’ve never seen a film by Ingmar Bergman. I’ve been lightening my workload for my site a bit, so I’m hoping to catch up on some of those soon.

Who are three Letterboxd members you recommend we follow? My friend Camden Ferrell who co-founded disappointment media with me. He’s also very passionate about film and does a lot of reviews for the site. Another one of our contributors is Sarah, who came on to the team during Sundance this year. She’s great and basically started the Portrait of a Lady on Fire fandom. I also want to give a shout-out to Jon Berk who was actually the critic to challenge me to start a blog back in 2016 when he was doing the Doug Loves Movies challenge, and now I’ve gotten to where I significantly outpace him, haha.

Sean’s site accepts story pitches from, and offers constructive feedback to, aspiring writers from under-represented and minority groups. Email Sean to find out more. Check out these 2020 rankings from Letterboxd members who have watched more than 100 releases this year: Orlan Harris, Austin Burke, Jerome, Joey Magidson, Kevin Yang, Jack, Jordan Raup, Matt Neglia, Weather Boy, Julian D, Johann Rucker, Mikey Brzezinkski, Ewan Graf, Denis Eremeev, Aaron King.

#How I Letterboxd #letterboxd members #letterboxd community #film criticism #film critic #latino cinema #portrait nation #letterboxd

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surveysonfleek · 6 years

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1123.

You win a shopping spree at three stores! Which stores do you choose? Barnes and Noble Target Maurices Kmart Micheal’s Rue21 Aeropostale Hot Topic Abercrombie and Fitch Victoria’s Secret Payless Shoe Source Claire’s Dunham’s Gamestop

You can take three vacations next year! Where do you go? Walt Disney World The Bahamas Alaska Washington state New York City England China Japan Australia The Grand Canyon Chicago Paris Italy Siesta Key, Florida You win three free meals! Which three restaurants would you eat at? McDonald’s a Chinese buffet a Mexican restaurant a sushi bar Wendy’s Applebee’s Steak ‘n’ Shake Arby’s The Cheesecake Factory Rainforest Cafe Hard Rock Cafe an Indian restaurant Subway KFC You win three adventures! Which three activities do you choose? skydiving bungee jumping snorkeling parasailing hot air balloon ride watching a movie at the cinema white water rafting amusement park water park camping at a national park skiing snowboarding ziplining dancing like no one’s watching You win three of these luxuries! Which three do you choose? professional massage getting your hair done at a salon professional manicure and pedicure professional make-over a visit with a fortune teller a new tattoo a new piercing a visit with someone who will really listen to you a sauna a gym membership a personal fitness trainer plastic surgery a date with a celebrity of your choosing a day playing with puppies You win three free items for your bedroom! Which do you choose? new curtains a new bedspread/comforter a new waste basket a bigger closet a new piece of art for your wall a new poster for your wall more clothes hangers a mirror a disco ball hanging from the ceiling a stereo system a loft new carpet stylish organizational bins a dreamcatcher You win three gift cards! Which three gift cards do you choose? your local coffee shop Amazon iTunes an ice cream parlor a department store a gas station Panera Bread Build-A-Bear Workshop a toy store a candy shop a bakery a health food store Spencer’s a pizza parlor You win three high-end luxuries! Which three do you choose? a professional photo shoot dinner at a fancy restaurant a cruise vacation a new car a ride in a limousine a trip to outer space a full scholarship to the school of your choice a professional camera new glasses fancy sunglasses a hot tub a swimming pool your own private island your own personal robot that does your bidding You win three more shopping sprees! Where do you choose to go? Buckle Kohl’s Macy’s Old Navy Hollister Petco Sally Beauty Supply Nordstrom’s JCPenney Sanrio Office Max Plato’s Closet H&M Forever 21 You have to choose three embarrassing problems. Which three will it be? huge zit on your face for a week slip and fall in front of a group of people walking by your diary read in front of the entire school someone opening the door when you are in the bathroom forgetting what you are talking about in the middle of giving a speech sitting on a whoopee cushion in front of a group of people having your secret crush announced on facebook walking around with toilet paper stuck to your shoe sitting on something wet, with no jacket to hide it falling in a mud puddle going without a shower for a week having your stomach growl loudly in public so everyone can hear having your phone go off in church throwing up in class If you could choose three items of clothing to win right now, which three would you pick? new swimsuit new skirt new jeans new pants new shorts new shirt new pajamas new dress new leggings new shoes new hat new headband new scarf Mark three of the most painful things you have ever experienced. childbirth cancer menstrual cramps getting braces on getting a tattoo broken bone appendicitis heartache migraine headache depression burns from a fire stomachache wasp sting other: You HAVE to get three tattoos. Which three do you get? a peace sign dreamcatcher a cross a skull a quote a name a Japanese letter a flower stars a heart a semicolon a question mark a smiley face something else Three rumors are being spread about you. Which three would you prefer? that you’re gay that you’re a thief that you’re pregnant that you cheated on someone that you’re dating a rock and roll star that you were switched at birth that you are rich that you are an abuse victim that you are transgender that you are poor that you are highly gifted that you are special ed that you can’t dance that you are dangerous Pick 3 movies you’d most like to watch. Mean Girls Toy Story 3 God’s Not Dead Despicable Me Titanic Cheaper by the Dozen Spy Kids A Cinderella Story Cars Beauty and the Beast The Little Mermaid Frozen The Cheetah Girls Good Burger You win three new electronics! Which three do you choose? laptop cell phone camera smart watch tablet stereo system ipod television gaming system digital picture frame calculator digital watch alarm clock digital clock

