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grigori77 · 3 years

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Summer 2021′s Movies - My Top Ten Favourite Films (Part 1)

The Runners-Up:

20. LUCA – I’ll admit I really wasn’t sold on Disney/Pixar’s coming-of-age fantasy comedy, which revolves around a pair of young sea monsters living off the coast of the 1950s Italian Riviera, who discover they can assume human form when they dry out and go on land on a quest of discovery. Thankfully the strong reviews convinced me to give it a chance – this is a frothy and irreverent romp through an exotically nostalgic world filled with Vespas, pasta-eating contests and found families that’s fun for kids of all ages.

19. FAST & FURIOUS 9 – the high concept action franchise may be bursting under the ever-increasing weight of its own ludicrousness, but it’s still TONS of fun, packed with stunning over-the-top action, colourful globe-trotting and a loveable bunch of misfits we’ve grown incredibly fond of over the past TWENTY YEARS. This time Dom (the irrepressible Vin Diesel) and the team are up against ruthless hi-tech mercenary Jakob (John Cena), a lethal jack-of-all-trades with a dark connection to the Toretto name.

18. REMINISCENCE – Westworld co-creator Lisa Joy’s attempt to make it on the big screen looks set to go down as one of the biggest cinematic flops of 2021, which is a shame because the feature-debuting writer-director has crafted a genuinely fascinating speculative sci-fi noir detective thriller. Set in a darkly dystopian future in which Global Warming has caused the sea levels to rise and society to start breaking down, it tells the story of Nick Bannister (Hugh Jackman), a former soldier who ekes out a living using revolutionary tech to help the idle rich relive their fondest memories, until a life-changing mystery from his own past resurfaces, threatening to tear his whole world apart. Frustratingly, it looks like most audiences are going to bypass this, which is a criminal loss.

17. FREE GUY – after a seven year hiatus, Night at the Museum director Shawn Levy returns to the big screen in fine form with this deliriously inventive fantastical comedy adventure about Guy (a typically on-fire Ryan Reynolds), an NPC in an anarchic, Grand Theft Auto style MMORPG called Free City who discovers his own sentience after falling in love with Millie (Killing Eve’s Jodie Comer), a player with a hidden agenda that puts them both at odds with the game’s nefarious creator, Antwan (a thoroughly hilarious Taika Waititi).

16. EVANGELION 3.0 + 1.01: THRICE UPON A TIME – visionary anime creator Hideaki Anno brings his long-running sci-fi saga to a close with this fourth instalment to his wildly ambitious cinematic “Rebuild” of cult TV series Neon Genesis Evangelion. It’s as frothy, melodramatic and bonkers as ever, packed full of weighty themes and crazy ideas, while the animation maintains this series’ ridiculously high levels of quality and the action is as explosive as ever, and Hideaki brings the whole mad mess to a climax that’s as rich, powerful and thoroughly befuddling as the saga deserves.

15. THOSE WHO WISH ME DEAD – Sicario writer Taylor Sheridan returns to the director’s chair (after impressive debut Wind River) with this intense and enthralling suspense thriller adapted by bestselling author Michael Koryta (along with Sheridan and Blood Diamond’s Charles Leavitt) from his own acclaimed novel. Angelina Jolie is (ahem) fiery but fallible as haunted smokejumper Hanna Faber, whose PTSD drives her to protect a desperate boy (Finn Little) who’s being hunted through the wilds of Montana by a pair of relentless assassins (Aidan Gillen and Nicholas Hoult).

14. CRUELLA – far from the clunky cash-in retcon many were predicting, Disney’s ambitious black comedy crime caper does a thoroughly admirable job in delivering this fascinating and deeply compelling reimagining of the story of rogue fashion designer Cruella de Vil (one of the best performances I’ve ever seen Emma Stone deliver, hands down), the dastardly villainess of 101 Dalmatians. She’s certainly far more complex here, no longer a raging monster, but far from a whitewashed PC apologist, either, much more of a morally grey antihero with a very wicked dark side – then again, with I, Tonya director Craig Gillespie at the helm it’s not really a surprise. Richly designed and dripping in spectacularly adventurous period detail, this is an divine romp from start to finish.

13. THE GREEN KNIGHT – the latest feature from writer director David Lowery (Ain’t Them Bodies Saits, Pete’s Dragon, The Old Man & the Gun) is as offbeat and unusual as you’d expect from a visionary filmmaker with such a wildly varied CV. Adapting the fantastical chivalric romance Sir Gawain & the Green Knight, he’s crafted what’s surely destined to be remembered as the year’s STRANGEST film, but it’s a work of aching beauty and introspective imagination that sears itself into the memory and rewards the viewer’s patience despite its leisurely pace. Dev Patel is unbearably sexy and wonderfully complex as Gawain, while Sean Harris delivers show-stopping support with stately charisma and world-weary integrity as King Arthur. This film is sure to divide opinions as well as audiences, but I think it’s a bona fide masterpiece that must be seen to be believed.

