things I'm abnormal about: adult mick and his relationship with his dads friends
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inkheart vs inkspell/inkdeath is one of my favorite things to rant about but like.
in inkheart dustfinger refuses to dwell on what and who he's lost because the grief is making him insane so he doesn't tell us anything and all we get about the inkworld is hateful, unreliable snippets from capricorn and basta so you think, yeah, this man is kind of a lunatic to be willing to be so horrible and to suffer so much in return for the chance to return to so little.
then you get through the rest of the series and see how extremely loved dustfinger is by so many people and it paints the first book in such a different light that it makes me rabid knowing the majority of people just stop there. like most people have to just. believe basta of all people and never know that dustfinger is being grieved by the people who raised him and grew up with him and worked with him and chose him and whose nights were less dark just because he existed. I'd burn the skin off my hands too for that kind of love.
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BRENDAN FRASER AND MICHELLE YEOH BOTH WON AN OSCAR TONIGHT AND I AM IN TEARS. 😭
Started from The Mummy: Tomb of the Dragon Emperor, now we’re here! 🙌🏾
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crowd vs. critic single take // EVERYTHING EVERYWHERE ALL AT ONCE (2022)
Photo credits: IMDb.com
What do you do when everything in your life is dissatisfying everywhere you look?
For Evelyn (Michelle Yeoh), there’s little she loves about her life above the laundromat. For her husband Waymond (Ke Huy Quan), there’s little love left in the marriage he staked his whole life on. For their daughter Joy (Stephanie Hsu), there’s little in her life to inspire her namesake. Their days are filled with laundry, taxes, and family tension, all dipped in a glaze of aching malaise. But everything changes during a meeting with the IRS when a man who looks like Waymond—but acts nothing like him—warns Evelyn of a battle to save the multiverse only she can win.
CROWD // Nothing is not weird about Everything Everywhere All at Once. Fanny pack kung fu? Hot dog fingers? Center-of-the-multiverse bagels? I swear I’m not just squishing random words together. Though comic book heroes have leaned into multiverses for some time, it’s not the stuff of movies that want awards or even ones that want to branch out beyond sci-fi genre tropes. Everything throws you into its complicated plotting and its (at times) puerile humor with little explanation, and it gives you precious few moments to catch your breath. I have watched it three times, and I still can’t explain everything back to you.
Everything can be indiscriminately loud for its own sake, but it also feels like the brain child of a cast and crew obsessed with finding afflatus in every moment, which is makes it hard not to give them credit even if they don’t always achieve it. (What does achieve it: Raccacoonie!) The movie cares equally about dazzling the audience with fun ideas and about creating a catharsis for its characters, which come together in the symbol of an everything bagel of all things. In the bagel: joy, pain, compassion, loneliness, loyalty, nihilism, choice, fate, pride, fear, and…googly eyes? It may be literalizing the Second Law of Thermodynamics, but if you're willing to go for the ride, you'll have a blast.
POPCORN POTENTIAL: 8.5/10
CRITIC // Nothing is weirder about Everything Everywhere All at Once than the fact that it won Best Picture—except maybe that it’s the third most-decorated Best Picture winner of the 21st century after The Lord of the Rings: The Return of the King (11 wins) and Slumdog Millionaire (8 wins). (2013’s Gravity didn’t win the top prize, but its seven wins are tied with Everything’s total.) Individually, its 11 nominations all make sense. Yeoh and Quan are undeniable, and Best Supporting Actress winner Jamie Lee Curtis is as delightful as ever. The script has no comparison in film history, the editing feels like watching a flawless Simone Biles routine, and good luck keeping track of all the changes in costumes and musical style. Somehow the Daniels directed it all into one package—that’s no easy feat!
If only the sum of Everything was as great as its parts. The line, “In another life, I would have really liked just doing laundry and taxes with you,” is one of the most romantic lines in modern cinema, but the film’s shambolic energy lacks the focus and maturity to fully develop its ideas or world building. Like the title suggests, this film cares more about quantity than quality.
ARTISTIC TASTE: 8.5/10
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Everything Everywhere All at Once. I had no idea what to expect, which is probably a good thing. There is so much happening and at the same time nothing is really happening, and yet it’s interesting. I don’t know how to explain it. Not a new favorite but I did really enjoy it. The rocks were especially comical. Would definitely recommend this Best Picture winner. It also received the Oscar for Best Actress, Best Original Screenplay, Best Director, Best Supporting Actress, Best Supporting Actor and Best Film Editing.
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