#survey #surveys #quiz #bored #questions

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esytes69 · 3 years

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From Black Widow to Haseen Dillruba, What to Watch This July

Black Widow is the plain spotlight of recent motion pictures and TV exhibits in July. The Scarlett Johansson-starrer is coming to theatres and streaming, however so not releasing in India on July 9, due to COVID-19 and Disney+ Hotstar's incapability to adapt, though that is most likely not going to cease enterprising Marvel followers. From India, July brings the Taapsee Pannu-led thriller Haseen Dillruba out July 2 on Netflix, Farhan Akhtar punching dudes in Toofaan out there from July 16 on Prime Video, the younger love Netflix anthology Feels Like Ishq on July 23, and the Jimmy Sheirgill-led thriller Collar Bomb exploding July 9 on Disney+ Hotstar. The second season of Netflix's By no means Have I Ever is due a day prior on July 15. In the meantime, Chris Pratt is headed to the long run in The Tomorrow Warfare, debuting July 2 on Prime Video. July can also be a giant month for sequels, follow-ups, and sophomore runs. Everybody's favorite Ted Lasso is again for some feel-good enjoyable; Ted Lasso season 2 begins July 23 on Apple TV+. Netflix is taking us again into the worlds of Resident Evil (video games) and He-Man (the ‘80s superhero) in July. Resident Evil: Infinite Darkness cuts in July 8, whereas Masters of the Universe: Revelation is due July 23. LeBron James goes to play some cartoon basketball in Area Jam: A New Legacy, premiering July 16 on HBO Max (once more, not in India). Guillermo del Toro's Tales of Arcadia wraps up with Trollhunters: Rise of the Titans, streaming July 21 on Netflix. Dwayne Johnson and Emily Blunt are off on an Amazonian journey in Disney's Jungle Cruise, releasing July 30. However, like Black Widow, Jungle Cruise is not coming to Disney+ Hotstar in July. Shailene Woodley and Felicity Jones lead the dual-timeline romantic drama story, The Final Letter from Your Lover, floating in July 23 on Netflix. And lastly, Keegan-Michael Key and Cecily Robust will probably be seen in a parody of musicals referred to as Schmigadoon!, beginning July 16 on Apple TV+. With that, this is our July 2021 information to Netflix, Disney+ Hotstar, Amazon Prime Video, HBO Max, Apple TV+, and Disney+. Haseen Dillruba When: July 2 The place: Netflix A newly-wed girl (Taapsee Pannu) who loves novels about small-town murders finds herself caught within the investigation into the homicide of her husband (Vikrant Massey). It would not assist that she has a sophisticated previous that entails a former lover (Harshvardhan Rane) and that her husband might need had suicidal tendencies. Or not less than, that is what the trailer suggests. Directed by Hasee Toh Phasee's Vinil Mathew, Haseen Dillruba additionally stars Aditya Srivastav and Hansika Motwani. Netflix India Unveils 13 Films for 2021, Together with 5 New Movies feat. Haseen Dillruba The Tomorrow Warfare When: July 2 The place: Amazon Prime Video Thirty years sooner or later, humanity is combating a dropping battle in opposition to aliens. In a final gasp, scientists work out a approach to draft troopers from the previous, together with Chris Pratt's warfare veteran. That is the premise for this sci-fi motion film that Amazon paid a reported $200 million (roughly Rs. 1,486 crores) to Paramount for. Yvonne Strahovski performs a soldier sooner or later, Betty Gilpin is Pratt's spouse, J.Ok. Simmons is his dad, and Sam Richardson is a fellow soldier. Chris McKay (The Lego Batman Film) directs. The Tomorrow Warfare Trailer Pulls Chris Pratt Into the Future to Battle Aliens