12. CANDYMAN – after watching this wildly imaginative and frequently gut-wrenching soft-reboot/sequel to Bernard Rose’s acclaimed adaptation of Clive Barker’s short story The Forbidden, I feel supremely confident about emerging writer-director Nia DaCosta’s coming MCU breakout with The Marvels. Wisely papering over the clunky previous sequels, this streamlined trailblazing deep dive into the pure horror of the legend of the righteously mad spectral killer haunting the Chicago housing ghetto of Cabrini-Green sees a daring modern artist (Aquaman’s Yahya Abdul-Mateen II) find his latest project turning into a dangerously self-destructive obsession. Writer-producer Jordan Peele’s fingerprints are all over this, but DaCosta clearly shows signs that she’s going to be a hell of a talent to watch in the future.

11. THE WITCHER: NIGHTMARE OF THE WOLF – I wouldn’t normally shout about an animated spinoff to a TV series like this, but I was SO INSANELY IMPRESSED with this brilliant prequel to Netflix’ popular fantasy show (which clearly intends to lay some origin story groundwork for the impending second season) that I just can’t help myself. Recounting the backstory of Geralt of Rivia’s own Witcher mentor Vesemir, this beautifully expands on the already compelling universe the series has created, as well as delivering some breath-taking thrills and chills through some of the most exquisite cell animation I’ve ever seen outside of the greats of anime. A must-see for Witcher fans, then, but one I’d also highly recommend to anyone who likes their animation a bit more grown-up and edgy.

#movies 2021 #luca #disney luca #fast & furious 9 #reminiscence #reminiscence movie #free guy #evangelion thrice upon a time #rebuild of evangelion 4 #those who wish me dead #those who wish me dead movie #cruella #cruella movie #the green knight #the green knight movie #candyman #candyman 2021 #the witcher nightmare of the wolf #awesome sauce

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floating-in-the-blue · 2 years

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Tag 9 people you want to get to know better

Both @nuandia and @astorytotellyourfriends tagged me. Thank you, lovely people! <3

favourite colour: green!! Specifically relaxing dark green and refreshing 'sun seen through leaves' green. Right next are yellow and then dark blue. So basically a moss covered IKEA with sunshiny trees around I guess ...

currently reading: I just finished the last book in the "Shadow & Bones" trilogy by Leigh Bardugo and will now move on to "Six of Crows". My work book (i.e. the book that sits in my drawer at work for lunch breaks) is currently "Lark Rise to Candleford" by Flora Thompson, which is suited very nicely for that job because it immediately transposts me out of the office and into another time/place and also doesn't really have plot because it's more a study of social life in the 1880s in one rural English community. It's fascinating but I'm totally okay stopping after one chapter.

last song: I'm currently listening to a Jordi Savall playlist on Spotify for that relaxing background Baroque music ;D

last series: I think that would be the Pixar Insight documentary series on Disney+? I only watched the first ep of that so far though. For fiction, it'd be my Star Trek Voyager rewatch.

last movie: I've mostly been reading lately so I'm not sure if it's "Cars" (which I'd never watched before) or "The Good Liar" with Ian McKellen and Helen Mirren

sweet, savory, or spicy: total sweet tooth unfortunately, but I do need something savory to balance it out.

currently working on: since work always gets busiest around this time of year there's not much happening creatively but I amw orking on and off on my Willex merman fairytale AU. But that requires a certain mood for writing so it's snail pace writing.

No-pressure tagging: @tired-eyes-cold-as-ice, @tardis-stowaway, @tacohead13, @jonairadreaming <3

#personal #yeoyou

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agentnico · 3 years

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Top 10 Best Movies of 2020

2020 - what a year, eh? What a jolly, cheerful and happy year it has been, with hardly any problems and a general peaceful and prosperous time for the ever progressive people of Earth! I’m kidding, let’s get real, what the hell was 2020 all about?! What a way to begin the decade! At least we got some movies, emphasis on ‘some’ as most of them got delayed due to cinema closures. In any case, there were still some little gems that gave us some form of limited escapism in these hardship times, and here they are, my favourite films of 2020...

Honourable mentions: An American Pickle, Emma, Phineas and Ferb The Movie: Candace Against the Universe

10) COLOR OUT OF SPACE - “Milk the Alpacas!” With call-backs to 80′s John Carpenter horror films, with an added flair of Nicolas Cage and alpacas (you heard me), we are slowly plunged into a hellish landscapes of madness, deformity and desolation. So, ya know, a typical Saturday night watch with the kids!

Full review: https://agentnico.tumblr.com/post/611042880586481664/colour-out-of-space-2020-review

9) UNHINGED - “I don’t think you really know what a bad day is. But you’re going to find out.” In any other year, this thing wouldn’t make the list. In 2020, a B-movie action film with a road-raging Russell Crowe is exactly the kind of entertainment I’m after! This by no means a great film, but with all the cheesy one liners and obvious foreshadowing, with Russell chewing up the scenery like it’s nobody’s business, you’re guaranteed to not be bored.

Full review: https://agentnico.tumblr.com/post/625701541861523456/unhinged-2020-review

8) MA RAINEY’S BLACK BOTTOM - “I’ve got my time coming to me.” When it comes to the year’s best performance, hands down its Chadwick Boseman as the trumpet player in this film, providing us with with a role with such heart and soul (appropriately for the jazz subject), who at first comes off as this self-obsessed selfish arrogant snob who only cares about achieving his own stardom, but then as his layers are unpacked, we discover that underneath this façade is a man filled with such sadness and rage, having endured much profound trauma in his past, and it’s all brought to life so powerfully by Boseman’s dedicated performance. This role alone proves what a truly talented actor we’ve lost this year. Wakanda forever!

