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#What a movie
randomitemdrop · 4 minutes
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Item: codpiece with concealed twelve-chamber revolver that totally works, despite the chambers clearly not overlapping with the barrel. As far as I can tell, you fire it by clenching
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papanowo · 10 months
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uh. whales
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comehomet0myheart · 11 months
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Past Lives works so well for me because I am so enamoured with pragmatism in fiction.
I read and watch a lot of stories about idealized love stories and I often enjoy them too! I spent my entire childhood believing that the teenagers who got together in the media I consumed would stay together forever. And then as I got older, I was naturally introduced to more stories about romances that didn’t work out. Still, it’s hard for me to think about those as pragmatic, most of them have this desire for sadness in them. They would make me feel as though the devastation was the point, that the narrative was forcefully bent toward the saddest outcome.
Past Lives doesn’t make me feel this way. Nora doesn’t stop talking to Hae Sung because of an unforeseen tragic circumstance. She makes a choice and goes through with it. Hae Sung puts it best during their conversation at the end of the film. She is the kind of person to leave. And he loves her because she is that kind of person. The “what-if” isn’t in wondering about if circumstances were different. No matter what, she would have chosen her plays over anything else. Her husband even notes that so much of how their relationship happened is because he fit so well into the life she wanted. The whole reason this film is called “Past Lives” is because that’s the only way to ponder about whether Nora and Hae Sung could be together.
It’s such a delightfully Asian perspective on it. “In another life” films are so common, but I always feel like Western movies do it in a kind of parallel universe kind of way. I love that in this one, Nora is so steadfast and consistent in her personality and desires, that there is no real contemplation and consideration of making her and Hae Sung’s relationship work. There is only a longing and a love.
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mayhaps-a-blog · 10 months
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Wow, Nimona did really did say that the threat is just a dream you made up and the monster is a girl who did nothing and teaching your children to hate just means the next generation will grow up blaming someone else for the fires they start with their own torches and there’s nothing outside the walls but a better world and don’t you just want to fucking break something sometimes and- and- and-
Nimona sure is a movie
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gazpachoandbooks · 2 years
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I just love The Mummy (1999) so much like I've always felt it was a masterpiece, I was never able to pinpoint the exact reason but I think I got it in my last rewatch: every single character is extremely competent in a very concrete, punctual and once-in-a-lifetime helpful skillset, and then they're ABSOLUTE DISASTERS on literally EVERY OTHER ASPECT of their lives. Evy can read and Sherlock her way through literally any egyptian riddle like she was born for it, but PLEASE, DO NOT, UNDER ANY CIRCUMSTANCE, leave ANY sharp objects, unstable structures or even-remotely inflamable objects ANYWHERE near her she WILL find a way to unleash HELL IN HER SLEEP. Rick can smash-parkour-swordfight his way out of any scenario but he has to have ALL neurons completely focused on the ONE (1) task at hand and if he gets out-DudeBroed he loses all his hit points his health meter goes red and he surprise-resets like a forced Windows update (see following scene for reference)
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And don't even get me STARTED on Jonathan. This absolute gem of a man really is willing to let his sister drag him to hell and back with only mild complaining and will stop her human sacrifice ritual while the priest is mid-swing with an "hey Evy look we found the book!" with the same energy as if he was proudly announcing he found his long-lost car keys behind the couch but we DON'T blame him because he correctly spent his one braincell on THIS scene that changed the history of cinema forever:
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In conclusion everyone is so very capable and so very pathetic at the same time and thus we have no choice but to stan
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narriose · 10 months
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Nimona
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grishaxverse · 2 years
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I want to see you in the 21st century
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katethedolphin · 4 months
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the part in Saltburn that was actually the most disturbing was when Ewan Mitchell bit the crunchy bar in the middle instead of at the end
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flowerprintundies · 10 months
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Nothing good ever came from the color magenta.
(My modest contribution to this wild af movie and winner of my Jeff character poll!!)