Chris Pratt in The Tomorrow Warfare Photograph Credit score: Frank Masi/Amazon Monsters at Work When: July 7 The place: Disney+ Hotstar Following the feature-length prequel Monsters College, Pixar — or somewhat, Disney Tv Animation — is taking us again to the world of Monsters, Included with this sequel that begins within the aftermath of Sulley (John Goodman) and Mike's (Billy Crystal) monumental shift: no extra harvesting screams, solely laughter. That is unlucky for keen younger Tylor Tuskmon (Ben Feldman) who graduated high of his class as a scarer. Now caught within the Monsters, Inc. Amenities Workforce (MIFT), Tylor should work out the way to change into humorous. Goodman, Crystal, John Ratzenberger, Jennifer Tilly, and Bob Peterson reprise their roles from the Pixar movies. Along with Feldman, they are going to be joined by Mindy Kaling, Henry Winkler, Lucas Neff, Alanna Ubach, Stephen Stanton, Aisha Tyler, Bonnie Hunt, and Curtis Armstrong. New episodes each Wednesday, consistent with Disney+'s new coverage for unique collection. Resident Evil: Infinite Darkness When: July 8 The place: Netflix Netflix is seemingly in love with Resident Evil. Whereas a live-action adaptation is at the moment within the works with Supernatural co-showrunner Andrew Dabb and anticipated in 2022, Netflix has additionally picked up an anime collection that follows Resident Evil 2 (the sport) protagonists Leon S. Kennedy (Toshiyuki Morikawa/ Nick Apostolides) and Claire Redfield (Yūko Kaida/ Stephanie Panisello), in the course of the hole between the video games Resident Evil four and Resident Evil 5. Eiichirō Hasumi directs. All Resident Evil: Infinite Darkness episodes will probably be out there collectively directly. Black Widow When: July 9 The place: Disney+ Simply over two years since Spider-Man: Far From House, the Marvel Cinematic Universe returns to the large display — arriving after a delay of over a 12 months — though not completely to theatres, and never in India simply but. Scarlett Johansson's first (and solely) standalone run as Natasha Romanoff / Black Widow may also be out there on Disney+ with Premier Entry in choose markets, for an extra price of $30 or equal on high of your month-to-month Disney+ subscription. A launch date has not been set for Indian cinemas as a result of COVID-19, but it surely's anticipated October Eight on Disney+ Hotstar. As for the film itself, Black Widow is ready following the occasions of Captain America: Civil Warfare, with Natasha taking a visit again house to see her household of types: Florence Pugh as sister-figure Yelena Belova, David Harbour as father-figure Alexei Shostakov, and Rachel Weisz as mother-figure Melina Vostokoff. Like Natasha, Yelena and Melina have been additionally skilled on the KGB Purple Room within the artwork of Black Widow. Pugh will even take over from Johansson within the MCU, what with Natasha having died in Avengers: Endgame. O-T Fagbenle (The Handmaid's Story), William Damage (Civil Warfare), and Ray Winstone (The Departed) even have roles. Robert Downey Jr. and Julia Louis-Dreyfus will cameo as Iron Man and Valentina Allegra de Fontaine, respectively. Cate Shortland (Somersault) directs. Black Widow Trailer Guarantees to Deliver Scarlett Johansson House

Florence Pugh, Scarlett Johansson in Black Widow Photograph Credit score: Jay Maidment/Marvel Studios Collar Bomb When: July 9 The place: Disney+ Hotstar A police officer (Jimmy Sheirgill) is out to cease a terrorist from blowing up a faculty on this motion thriller from director Dnyanesh Zoting (Raakshas) and author Nikhil Nair (Critical Males). Asha Negi, Rajshri Deshpande, Sparsh Shrivastava, Ajay Purkar, Naman Jain, Ajit Singh Palawat, Shashi Bhushan, Ambarish Deshpande, Vidushi Mehra, and Suman Singh co-star. The White Lotus When: July 12 The place: Disney+ Hotstar Enlightened co-creator Mike White is off to Hawaii with this social satire miniseries that skewers wealthy white people at an unique resort, alongside the idyllic locale and the lodge's cheerful workers that develop into “far much less excellent than first appearances would counsel.” Murray Barlett, Connie Britton, Jennifer Coolidge, Alexandra Daddario, Fred Hechinger, Jake Lacy, Brittany O'Grady, Natasha Rothwell, Sydney Sweeney, and Steve Zahn kind the ensemble solid. One new episode will air each week. By no means Have I Ever When: July 15 The place: Netflix Devi Vishwakumar (Maitreyi Ramakrishnan) decides to juggle two boyfriends — Ben (Jaren Lewison) for her brainy aspect, and Paxton (Darren Barnet) for her sexy aspect — within the second season of this coming-of-age comedy, which is able to proceed to see her take care of the pressures of house and a brand new problem: a prettier, cooler Indian lady Aneesa (Megan Suri) at college. Tyler Alvarez, Utkarsh Ambudkar, P. J. Byrne, and Widespread are additionally new to By no means Have I Ever season 2 solid. Created by Mindy Kaling (additionally govt producer) and Lang Fisher (additionally EP, showrunner and author). All By no means Have I Ever season 2 episodes will launch directly. Schmigadoon! When: July 16 The place: Apple TV+ A pair (Keegan-Michael Key and Cecily Robust) on a backpacking journey uncover a magical city the place everybody believes they're dwelling inside a 1940s studio musical. They then realise they can not go away stated city till they discover “real love”. Alan Cumming, Fred Armisen, Kristin Chenoweth, Aaron Tveit, Dove Cameron, Ariana DeBose, Jaime Camil, Jane Krakowski, and Ann Harada co-star. Martin Brief visitor stars. The six-episode musical parody comes from Despicable Me writers Cinco Paul and Ken Daurio, with Paul additionally offering the music and lyrics. Barry Sonnenfeld (Males in Black) directs. Saturday Night time Reside's Lorne Michaels, Paul, and Sonnenfeld are govt producers, whereas Robust is among the many producers. Two episodes on premiere, with one new episode weekly thereafter.