Full review: https://agentnico.tumblr.com/post/637939894686285824/ma-raineys-black-bottom-2020-review

7) THE DEVIL ALL THE TIME - "I ain’t gonna take the blame for no bastard child!” Robert Pattinson plays a high pitched voiced priest that is a pervert. Somehow I’m sold!

Full review: https://agentnico.tumblr.com/post/629773151704858624/the-devil-all-the-time-2020-review

6) BILL & TED FACE THE MUSIC - “Be excellent to one another, and party on dudes!!” Any other year, this film would have passed the public’s eye without much of an impression and would have vanished into oblivion. In 2020 though, where so much negativity has been imposed upon us all, the simplistic absurdist debauchery of Bill and Ted is exactly what was needed to lighten everyone’s mood. Excellent!!

Full review: https://agentnico.tumblr.com/post/627980138875912192/bill-ted-face-the-music-2020-review

5) DA 5 BLOODS - “We won't let nobody use our rage against us. We control our rage.” Director Spike Lee is in the house, this time lighting up another joint and taking us on an adventure to find some treasure, whilst also providing commentary on the hardships of the Vietnam war and the PTSD that it caused to its survivors. Great cast, powerful message and a Black Panther to seal the deal!

Full review: https://agentnico.tumblr.com/post/620819114989076480/da-5-bloods-2020-review

4) THE GENTLEMEN - “There’s only one rule in this jungle! When the lion is hungry, he eats.” This is such a cool film! Like, that’s the best way to put it: so cool!! Simply a bunch of cool geezers acting all cool and mighty spilling Guy Ritchie’s cool dialogue whilst appearing super cool. Did I mention this film is cool?! So cool!!

Full review: https://agentnico.tumblr.com/post/190289146259/the-gentlemen-2020-review

3) SOUL - “Your life is so sad and pathetic and you’re working hard to get back to it. I mean, why? This I gotta see!” Dang it, Pixar, you’ve done it again!! In this case, it’s the movie’s earnest and profound message of learning to enjoy the little things that makes it so touching to the, ahem, soul. It may not seem like it right now, but we shall all be okay. Everything will be okay. Stay safe everyone.

Full review: https://agentnico.tumblr.com/post/638668902755336192/soul-2020-review

2) THE TRIAL OF THE CHICAGO 7 - “We're not going to jail because of what we did. We're going to jail because of who we are!” This courtroom drama is an eye-opener of the reality of American dream and politics, and is a must-watch, even though it’s a bit late now to fix such a broken system. I’m sure many Americans may see this film as unpatriotic, but reality is actually not far from what this film is saying. It speaks the truth. The Aaron Sorkin truth! Then again, as heard many times before: “YOU CAN’T HANDLE THE TRUTH!!”

Full review: https://agentnico.tumblr.com/post/632238115847913473/the-trial-of-the-chicago-7-2020-review

1) EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA - “Play Ja Ja Ding Dong!!” Look, I’m not even ashamed to say it, I absolutely loved this movie! It may not be the pinnacle of modern day filmmaking, but it brought so much zany fun and cheesiness that was a breath of fresh air this year. With a scene stealing performance from Dan Stevens as a campy Russian pop singer, and filled with cheesy original pop songs such as “Lion of Love”, “Double Trouble” and “Husavik”, this is THE feel-good movie of the year. I also have a special sentimental place in my heart for this flick since I told my girlfriend for the first time that I loved her after watching this movie. What can I say, I’m a hopeless romantic! I follow up a Will Ferrell with an “I love you”. This one’s for you, my lovely!

Full review: https://agentnico.tumblr.com/post/622342894264664064/eurovision-song-contest-the-story-of-fire-saga

With that we close the book of 2020, and open up the cover of 2021. Oh boy, here we go again!...

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lovejustforaday · 3 years

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Album Review - The ArchAndroid by Janelle Monáe

THE ARCHANDROID - JANELLE MONÁE

Main Genres: Art Pop, Progressive Pop, Contemporary R&B

A decent sampling of: Psychedelic Pop, Jazz Pop, Neo-Soul, Rock N Roll, Synth Pop, Swing, Baroque Pop, Conscious Rap, Alternative R&B

It’s hard to think of an artist who arrived onto the scene with a more fully-formed vision than Janelle Monáe.

Creative minds of her caliber are few and far between. I bet a lot of artists wish that they could say that their debut LP was as bold, ambitious, and left as lasting an impression as The ArchAndroid.

The ArchAndroid is the most cinematic experience an album has ever given me by itself. Artists like Gorillaz and Beyoncé have dropped “album movies” where every song (or just about every song) gets a music video, and I admire those kinds of projects for all the effort that goes into them. But The ArchAndroid never needed a music video for every song - each song is already so vivid, so full of colour and life, that I can already picture clearly what the music and the story looks like inside my head. Of course, it helps that Janelle Monae did everything in her power to make the story behind this concept album as real and tangible as possible, between little details like the written lore in the liner notes to the real life persona she adopted at the time of its release. But what exactly is The ArchAndroid all about? Well, it’s a little complicated. Monáe refers to her debut EP Metropolis and her first two LPs as “suites”, with Metropolis representing suite 1, The Archandroid suites 2 and 3, and The Electric Lady suites 4 and 5. These suites tell the story of Cindi Mayweather, a prophetic, afrofuturistic android protagonist who was cloned from Janelle Monáe’s DNA, who falls in love with a human named Sir Anthony Greendown, and lives in a dystopian future where time travelling villains known as ‘The Great Divide’ are oppressing androids.