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la-pheacienne · 9 months
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Can someone please explain to me what "soft feminine power" is? This is not a rhetoric question and I'm not being ironic, I genuinely do not know what that means. In my language we don't have the equivalent of this. There is no feminine or masculine power, there is only power, either you have it or you don't. If you are a woman in a patriarchal society you can gain power up to a certain level by using """""feminine""""" means, but that's not "soft feminine power" that's literally victimized, restrained women trying to survive with the means that they have left. It's not something one should glamorize or wish for. It is just a reality for some women. When Barbara Stanwyck in Baby Face, a woman forced to prostitute herself by her father since she was 14 yo finally gets away from him and starts having sex with men for her own profit and to forward her own interests in order to climb the social hierarchy, that's not "soft feminine power". That is what a woman had to do to survive. She sold her looks and her body and her nice words, she manipulated men and used them in every possible way in order to gain power, and she did. She didn't start a feminist revolution, no, she didn't take a gun. But there is nothing "soft" here, this is the very opposite of soft. This is an extremely determined person who is resilient and hard as a rock and cuts through life like a razor. There is nothing inherently feminine in this either. It's something that women had to do because of patriarchy yes, but it is not a "feminine" trait. What about all these men that sell sex to survive, because they are homeless or underage or immigrants or very weak for whatever reason? If you are at the bottom of the social ladder and don't have any direct power to do absolutely anything to improve your circumstances then you have got to find other indirect ways to do that and you need to use manipulation and exploit yourself and your looks in order to survive. It is a necessity. It is not hashtag soft feminine power. It is not something to wish for especially today in the sense that, oh, actually I don't want to be direct and forward with what I want and what I believe I deserve, I prefer using my "soft feminine power" instead. You don't know what the fuck you are talking about. "A lady's armour is courtesy" is not something that should be even remotely associated with hashtag "soft feminine power". It's just what Sansa has been told from birth and it's the only thing she values about herself or others. Our problem with Sansa isn't that we dislike "soft feminine power" it's that she was a bully and painfully superficial and self-absorbed and reactive and her vices as a character were one of the factors that caused the horrible ending of the first book and nothing about this is even remotely "soft" or "feminine" or "powerful" or even close to getting her any form of actual power. It is literally not about that. I want Sansa to actually grow as a person and her arc is already about that and her journey in KL was very important and kudos for her because she managed to survive but people's dislike on her has nothing to do with the fact that she keeps her "femininity" but for the particularly negative role she played in the narrative of the first book and the fact that apart from surviving, she hasn't offered much thematically or narratively, yet.
My point is, the phrase "soft feminine power" literally has no meaning and is either used to 1) glamorize the struggles of marginalized individuals to survive or 2) conceal actual character flaws like lack of backbone or extreme conformism.
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We need to talk about Godzilla Minus One.
Let's talk about the original music mixed in with new tracks.
Let's talk about the Barefoot Gen vibes in the ruins of Tokyo.
Let's talk about how the film gives off anti-war vibes without loudly screaming that it's anti-war.
Let's talk about how there were times I couldn't tell if it was a dude in a suit or a CGI Godzilla.
Let's talk about Shikishima's PTSD and him not wanting to be a kamikaze pilot.
Let's talk about how it felt like an old 80's Godzilla movie and like it could fit in with the Monsterverse at the same time.
Let's talk about how Godzilla gets burned by his own atomic breath.
Let's talk about how the movie doesn't shy away from people losing their lives, whether by war or Godzilla's feet or the inevitable cancer that most likely occurs due to his atomic breath.
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sercezgazety · 6 months
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kvtnisseverdeen · 1 year
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Like everyone in the world, I assumed Miles Bron was a complicated genius. But why? Look into the clear center of this Glass Onion...Miles Bron is an idiot.
GLASS ONION: A KNIVES OUT MYSTERY (2022) dir. Rian Johnson
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mrsaltieri-real · 9 months
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Freaky (Bodyswapped!Mickey Altieri)
Word count: 1k
After trying (and failing) to kill you with a mysterious knife he bought off a stranger, Mickey wakes up and discovers that he’s somehow ended up in your body
So I just finished watching Freaky after it was so kindly recommended for me and I loved the concept so much. So fucking cool. So I wrote a quick tiny little thing with Mickey as Ghostface stabbing the reader and his body swapping with hers. It’s a really small little thing that just sprang to mind but I feel like I could write a whole ass series on something like this.
Warning/s: body swap, language, attempted murder, injury, blood, Mickey’s a lil sadistic, he looks and touches your breasts, etc
Enjoy!
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“It’s like you fucking want to die.” Ghostface laughed as you stumbled and fell to the ground, a gasp escaping you as you scraped your hands on the hard concrete below. You felt his gloved hand grab your upper arm and throw you onto your back, smiling as he moved over you, pressing his knee to your stomach forcefully and knocking the air out of your lungs, one hand gripping your throat and squeezing tight. The glint of the strange looking blade gleamed in the street lights as he raised it, his other hand sliding from your throat to press harshly on your chest, pinning you there.
“No, don't, please don’t!” You screamed as the blade began to come down toward your chest. You instinctively jerked your knee into his stomach, causing him to let out a grunt and fall a little, the blade piercing into the flesh of your left shoulder.