Cecily Robust, Keegan-Michael Key in Schmigadoon Photograph Credit score: Apple Area Jam: A New Legacy When: July 16 The place: HBO Max LeBron James takes over from Michael Jordan on this new tackle the identical formulation: sucked into the Looney Tunes world, the basketball star should group up with Bugs Bunny and the lot to defeat some supercharged opponents. There is a digital spin on the entire thing, with Don Cheadle (Marvel's Warfare Machine) enjoying a rogue AI who traps LeBron. That (conveniently) permits Warner Bros. to showcase its different properties, together with Surprise Girl, King Kong, The Matrix, Mad Max, and even Casablanca. Sonequa Martin-Inexperienced will star as LeBron's spouse. Zendaya voices Lola Bunny, whereas most of the unique voice actors return to voice the Looney Tunes characters. NBA and WNBA stars Klay Thompson, Anthony Davis, Damian Lillard, Diana Taurasi, and Nneka Ogwumike lend their likeness to LeBron's opponents, the Goon Squad. Malcolm D. Lee (Women Journey) directs, Ryan Coogler and LeBron are amongst producers. Obtainable on HBO Max and in cinemas on the identical time, for a month. No phrase on an India launch date for Area Jam: A New Legacy, courtesy COVID-19. Toofaan When: July 16 The place: Amazon Prime Video Delayed a few months in respect of the debilitating second COVID-19 wave, Rang De Basanti director Rakeysh Omprakash Mehra's boxing drama follows an novice boxer and a petty felony (Farhan Akhtar) who should select between the life he has (working for Vijay Raaz's native Mumbai gangster) and the life he desires (coaching beneath Paresh Rawal's boxing coach). Akhtar and Mehra reunite eight years since Bhaag Milkha Bhaag. Mrunal Thakur performs Akhtar's love curiosity. Trollhunters: Rise of the Titans When: July 21 The place: Netflix It has all led to this. Following the six-season-long occasions of Trollhunters, 3Below, and Wizards, the Guillermo del Toro-created fantasy collection culminates in a film. Because the supernatural worlds converge, the heroes of Arcadia from all earlier collection should come collectively getting ready to an apocalyptic battle for the management of magic, up in opposition to historical titans summoned by the evil Arcane Order. Turner & Hooch When: July 21 The place: Disney+ Hotstar There was no means Disney may get Tom Hanks to return for this collection follow-up to his so-so wonderful 1989 film, which is why his character has been killed off. That loss of life performs into the plot because it follows his US Marshall son Scott Turner Jr. (Josh Peck) who additionally finally ends up inheriting an unruly canine — identical to his father (some coincidence!) — that turns into his associate. Lyndsy Fonseca, Carra Patterson, Vanessa Lengies, Anthony Ruivivar, Brandon Jay McLaren, and Jeremy Maguire co-star. Burn Discover creator Matt Nix is on the helm of the brand new Turner & Hooch. The 12-episode first season will air new episodes weekly on Wednesdays. Feels Like Ishq When: July 23 The place: Netflix Following final month's middling Ray, Netflix India returns with one other (younger love) anthology collection. This time, it is a collection of six meet-cutes that includes Radhika Madan, Tanya Maniktala, Zayn Marie Khan, Neeraj Madhav, Amol Parashar, Mihir Ahuja, and Rohit Saraf amongst others. Ruchir Arun, Tahira Kashyap Khurrana, Anand Tiwari, Danish Aslam, Jaydeep Sarkar, Sachin Kundalkar and Devrath Sagar function administrators. Netflix India Unveils 15 Collection for 2021, Together with 5 New TV Exhibits feat. Feels Like Ishq

Tanya Maniktala, Skand Thakur in Feels Like Ishq Photograph Credit score: Vaspaan Shroff/Netflix The Final Letter from Your Lover When: July 23 The place: Netflix After coming throughout a trove of secret love letters from 1965 in current day, an formidable reporter (Felicity Jones) units out to unravel the thriller of the forbidden affair — involving a socialite and a rich industrialist's spouse (Shailene Woodley/ Diana Kent) and a monetary journalist (Callum Turner/ Ben Cross) — as a love story of her personal unfolds with an earnest and endearing archivist (Nabhaan Rizwan). Augustine Frizzell (By no means Goin' Again) directs what's an adaptation of Jojo Moyes' 2012 romance novel. Masters of the Universe: Revelation When: July 23 The place: Netflix By the Energy of Grayskull! Over thirty years since He-Artificial his TV debut, the character and his universe are being resurrected for a direct sequel that picks up the place we left off. As such, it is geared toward its unique now-adult viewers, although visually, it is nonetheless the identical. After all, the voice solid is all new. It contains Chris Wooden, Mark Hamill, Sarah Michelle Gellar, Liam Cunningham, Lena Headey, Diedrich Bader, Alicia Silverstone, Stephen Root, Griffin Newman, and Susan Eisenberg. Kevin Smith (Jay and Silent Bob) is the showrunner on Masters of the Universe: Revelation. It can air in two halves, with 5 episodes out there now alongside an after-show, Revelations: The Masters of the Universe Revelation Aftershow. Ted Lasso When: July 23 The place: Apple TV+ Apple's largest hit returns for its second season that finds the titular soccer coach (Jason Sudeikis) and his membership AFC Richmond now within the decrease leagues, following a relegation from Premier League on the finish of the primary season. The Ted Lasso season 2 trailer suggests a visit to FA Cup, and a go to by the coach's harmful aspect “Led Tasso”. Hannah Waddingham, Jeremy Swift, Brett Goldstein, Brendan Hunt, Nick Mohammed, and Juno Temple will all return — as do Ted's well-known biscuits. They are going to be joined by Sarah Niles as a sports activities psychologist. Two episodes on launch date, with one new Ted Lasso season 2 episode following every week. Jungle Cruise When: July 30 The place: Disney+ Not happy with one multi-billion-dollar franchise based mostly on a curler coaster journey — that is Pirates of the Caribbean — Disney is now at it once more. Dwayne Johnson and Emily Blunt set off to discover a magical therapeutic object within the dense Amazon jungles, the place they must combat off wild animals and a few Nazis. Wait, so that is Disney's Indiana Jones? That is even funnier if you realise Disney owns Indiana Jones as effectively, due to its buy of Star Wars studio Lucasfilm in 2012. Édgar Ramírez, Jack Whitehall, Jesse Plemons, and Paul Giamatti additionally star. Jaume Collet-Serra (Non-Cease) directs. As with Black Widow, Jungle Cruise is out there on Disney+ with Premier Entry for an extra price of $30 or equal, on high of your month-to-month Disney+ subscription. Jungle Cruise Trailer: Dwayne Johnson, Emily Blunt Are Off on Amazon Journey

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gazzhowie · 3 years

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My Top 25 Movies of 2020.