Essentially, the story of Cindi Mayweather serves as allegory for issues surrounding blackness, queerness, oppression, and interacial love in our own times. Furthermore, Cindi Mayweather’s character represents love itself as an opposing force to hatred. The ArchAndroid in particular very strongly represent’s Janelle Monae’s socio-political manifesto of love, protest, and peaceful rebellion in the face of societal injustices like racism. The whole thing is basically just really nerdy pop music meets sci-fi social justice, and I absolutely fell in love with the concept from the very first time I heard The ArchAndroid. Anyways, let’s talk about the music. Monáe’s pop fusion sound takes inspiration from all sorts of directions here - from good old rock and roll, classic psychedelia, and 60s girl groups, to modern hip hop and neo-soul. What really stands out however is a particular fondness for the classy sound of 1920s jazz, swing, and big band music, and the accompanying visual aesthetics for the album draw heavily from this influence. The production on this album is BIG. Part of what makes this album so cinematic is the crisp, clean mastering and the large orchestral arrangements that feature prominently throughout. Everything sounds meticulously placed and she clearly worked with a really great team on this project. I’d also say that this is the kind of album you definitely have to hear on vinyl to get the fullest experience possible. Monáe’s talents as a vocalist are also a key element. She’s got a fire in her soul and a very real stage presence, and her range is impeccable. She can rap on tracks like “Dance or Die” and “Tightrope”, she can serenade the listener so sweetly on tracks like “Say You’ll Go” and “Sir Greendown”, or she can belt out a song with sorrow in her chest on tracks like “Oh, Maker” and “Cold War”. At almost 70 minutes, it’s a very long album by pop standards so it’d be pretty difficult to pinpoint what all of my favourite tracks are on The ArchAndroid and why, but here’s a few highlights anyway. “Dance Or Die”, “Faster”, and “Locked Inside” start off the album with a three part musical chase scene where Cindi is fleeing her oppressors. I see a heavy rainy night, dark alleyways, flashing city lights, and futuristic floating cop cars when “Dance Or Die” kicks in with its incredibly infectious beat that gets my heart pumping every time I hear it. “Sir Greendown” is a wonderful little love song with mysterious undertones, and a warm throwback to the era of brill building. This song establishes one of the main conflicts of the ArchAndroid portion of Cindi’s story in particular; that is, choosing between her destiny to stay and fight for her people as the Archandroid, or escaping to the safe haven land of mushrooms and roses to live a life of peace with her lover. “Tightrope” is just a total banger from start to finish. This jazzy, swingy r&b rap track features Big Boi of Outkast, one of her clearest musical inspirations and it’s really cool to see both of them absolutely kill it alongside eachother. The breakdown with the record scratching is one of the very best musical moments on this LP and it really gives me the vibe of an android glitching on the dance floor from partying too hard. “Wondaland” is absolutely utopian, a lofty, mythical synth pop song that sounds like it came right out of a pixar movie with all kinds of weird little android voices in the background. “Say You’ll Go” is my personal favourite. This classy tune is mostly an exhibit for Monáe’s artistic tastes and her soothing vocals, but it’s done so incredibly well that I can’t help but wonder if this is what elevator music in the tallest skyscraper of an advanced society might sound like. The ending with its interpolation of “Clair de Lune” and a soulful choir in the background is a really nice touch. “BaBopByeYa” is a fantastic eight minute closing piece of soul jazz that represents the peak of the album’s cinematic qualities, with a progressive song structure that tells an entire story on its own. The fact that this wasn’t the biggest album of its decade is honestly sort of a crime. I can only think of one other album from the 2010s that I love just a little bit more than The ArchAndroid, but if we’re to assume that some element of music critique is objective (which is a whole other can of worms), then I have to point out just how put together this whole LP is, how much love and hard work clearly went into it, and how incredibly impressive this sounds even to this day. Speaking as ““““objectively”””” as I think I can, this is the most impressive thing I’ve heard that’s come out in the past 11 years. This could have come out yesterday and it still would have sounded so incredibly beyond what I thought was possible at the time. What’s more, the political issues tackled by The ArchAndroid are sadly just as relevant today as they were the day that it dropped. Speaking as a dumb privileged white guy who obviously isn’t an expert on the subject, I really did want to put out a review for Black History Month that would honour a great black artist, and Janelle Monáe is the first one that comes to mind. Monáe is obviously a very proud black woman, and her art definitely needs to be celebrated.

That being said, The ArchAndroid is really the kind of album that just about anybody should be able to enjoy regardless of their background. Either you love sci-fi, hate injustices, or just like listening to really fucking good music.

