forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.
4K notes
·
View notes
i absolutely love your characterization of movie vanessa,, like she is so mentally unwell but also she is full of whimsy!
The duality of Vanessa Shelly,,
2K notes
·
View notes
the difference in Percy's water healing power in the show vs the movie is actually kind of interesting because while subtle, in the show the water heals his injury and then his blood is washed away, but in the movie you can actually see the water push Percy's blood back inside his body as its healing him... and I cannot believe I'm saying this but I think I like the movie's depiction of this power more because of that???
465 notes
·
View notes
to elaborate on the fnaf movie: the animatronics looked awesome. they played talking in your sleep by the romantics which rules. none of the characters were particularly gripping or well-developed but matthew lillard looked like he was having a TON of fun as william afton and who can blame him. yes i clapped and cheered when matpat said "it's just a theory". yes i clapped and cheered when afton said "i always come back". yes i clapped and cheered when they played the living tombstone's seminal masterpiece in the end credits. i had so so much fun. absolutely recommend if you just wanna see fun robot murder with cool animatronics and occasional hijinx. god i wanna see it again now
870 notes
·
View notes
Everybody likes the line from Nimona "If you don't then you're going to die in this closet!" bc it's a funny little queer joke but I think that Ballister's response is actually more interesting.
He says, "Die?" and you can see on his face he has no idea what she's talking about. This is the first time that he's actually being confronted with the fact that there will be no mercy shown for him. He thinks if he talks to Ambrosius or the Director they can work something out, but Nimona knows better. It takes him half of the movie to figure this out but I think this line does a good job of demonstrating how he's thinking of the situation.
They're literally chopping down the door behind him, nearly hitting his head with axes, and he's still convinced that they wouldn't kill him if given the chance
591 notes
·
View notes
I just fucking realized after four years that the last time Kyoko saw Homura, she still had the shy, moe personality.
She left right after Homura returned to the version we all know.
Then, when Kyoko received the phone call from her and started to get worried, she probably had that image of Homura in her mind.
Which kind of explains this frame.
Kyoko, despite being the last one to talk to Homura before she became a witch, never had the chance to see the (cool) Homura the others saw and when she did… It was already too late.
339 notes
·
View notes
SO WAS ANYONE GOING TO TELL ME THE BEACH THAT MAKES YOU OLD WAS A THING IN A FILM OR WAS I SUPPOSED TO FIND OUT ABOUT IT THROUGH A FILM REVIEW BY THE CREATOR OF THE LATE 2000S POINT AND CLICK HORROR WEB GAME "THE HOUSE"
619 notes
·
View notes