It is indeed time… or at least, as is tradition, it is indeed now overdue for me to dust off the cobwebs from my Tumblr account and post my Top 25 movies of the year. This time for 2020. That funny old year, huh? Where - if some are to be stupidly believed - “no films got released because of the pandemic”.

I thought I was done with this after 12 years and concluding with my Top 25 of the decade effort and yet here I am. Back rather egotistically because 2 people told me how much they look forward to reading this. Go figure! Years 2008 through to present are available in the archive. Frequent visitors know that I’ll throw out a few special mentions to all the films that I wish I could’ve included but couldn’t make them fit yet believe they deserve a shout out regardless and then I get stuck in to what I think are the 25 best films of the year.

As always, films listed are based on their UK release date whether that’s in the cinema or on DVD, VOD etc. Anyway, without further ado, here’s the ‘also-rans’ and ‘near-misses’ separated per genre that very nearly made the final list:

Setting my stall out straight away, Steve McQueen’s Small Axe was very much TV to me and won’t get ranked within my film listing. I loved two of the efforts a great deal (Education and Mangrove), liked two but found them lacking (Red, White & Blue and Alex Wheatle) and did not get what everyone else seems to from the other (Lover’s Rock).

In terms of documentaries this year, I thought Frank Marshall did a fabulous job with The Bee Gees: How Can You Mend A Broken Heart; a comprehensive study of the personal complexities and professional excellence of an incredibly underappreciated band. I found On The Record to be a difficult but inspiring watch and its background ‘politics’ exposed the hypocrisy of Ava DuVernay and Oprah Winfrey in a manner we’re not talking loud enough about. Hitsville: The Making of Motown was an extensive, lovely historical tribute to an era and a style of music, full of great tunes and equally great talking head anecdotes. And finally Belushi managed to find fresh angles and previously untold stories about one of the most mythologised comedy stars of all time, simply by pulling the man to the forefront ahead of his talents.

For dramas, I enjoyed Trial of the Chicago 7 a great deal and am an absolute sucker for the work of Aaron Sorkin but bad casting (Eddie Redmayne) and stunt casting (Sacha Baron Cohen) hurt this film. I’m a sucker for a disaster movie and Pål Øie made an incredibly entertaining one with the Norwegian high-melodrama, The Tunnel. Edward Norton’s long-gestating Motherless Brooklyn was a solid, old-fashioned PI yarn with some great casting to back it up. It’s the most alive Bruce Willis has been in years and it served to remind you that Alec Baldwin can be quite the terrific actor when he’s not being an utter joke of a human. I liked The Vast of Night a great deal when in the throes of watching it but liked it less in the aftermath. Cut Throat City was the underrated dramatic gem of the year in a lot of ways and showed that RZA has a great deal of skill as a legit filmmaker, when not being caught up in the ‘gimmicks’. O.G finally landed here via Sky Atlantic of all places, rather than any sort of VOD release, and it was an enthralling drama that served to remind us all how brilliant Jeffrey Wright can be when not overacting to the point of cringe or being stuck with really terrible writing (hello, TV’s Westworld!).

With the blockbuster season at the cinema all but dead from the outset, the joys of the action genre were to be found in the little b-movies tucked away on streaming platforms and VOD. Quick notable exceptions were The Outpost which was a reminder that Rod Lurie can deliver a hell of an action sequence, blighted by truly awful film-damaging casting and Extraction which was a well-directed derivative piece of hokum. Donnie Yen delivered an earnest, entertaining end to one of the surprise action franchises of the last decade with IP Man 4 that not even Scott Adkins could fuck up. Hack director Deon Taylor accidentally delivered Black and Blue; a pretty good ode to the ‘man on the run’ non-stop action thrillers of the 80s and 90s – with Naomi Harris killing it in the lead role. Netflix tucked away two of the greatest b-movie actioners of 2020 with The Decline (a ‘Doomsday Preppers’ training camp goes horribly wrong) and Earth & Blood (a sawmill owner uses his place of work as a battleground to take on the cartel). And, finally, the Ma Dong-seok (aka Don Lee) Taken rip-off Unstoppable arrived to streaming and turned out to be vastly superior to all of the films it was a knock-off of.

It was a great year for horror, especially if you were open to the sort of scares you were after. Sea Fever didn’t stick the landing but delivered an ace sense of foreboding and tension building for the most part. Harpoon was a sneakily nasty, surprisingly engrossing, violent little film. VFW was a lot of fun but nowhere near as good as its concept and cast suggested it was going to be. It’s also been subsequently marred by the stories coming out of its production and the revelations about Fred Williamson. I thought Come To Daddy was an absolute gift of a horror comedy that kept swerving whenever you thought you had a handle on where it was going. And Elijah Wood continues to show himself to be an American national treasure. After Midnight was an intriguing relationship drama with a horror bent and You Should Have Left, the Stir of Echoes reunion we’ve all long sought, would work as an off-kilter double-bill with it. Kevin Bacon is brilliant in it. Vampires Vs The Bronx is a totally disposable but immensely fun ode to The Lost Boys and The Monster Squad that’ll serve you well on a lazy Saturday night. Black Water: Abyss was a really good little creature feature with a ridiculous ending that infuriates. And Train To Busan: Pennisular was a pretty shit Train to Busan sequel but an immensely entertaining post-apocalyptic zombie action movie.