10/10

highlights: “Say You’ll Go”, “Wondaland”, “Tightrope”, “Dance Or Die”, “BaBopByeYa”, “Sir Greendown”, “Oh, Maker”, “Locked Inside”, “57821″, “Cold War”, “Mushrooms & Roses”, “Suite III Overture”, “Suite II Overture”, “Faster”, “Make the Bus”

#janelle monae #cindi mayweather #the archandroid #r&b #art pop #progressive pop #soul #best music #favourite music #album review #music review #2010

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simply-shakera · 3 years

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Embodying Black Joy

Before Black History Month 2021 comes to an end, I want to take this moment to reflect on how significant this time truly is. Although my belief is that Black History and culture should be celebrated throughout all months of the year; for now, I do believe it is important that we continue to utilize this time to acknowledge the historical feat against monumental odds that Black people have been able to achieve. It is the responsibility of the current and future generations to take what we have learned and keep the momentum going. It is also necessary for us to utilize our talents and gifts to uplift those around us.

As a natural caregiver, I nourish the people around me by creating and sustaining a community of care, joy & connection. Carnival Spice has allowed me to complete much of this work and I am truly grateful for that. Typically in February months I see an increase in Carnival Spice bookings due to Black History Month. Our most popular offering during this time is our family-friendly cultural presentations that highlight Black culture using dance, fitness and story telling in such a unique way.

I feel so full-filled when leading these presentations - especially when it is for our school-aged groups. Seeing kids of all ages so excited to learn and embrace the richness of Afro-Caribbean culture really motivates me to keep going. I particularly appreciate how engaged they are in the experience and the high vibrations they exude. Though all of our presentations were virtual this year, you could still feel their energy and joy through the screen.

"The most radical and revolutionary thing we can do for ourselves is to connect to joy and to allow ourselves to feel. That is how show up positively in the world and complete dissolve ancestral trauma." -- Devi Brown

Joy, that deep-rooted inner feeling that inspires that outward expression of happiness... But Black joy goes far beyond that. Black people have contributed so much to this world yet sadly the way we as a people have been treated does not reflect that. Racism, social injustice, and trauma runs rampant plus there isn't enough spaces that allow for healing. Thankfully, joy is a form of healing; and while society often condemns Black people for being "too loud", "too angry" or "too much", revelling in joy is an act of resistance too.

Engaging in Black joy sends a message to your mind and spirit that you are worthy, you are important, and you are loved. We should make a habit of taking inspired action to bring joy into our lives. I put together a few light-hearted lists for you that may help you engage in Black joy daily:

The Beauty of Affirmations

I believe the universe has the power to align us with people, things and experiences that match our vibrations. It is important for us to keep our vibrations high to increase the opportunity of positive attraction. Practicing the act of repeating and affirmations (positive statements) is a powerful way to strengthen our mindset by helping us believe in the potential of an action we desire to manifest.

I encourage you to write out an affirmation related to joy and set it as a as a daily alarm on your phone. When the alarm goes off repeat the statement out loud and be present in the moment and positive energy.

Listen To Music

Music is a powerful tool that unlocks joy. From the beat, to the lyrics, to the melody certain parts of songs just know how to hit our soul. I created a playlist with a mix of feel good songs from different eras and genres - take what you'd like:

Can’t Take My Joy by Terri Lyons

My Dream by Nesbeth

Put Your Hands Where My Eyes Could See by Busta Rhymes

The Anthem by Todd Dehaney

Blessed by Wizkid and Damien Marley

Beat of Life by Sarz ft. Wizkid

Jerusalema by Master KG ft. Burna Boy

Skip To My Lou by Ding Dong, Serani & Biggy

Just Dance - Wacky Dip by Ding Dong feat. Voicemail

Go Crazy by Chris Brown

High Life by Machel Montano

Full of Vibes by Voice & Marge Blackman

Lose Control by Missy Elliot - ft. Fat Man Scoop

Happy by Pharell Williams

Dance Heals

Dance truly does heals and it is such a positive way to embody Black joy. Here are some of my favourite dance moves from the African Caribbean Diaspora - taken from popular genres such as afrobeat, soca, dancehall and hip - hop.

Shaku Shaku (Nigeria)

"Although the dance is credited to Olamide, the truth is that he is not the inventor of the dance. But he played the major role in the crossing over of the dance to the mainstream media. The dance originated in the streets. According to DJ Real, Shaku Shaku name is for street guys, and the dance was named after their particular style of dances when they are hanging out" - Source. The move involves crossing one arm over the other and bringing that same arm toward the ear as if you are making a phone call.

Palance (Trinidad)

In 2010, the world was introduced to the song and dance that is palance. The song by JW and Blaze ’s popularity was established when it took the "Road March" title at Trinidad’s Carnival that year where it was played along the parade’s judging route 417 times.The move involves jumping side to side on one foot at a time while waving yuh flaggg. Back then, soca song's weren't known for having dances - so palance truly broke the mold. We have even seen Beyonce and Justin Trudeau do it.

Krazy Hype (Jamaica)

This mid school dancehall move will always be one of my favourites. It was created in 2003 by choreographer Crazy Hype from the The MOB Dance Group to Elephant Man hit song of the same name. The move involves hopping from side to side but landing on your heels.

Harlem Shake (Us)

The dance was created by Harlem resident Al. B. in 1981. However, in 2001 the dance resurfaced and was renamed when it featured heavily in G.Dep’s music video for the song "Let's Get It". When you hear this song one can't help but get to shakin'.