“Agh! What the fuck?” He jolted sharply away from you, falling back as his hand clutched at his own left shoulder, pulling it back and looking in shock at his gloved hand covered in blood.
As soon as he was off of you you grasped your own shoulder, noticing the blood pooling out of yours too.
The masked man tilted his head at you a little in evident confusion before slowly getting to his feet and pointing the blade at you.
“I’ll be back for you, bitch.” He muttered before spinning on his heel and running into the darkness.
You limped through the door of your dorm room when the hospital and police finally let you go home, the bottle of painkillers clutched between your fingers. You didn’t tell them what really happened, how could they believe you? That when Ghostface stabbed you it somehow injured him too? They’d think you were insane.
Maybe you were. Maybe the adrenaline had made you crazy, made you see things that didn’t really happen.
Dropping your keys in the small glass bowl by the door you decided to take a quick shower and wash the blood and dirt out of your hair. You were exhausted, in a lot of pain and felt like you really had gone fucking insane.
Mickey woke up the next morning to the sound of his phone buzzing loudly next to him. Did he change his ring tone or something? Weird.
Letting out a small groan he opened his eyes. He decided to let the phone ring out, lifting his hand to rub the sleep out of his eyes. He suddenly paused, blinking a couple of times till his vision stopped blurring before staring at his hand in confusion, not seeing his own large calloused ones but ones that were rather petite and dainty, with large gashes cut into the palms.
“Huh?” He muttered, jumping at the sound of his voice. Well, not his voice.
“What the fuck?” He said loudly, jumping at the pitch and tone of his- that sound coming out of him.
Raising his hand again, he touched his face and felt features that definitely didn’t belong to him. He looked down at his body, seeing the soft curves and breasts of what very evidently was not his own long, toned physique. He glanced around him, seeing a mirror on the bedside table and snatching it into his hands, shakily lifting it so he could stare into it.
“What the fuck?!” He shouted louder as he saw your horrified reflection staring back at him. He jumped out of the bed, dropping the mirror to the ground so it smashed loudly onto the hardwood floor, staring around the room, completely bewildered. This wasn’t his dorm, he wasn’t himself and he was freaking the fuck out. He was you, the girl he tried to kill last night.
His- your eyes caught the floor length mirror in the corner of the room and he walked over slowly, eyeing up the reflection peering curiously back at him. He lifted his hand to touch the soft hair, pulling a strand to his face to sniff it tentatively.
Huh. He thought to himself, dropping the strand back into place. His eyes roamed your body, tilting his head a little. Wow, he never really noticed before what with him trying to kill you but you were hot. He lifted his hands to the hem of your shirt, lifting it up and let out a small laugh.
“Ha, nice.” He chuckled as he looked at your breasts curiously and palmed one with his hand, smiling as he felt the satisfying soft flesh and still flinching a little when he heard your voice.
“Never should’ve bought a weird ass knife off of someone on the Internet.” He mumbled, dropping the shirt again and turning around.
What did this mean? If he was you… did that mean you were him? He felt your body stiffen with realisation of what this meant. If you were in his body it wouldn’t take you long to figure out that he was Ghostface. But did you even know who he was? He’d been watching you for days, tracking you and stalking you to learn your routine to make killing you a little more fun for him. But you ran in completely different circles, who knows if you’d ever even noticed him?
“Fucking shit!” He shouted angrily and he grabbed the phone off of your bedside table, flipping it open as his eyes scanned through your contacts trying to look for a familiar name of someone you could both have in common.
Nothing.
He relaxed just a little, dropping the phone on the bed and sitting down, running his hand over your face. How was any of this even possible? What the hell was he supposed to do now? Even though it didn’t seem like you had any friends in common, his dorm was full of pictures, videos and that goddamn fucking Ghostface costume, as well as the knife he’d bought only the other day specially to kill you.
He racked his brain for a couple of seconds, thinking. And then it struck him. Nobody would ever suspect you. You were a sweet little thing, incapable of doing what he did to CiCi Cooper a few nights ago. You were kind, popular and sociable. The perfect disguise. In that moment, making your lips turn up into a depraved smile he knew what he had to do.
He had to kill you, then he had to become you.
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allmyzolu · 1 year
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Just look at ✨HIM✨
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The changes in the animation and in the characters design is really nice, and he looks so cute OMG, I'm kinda glad the studio is going to other direction.
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And his eyes are more expressive, that's sweet.
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He's precious, and I'm gonna repeat it every time I can.
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grishaxverse · 1 month
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manjummel boys. that’s it. that’s the post.
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