Onwards is worth mentioning for the fun and moving animated ride it initially presents as but, like too much Pixar nowadays, it does not hold up to repeat viewing.

Comedy-wise, I thoroughly enjoyed Bill & Ted Face The Music but thought its gag-rate was far too hit and miss for it to take a place on the top spot. Buffaloed was a kind of “M’eh” blue-collar Wolf of Wall Street with yet another fantastic ‘How the fuck isn’t she a huge star already’ turn from Zoey Deutch. Timmy Failure: Mistakes Were Made was a quirky out-of-leftfield oddity that me and my eldest son enjoyed a great deal. Eurovision Song Contest: The Story of Fire Saga was not the travesty you would’ve thought it’d be, mainly because of Rachel McAdams, but if Will Ferrell had just leaned a little harder towards his more absurdist style of humour (the killer fairy shit for example?) this could have been so much more. Finally, the second Borat film had some utterly majestic moments of cringe-comedy that make it worthy of a mention but the mechanics of joke-execution and faked set-pieces were far more on show this time around.

And now, if you’re still hanging in there that is, here is my actual Top 25 films of 2020…

25. Skyfire

I don't know whether it's because I’ve been starved of my usual 'Summer Silly Season' this year but I absolutely fucking LOVED this. It's the stupidest, most ridiculous, relentlessly bonkers "Jurassic Park - but with volcanos" fare you could ask for. I have no idea what the fuck Jason Isaac is doing in this but I’m so glad he is because it just adds to the glorious WTF-ery of it all. It's 30 minutes of mechanical lay-up followed by 60 minutes of non-stop, audacious carnage. It's been a long time since me and my wife have had this much fun watching something.

24. Bad Education

Dropped exclusively to Sky Cinema here, this is a great little film that has a shocking true story at its centre. Hugh Jackman and Allison Janney are absolutely terrific. Both of them are the sort of talents who've been in bad movies but never ever given a bad performance regardless.

Here both Jackman and Janney are having a ball with the material and they elevate a very good film into something that demands to be seen.

23. Blood Quantum

This was definitely one of the first-class b-movie horrors of the year for me. It does wonders on screen with very little AND it gives a shot in the arm to the zombie subgenre. It leads you into thinking you're getting yet another zombie-breakout film before expertly wrongfooting you into growing into something else. It's a Native American NIGHT OF THE LIVING DEAD meets MAD MAX!

22. Bad Boys For Life

This was a first-rate blast, it really was. From the inexplicable reusing of the 'Simpson/Bruckheimer' production card to the reworking of Mark Mancina's original theme, it draws you straight back to that 1990s blockbuster vibe. It's not just very funny and stacked with some pretty decent action sequences but, rather bizarrely, it actually has something interesting to say about ageing and masculinity... because nowadays Joe Carnahan is killing it when it comes to introspective recalibrations on what it means to be a man. If you were to spoil this movie for someone and reveal what the "twist" is it would sound like the stupidest, hokiest shit ever. And yet inexplicably they make it work. And furthermore, Martin Lawrence goes from the tag-along in this franchise to the platinum level MVP here. The entire final third is held up higher by his insanely good line delivery ("Would you fuck a witch without a condom?") and it's most likely how he plays shit as to why that stupid, hokey plot twist works as well as it does.

Over the course of three separate decades each BAD BOYS entry has, in itself, served to be a somewhat accidentally perfect reflection of the very cinematic decade it landed in: The first is possibly one of the last to truly and wholeheartedly successfully land that perfect marriage between the 'MTV era' and the blockbusters; bringing about the boom of the "music video director as filmmaker" that the 1990s became well known for. The second was a pitch perfect reflection of the gratuitous, often empty-headed, completely excessive pop culture period we were birthing in the 2000s. And the third lands now, right in the very time period where masculinity is being put under a spotlight and men are being asked to be more self-reflective about themselves and their conduct.

With that said, the fourth will obviously therefore land sometime in 2029 and deal with Will Smith and Martin Lawrence wandering a pandemic-ravaged Miami wasteland.

21. Wolfwalkers

This is one of the most lovely, visually wondrous, sumptuous animated films you'll experience this year. Or in quite some time, actually. It’s not just a great adventure film but it’s also a really effective ‘message’ movie that manages to teach about tolerance and friendship along with the perils of fear-mongering, without ever being overly preachy.

20. An American Pickle

This was one of the surprises of the year for me; I THOUGHT I was getting a quirky Seth Rogen fish-out-of-water comedy and instead I got that... with a massive dollop of heart, humour and interesting things to say about legacy and 'cancel culture'. I liked it a lot. It's also further evidence of how intriguing a talent Seth Rogen is becoming; jumping between broad commercial fare and original off-kilter stuff like this, producing and developing fascinating projects for film and TV and working to pass the ladder back down to others too.