Enjoy A Movie

Get your laugh on or enjoy a flick that makes your heart smile. While your at it, support a Black art! I have helped you out by compiling a list movies that exude Black Joy.

Soul (2020)

Critics Consensus: A film as beautiful to contemplate as it is to behold, Soul proves Pixar's power to deliver outstanding all-ages entertainment remains undimmed.

Synopsis: A music teacher who dreams of performing jazz live finally gets his chance, only he travels to another realm to help someone find their passion, he soon discovers what it means to have soul.

Soul Food (1997)

Critics Consensus: Much like the titular cuisine, Soul Food blends a series of savoury ingredients to offer warm, generous helpings of nourishment and comfort.

Synopsis: This hit domestic comedy-drama concerned the fortunes of an extended African-American family recalled through the eyes of young narrator Ahmad Hammond.

Love and Basketball (2000)

Critics Consensus: Confident directing and acting deliver an insightful look at young athletes.

Synopsis: A young African-American couple navigates the tricky paths of romance and athletics in this drama. Over the years, the two lead characters begin to fall for each other, but their separate paths to basketball stardom threaten to pull them apart.

Sister Act 2: Back In The Habit (1993)

Critics Consensus: Sister Act is off-key in this reprise, fatally shifting the spotlight from Whoopi Goldberg to a less compelling ensemble of pupils and trading its predecessor's sharp comedy for unconvincing sentiment.

Synopsis: In the sequel to the hit comedy Sister Act, Whoopie Goldberg reprises her role of Deloris Van Cartier, a Las Performer. It appears Deloris is needed in her nun guise as Sister Mary Clarence to help teach music to teens at a troubled school in hopes of keeping the facility from closing at the hands of Mr. Crisp (James Coburn), a callous administrator.

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semiotomatics · 3 years

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HOLY SHIT Y’ALL i just watched Soul (finally) and i am shook

uncontrollable sobbing after the cut

just kidding i already spent the past hour and a half sobbing uncontrollably. like. it was so good folks. folks. i am reeling. every aspect of it was perfect.

okay so first of all, going into this movie i had...idk if high hopes is the right word but i was feeling cautiously optimistic. i loved loved loved Inside Out and i was ready and willing to go on another animated metaphysical journey with pete doctor and friends. i had absolutely no idea what to expect (the only info i had about the movie were the trailers and various headlines/review exerpts which were pretty unspoilery on purpose). so after i got about 10 minutes in i was already like *heart eyes* what is happening.

and like. i’m not gonna ~spoil anything about the story itself because i’m solidly of the opinion that experiencing things without preconceived notions/expectations is the best way to experience them but i will say that the story was. beautiful. it was a love letter to life. to living. it didn’t at all go the way i expected (though, again, not many expectations going into it), it went so much better. every single character felt rich and complex and idk any other way to describe it they felt alive. there was so much heart in every frame of this movie, it just sang.

and the frames were good y’all. the frames were so good. every pixar movie i try to figure out what their newest toy/challenge is (based on a quote from ages ago where they explained how every movie presented a new animation challenge to overcome ie. fur, skin, water, particles, lighting, etc) and tbh i’m not sure what it was for this one because it was all a technical masterpiece. especially the scenes on Earth!!! they were so good!!! i was majorly bummed that i wouldn’t be able to watch it on the big screen but i was still blown away by the details even on my piddly little laptop screen.

i was especially impressed with the character designs and details. i know pixar did a ton of research/consulted with bipoc people during the making of this film and so i genuinely hope that the characters were well received (i haven’t read any articles abt the movie yet, i literally just finished watching like 3 minutes ago haha), because they all looked beautiful to me. nobody can ever, ever say that animating diversity is difficult or not necessary. this movie unequivocally proves them wrong. god i am so over movies about white people. i want more of this.

I also loved the style they gave the Real World? like i was so worried they were gonna fall into the hyperrealistic uncanny valley for a bit there (do not ask me about arlo’s kneecaps i’m still recovering) but i feel like with Soul they’ve really landed on this perfect blend of verisimilitude of place and artistic freedom of character. which isn’t to say that the characters didn’t look or feel like real people, because they absolutely did. but they didn’t look like photographs.

finally no review would be complete without at least 500 words spent gushing about the music. holy shit you guys the music. like i wasn’t sure what to expect bc trent reznor (of NIN fame) did the score (with Jon Batiste doing the diagetic jazz compositions) which was different from pixar’s usual style (no michael giacchino, thoman newman, or randy newman this time lol) but can i just say??? it may be my new second favourite score (after WALL-E ofc)??? i desperately tried to find a way to stream it in canada but it seems like no luck so far, which is a travesty cause i need to hear it again. i may even buy it just so i can listen to it. can you imagine, buying music in the year 2020??? anyway yeah the sound was perfect, the score when they were in the Great Before was v otherworldly and kinda haunting almost? perfectly atmospheric. and the music on earth was warm and jazzy (no duh) and so emotive i could cry just thinking abt it. and!!! that’s not even going into the jazz stuff!! i love jazz but i’m not by any means ~knowledgeable abt it so the extent of my thoughts when i heard it was “hell yeah!! that’s awesome!!” which like, yeah, but i’m sure there are people with more nuanced takes than that haha

anyway this is becoming a small novel and i sincerely apologize for that, i’ve just got a couple more things i wanna mention (spoilers ahead!!! read at own risk!!!):

1. was the rat with the pizza slice supposed to be remy/a relative??? pete please tell me the truth i need to know if the rat was remy

2. i was so convinced joe was going to Die by the end and i am so incredibly glad i was wrong like they really said screw the natural order of things!! we choose life!!!