19. Get Duked

I say this with only a modicum of bias as I know someone who worked a little bit on this film but this was genuinely brilliant - the absolute laugh-out-loud delight we all need right now. At the time I watched this I don’t think I’d smiled in nearly a fortnight but this broke through with me. Its wrap-up is a little too silly for its own good but that aside, this thing is absolutely stuffed with some TRULY great gags! This is one of the best comedies of the year for me.

18. Host

I had been giving this the big ol' swerve because it sounded like unoriginal, overhyped pish frankly and... fuck it, if that hype isn't absolutely deserved: It's a lean, effective, scary incredibly enjoyable ride. Made all the more fascinating by the fact it was made remotely on a shoestring with the director apparently never being in the same room as his cast at any one time due to Covid restrictions.

NB: I could not find a GIF to represent Rob Savage’s Host sufficiently so here’s Jack Black doing a backyard pandemic dance instead...

17. Sweetheart

What a crackin, lean, little horror thriller it is. It gets straight underway from its fade-up and never overcooks itself or leans hard on lazy exposition, silly character actions or bad deus ex machinas. Remember when Jonathan Mostow made BREAKDOWN and it felt like such a shot in the arm for the man-against-the-odds/standard thriller? This is like that - but for survival dramas and creature features! It commits fully to its high concept, helped along by a truly excellent performance by Kiersey Clemons and some really well-delivered set-pieces (that first flare scene is very well done!). If you watched Tom Hanks in CASTAWAY and thought to yourself "This film is great but what it really needs is a monster!" then this is definitely the film for you. And if you believe the rumours, it’s allegedly a sneaky Creature From The Black Lagoon redo for Blumhouse’s expanding ‘Monster Universe’ too.

16. Soul

I really connected with this. I like Inside Out a great deal but I’ve never understood why it's spoken of as a flawless masterpiece when it's overlong, tonally all over the place and has clunky as fuck casting. In the same breath, I don't understand why the reviews for this are so disparate. I thought it was a wonderful way to spend 100+ minutes. It was visually inventive, funny and inspiring. It doesn't quite seed its VERY deep otherworld-building foundations and Graham Norton doesn't really work in his role but overall I thought it was a delight. And, unlike Onwards, it really does lend itself to repeat visits.

15. Tenet

I had real trepidation about seeing this what with the reviews being all over the place but... well... Is it complete, barely comprehensible bunkum of the highest order? Yes. Could the film have benefited from Nolan letting his brother Jonathan have a pass at the script? Hell yes! Is it most definitely not the majestic masterpiece of masterpieces it thinks it is? Yup. Yet in spite of ALL that I had an absolute blast with it, I really did. If you give it a seconds thought it crumbles completely as the utter egotistical piffle it really is. But where it excels is in looking so gorgeous, being so kinetic and massive with its action and casting with actors who sell the shit out of a hokey script that you're so consumed with the spectacle you don't smell the bullshit until its over. Washington Jr has come out of nowhere these last few years to make me a big fan of his work - and Robert Pattinson has went from being an actor I couldn't fucking abide to being someone I now really rate and who I came away from watching this thinking "Yeah, that's your goddamn perfect James Bond right there!"

14. Da 5 Bloods

It works infinitely better as a 'men on a mission' action adventure shot through the off-kilter lens of a Spike Lee "joint" then it does as a searing commentary about race, war, etc. And that's probably why Spike's choice to include real war atrocity photos and documentary footage alongside the narrative doesn't land as successfully as he probably intended it to. But as an overall film, it's a genuinely great watch. Delroy Lindo has always been one of the greatest working actor. Here he perhaps delivers his ultimate masterclass. Regardless of whether awards season moves online or not, you cannot have any SERIOUS dialogue during it that doesn't have his performance heading the conversation. Ignore the dickheads online putting this in the same bubble as TROPIC THUNDER or DIE HARD (??). This is a wink and a nod to TREASURE OF THE SIERRA MADRE and APOCALYPSE NOW, through and through. It's big, bombastic, broad and unafraid to swing out in every direction. It's not flawless but that doesn't mean it's not fuckin ~great~!

13. His House

This very much stands as both one of the most impressive debuts and modern horror movies I’ve seen in quite some time. It's an effective, lean, interesting film that buries under your skin and takes up residency there. Go into it knowing as little as you possibly can and then let it scare the shit out of you and, in its reveals, kick the shit back into you.

12. Tread

I really, REALLY liked this. It's my favourite documentary film of this year - made by that fella who did the bonkers-bad killer dog in the warehouse movie with Adrian Brody, no less! It's an absolutely fascinating true story I knew nothing about, brilliantly intermingling talking heads, archival news footage, dramatic reconstruction and audio recordings. It'll really drop your jaw - it's most definitely one of those 'needs to be seen to be believed' type deals because if you described this to someone as having happened they'd never believe you!

11. Bacarau

No plot description really does this film justice and the less you know going in the better an experience you’ll have. It’s an odd, deeply violent, unsettling, darkly funny, bizarro confection of The Most Dangerous Game meets Assault on Precinct 13 and… well… even that doesn’t really do the film any justice whatsoever. It’s a critique of dire political circumstance mixed with political satire mixed with the tropes of the Western, the siege movie and both horror and comedy. It’s very much its own thing. And that’s what makes it so wonderous.

... and it’s sort of both wondrous AND weird that when searching for Bacarau related GIFs, this was the Brazilian offering I was given! I apologise.