3. the GERRYS. AND TERRY. WERE AMAZING. terry is my new favourite

4. the cat was not cute this is the only downside to the entire film how did they manage to mess up a cat. big hero six did a better cat than them. heckin toy story 4 did a better cat than them, and ts4 is them.

5. during the scene where we meet dorothea while she’s playing her saxaphone you can hear the clicking of the idk keys buttons whatever you call those things and i love it so much, their attention to detail is *chef’s kiss*

6. “why do you sound like a middle aged white lady” “because it’s the most annoying voice” OH MY GOD also tina fey did so good here??? i was kinda put off that they cast her so soon after Inside Out but like, i didn’t get joy vibes from 22 at all haha

7. when i say that i saw joe ranft’s name on the wall of mentor name tags in 22′s room and immediately burst into tears. y’all. i ugly cried.

8. also!!! 22 had a WALL-E cave!!! i so badly want to watch WALL-E rn you have no idea

okay that’s enough of that i think, if you’ve read this far and you DON’T want to watch Soul then i think it’s because you don’t have one (lol geddit). as a final thought can i just say how absolutely inspiring and exciting this new era of Pixar has been?? like Onward didn’t rock me to my core or anything but it was still fantastic in its own way, and TS4 was phenomenal, and even Incredibles 2 completely blew me away with how good it was. I’m not counting Coco in this bc it was still conceived under Lassiter’s leadership (which is NOT a mark against Coco that film is my beautiful baby child and i love it to little pieces). god like when I lay them all out like this Pixar has had hit after hit for a while now. say what you want abt the Cars franchise but even Cars 3 was enjoyable!! (again, do not ask me about The Good Dinosaur i’m just trying to heal and move on). and now we’ve got Luca coming up next year which i already know is going to utterly destroy me!! and Turning Red and the goddamn Buzz Lightyear biopic i still cannot believe they’re making a Buzz Lightyear biopic. this is the second (some would say third, idk) golden age of Pixar folks and I am living!!!!

anyway Soul was amazing and you should watch it, like, now.

#personal spewage #i live a pixar apprecation life #i miss talking about pixar movies!!!#time to go on a binge and rewatch them all lol #this has been an original post #soul (2020)#pixar's soul #idk what the hell to tag this movie as lol #it's 'onward' all over again

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fallin-flcwer · 3 years

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Fifty Questions With Spotlight // Youi Moon

THINGS YOU’RE NEVER ASKED

which song went to number 1 on your birthday? (find out here) "for the u.k. it's The Long And Winding Road by Will Young & Gareth Gates and for the u.s. it's A Moment Like This by Kelly Clarkson."

if you could turn any scent into a candle, what would it be? "A candle that smells the way cherries taste, if that makes sense? Most cherry flavoured things I come across taste very... artificial."

which element best suits you: fire, earth, water or air? "Fire, i think"

what’s the worst grade you’ve ever got on a test? "C+. History is my weakness."

what’s the best grade you’ve ever got on a test? "A+."

how many countries have you travelled to? "The list would go on forever so i'm just gonna narrow it down by saying most of Asia, the US and some of the UK."

who is your favourite disney character? "Tadashi from Big Hero 6. Mostly because I had a massive crush on him when the movie came out."

what is one thing people believe that you don’t? "Things like soulmates and love at first sight doesn't exist. The fantasy that you will have all your needs met in a relationship without ever having to be vulnerable isn't true. Sometimes you need to communicate things to your partner in order to receive it."

do you usually drink enough water in a day? "Most days, yeah."

what’s your middle name? "I don't have one!"

PARENTS

do you know both of your parents? "Yeah, I do."

are they together? "Yep!"

are you adopted? "No"

what’s your favourite memory with your parent(s)? "Mum taking me and my siblings to the first hotel built in her chain. I was around five at the time. It was so fascinating to see something that's a big part of me, yet so much bigger than me."

what did your parent(s) study when they were at the academy? "My mum studied music and dance."

which project of your parent(s) is your favourite? "I'm very passionate about this topic, but for me it's a mix between Dream of You and Stay Tonight! It still baffles me that Roller Coaster is the first song people associate with her still."

which parent is the strictest? "Mum."

which parent do you look most like physically? "I'm gonna say mum, though I think I resemble my grandmother more."

which parent do you behave the most like? "I think I've spent most of my teen years going against the grain simply because I could get away with it, but these days I'm definitely trying to behave more like my mum."

are you close? "Yes!"

THIS OR THAT

the titanic or the notebook? "The Notebook. Though Titanic gets brownie points for having young Leo DiCaprio."

dc or marvel? "Marvel movies, DC comics.."

disney or pixar? "Disney"

pink or green? "Pink."

summer or winter? "Summer."

spring or autumn? "Autumn."

dogs or cats? "Cats."

rom-coms or horrors/thrillers? "Horrors and thrillers."

nights in or nights out? "it's 50/50 for me. it really depends on the day."

early riser or night owl? "Early riser."