10. Alone

I found this came out of nowhere to be one of my favourite films of the year; a crazily efficient, brutal B-movie without an inch of fat on it that works its propulsive and well-structured screenplay hard to make you feel like you're seeing a new variant on the "stalked woman in peril" film. John Hyams - son of Peter and the man who reconfigured the UNIVERSAL SOLDIER franchise to superb effect - has made one hell of an effective movie that beautifully captures the vastness of the Pacific Northwest: this is one part DUEL, one part FIRST BLOOD, all parts odes to everything from THE GREY, I SPIT ON YOUR GRAVE and the last third of THE SILENCE OF THE LAMBS. It's very easy to make films like this. But it's clearly hard to make them as great as Hyams has done here, otherwise everyone would be doing it. Maybe coz what those films don't have is lead performances as strong and brilliant as Jules Willcox and Marc Menchaca give here.

9. American Murder: The Family Next Door

This is an incredibly powerful true crime documentary on a horrific tragedy, in which Jenny Popplewell tightly and clinically weaves through police interviews, news coverage and Shanann Watts' phone, laptop and social media to weave a moving and ultimately devastating portrait of her and her children's death at the hands of one of the worst forms of evil I’ve ever been exposed to. This still haunts me to this day.

8. Greyhound

I was really impressed with this. A crisp, lean, tension-drenched watch with yet another rock solid Tom Hanks performance centring it. It strips back all the tropes of these war pictures - the character backstories about post-war hopes and dreams, the cutaways to the families back home, the subplots involving the villains - and keeps a propulsive commitment to just this situation, this boat and the people on it; who only talk to one another about the job they're doing. As a result, it's completely involving and committed with action set-pieces that are clean, tense and entertaining as hell. Genuinely had a great time watching this and highly recommend it.

7. #Alive

Whilst the TRAIN TO BUSAN sequel earned rightfully shakey reviews, think of this as an unofficial prequel / 'side-sequel'. It is a tight, disciplined thrill-ride that throws up some interesting spins on old zombie set-pieces (climbing zombie vs. toy drone, for example). It may well deflate as it heads to its denouement but all before it was strong and entertaining enough for it to stand as one of his favourite horrors from this year.

6. The Invisible Man

This started good... then got very good... then got quite frankly flat-out tremendous and then entered a final third flipping anyone the 'bird' who thought that the trailers gave too much away. There is some truly tremendous, inventive and not at all 'cheap' jump scares. In fact, the whole second act is nothing else BUT terrifically effective scare after scare. All bolstered by a REALLY committed lead performance by Elizabeth Moss. Between this and UPGRADE, Leigh Whannell has not only become seriously one to watch but he's possibly just outed himself as John Carpenter's one-true heir.

5. Lynn + Lucy

I was left completely broken by this - what a truly fantastic piece of British cinema; a dark, uncompromising morality play for the modern age with a truly jaw-dropping performance by Nicola Burley. And, Jesus Christ, what an unbelievable find Roxanne Scrimshaw is?? THIS is her acting debut? Holy SHITBALLS! It's harrowing stuff that'll really make you think.

4. Parasite

This really is absolutely ~everything~ people are claiming it to be and more too! It's an exquisite piece of work, in love with the art of spinning out a story, narrative layers, sociological parables and effortlessly terrific direction. It builds and builds in an utterly enthralling manner and then... the pressure valve pops, taking you down a whole other audacious avenue that'll have you giggling at the insanity but still completely hooked.

3. Uncut Gems

It’s alright been memed and GIF’d to death but that doesn’t change the fact that it really is an astounding film - it's completely exhausting and quite honestly one of the most anxiety-inducing films I’ve seen in a long, long time. Even on multiple go-arounds, I found myself screaming at the screen, begging Adam Sandler's character to just fucking STOP for five seconds and... and... it's inescapable as to the direction down in which it heads but it goes there at such a propulsive rate, it is actually scary. An absolutely astounding film - it's like a John Cassavetes film shot with the adrenaline drawn from a Michael Bay action movie... and believe every bit of the buzz: Adam Sandler is jaw-droppingly fucking excellent in this!

2. Wolf of Snow Hollow

I thought this was a complete delight. Once again Jim Cummings has taken a film 'type' you THINK you know and infused it with his own very specific sense of humour to give us something that's very much delightfully off-kilter. What's more, as a sophomore directing effort, Cummings deserves all the plaudits for the massive advancement: There's action scenes and scary set-pieces that are really first rate and are way more accomplished than what you'd expect from someone only on their second movie and have never worked in the horror genre before. Cummings is REALLY funny in the lead role too but it's Robert Forster's final performance that'll break your heart. He was a hard miss anyway but this very much drives home what a great guy we've lost.

1. The Way Back

Gavin O'Connor has hit the trifecta with this, Miracle and Warrior on making a masterful sports drama and using it as a platform to 'say something' and draw a career best from a talented but under-appreciated actor (first Kurt Russell, then Nick Nolte and now Ben Affleck).

Affleck is astounding here. Fallible, real and pained. He's truly brilliant. There’s a realism to every movement he makes and every breath he exhales that only someone who has struggled with addiction will recognise. And around him is a deconstruction of the sporting underdog movie as we know it - it's only by the end that we truly realise that this has always been about the connections made through the game rather than the game itself.

Like with Warrior, you can go back and watch this umpteen times and find different strokes in the human and unspoken moments. If ever there was a secretly feel-good film for 2020 it is this – the movie that tells us that it doesn’t matter how hard or how far we fall, we are defined only by the moments in which we rise again.

And that’s that. See you all next year. Maybe ;)

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