GETTING PERSONAL

what age did you have your first kiss? "16."

have you lost your virginity? how old were you? "Yeah, I was 17 at the time."

what’s your biggest regret? "I don't think I have any. To be fair, I try to avoid having any."

which song most reflects your life so far? "Flourishing by my mother. I might be biased but it's such a motivational i-don't-give-a-fuck kind of song."

what’s your biggest fear in life? "Being alone."

do you want to get married? "That's not really something i've thought about."

do you want children? "Nope, but who knows? That might change.'

what is a cause you feel strongly about? "Hidden spy-cam p*rn... In Korea it's called 'molka' and it's freaking disgusting. My family has no tolerance for it, and people that have attempted to install cameras have all get caught and arrested. The fact that it's still such a problem in South Korea scares me."

what’s your sexuality? "Heterosexual"

when in life did you feel the loneliest? "It was when I went to Gallagher. Even though i kind of asked for it, I quickly realised that I missed home and my family."

10 TRUTHS

have you ever skinny-dipped? "No"

ever had inappropriate thoughts about somebody you shouldn’t? "Yes"

what’s the worst thing you’ve said behind somebody’s back? "I can't think of any on the spot, but it was probably a joke about my brother... San, if you're reading this, I love you!"

have you ever sent a sexual text? "Probably LOL"

is there anything you dislike for no apparent reason? "Frogs."

what’s the most recent lie you’ve ever told? "I had a fun time in Amsterdam."

can you put your hand on your heart and say you’ve never complimented a project you didn’t really like? "Yes, but I have complimented projects I didn't fully pay attention too."

the best advice you’ve ever been given? "When it comes to your career be as selfish as possible. Your company will always do what’s best for the company so you need to do what’s best for you."

a quote you try to live by? "A tree doesn't fall by one blow."

where do you want to be in ten years? "This might sound really ambitious, even for me, but I'd love to establish my own talent agency ten years down the line. I'd love to give rising artists a platform to showcase their talents, give them the creative freedom over their sound, look, concepts, and the resources to do so, whether they want to self-produce or need help from me or in-house producers."

#stjudesprojects

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mattbrothersscriptwriter · 4 years

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My Top 20 Films of 2019 - Part Two

I don’t think I’ve had a year where my top ten jostled and shifted as much as this one did - these really are the best of the best and my personal favourites of 2019.

10. Toy Story 4

I think we can all agree that Toy Story 3 was a pretty much perfect conclusion to a perfect trilogy right? About as close as is likely to get, I’m sure. I shared the same trepidation when part four was announced, especially after some underwhelming sequels like Finding Dory and Cars 3 (though I do have a lot of time for Monsters University and Incredibles 2). So maybe it’s because the odds were so stacked against this being good but I thought it was wonderful. A truly existential nightmare of an epilogue that does away with Andy (and mostly kids altogether) to focus on the dreams and desires of the toys themselves - separate from their ‘duties’ as playthings to biological Gods. What is their purpose in life without an owner? Can they be their own person and carve their own path? In the case of breakout new character Forky (Tony Hale), what IS life? Big big questions for a cash grab kids films huh?

The animation is somehow yet another huge leap forward (that opening rainstorm!), Bo Peep’s return is excellently pitched and the series tradition of being unnervingly horrifying is back as well thanks to those creepy ventriloquist dolls! Keanu Reeves continues his ‘Keanuassaince‘ as the hilarious Duke Caboom and this time, hopefully, the ending at least feels finite. This series means so much to me: I think the first movie is possibly the tightest, most perfect script ever written, the third is one of my favourites of the decade and growing up with the franchise (I was 9 when the first came out, 13 for part two, 24 for part three and now 32 for this one), these characters are like old friends so of course it was great to see them again. All this film had to do was be good enough to justify its existence and while there are certainly those out there that don’t believe this one managed it, I think the fact that it went as far as it did showed that Pixar are still capable of pushing boundaries and exploring infinity and beyond when they really put their minds to it.

9. The Nightingale

Hoo boy. Already controversial with talk of mass walkouts (I witnessed a few when this screened at Sundance London), it’s not hard to see why but easy to understand. Jennifer Kent (The Babadook) is a truly fearless filmmaker following up her acclaimed suburban horror movie come grief allegory with a period revenge tale set in the Tasmanian wilderness during British colonial rule in the early 1800s. It’s rare to see the British depicted with the monstrous brutality for which they were known in the distant colonies and this unflinching drama sorely needed an Australian voice behind the camera to do it justice.

The film is front loaded with some genuinely upsetting, nasty scenes of cruel violence but its uncensored brutality and the almost casual nature of its depiction is entirely the point - this was normalised behaviour over there and by treating it so matter of factly, it doesn’t slip into gratuitous ‘movie violence’. It is what it is. And what it is is hard to watch. If anything, as Kent has often stated, it’s still toned down from the actual atrocities that occurred so it’s a delicate balance that I think Kent more than understands. Quoting from an excellent Vanity Fair interview she did about how she directs, Kent said “I think audiences have become very anaesthetised to violence on screen and it’s something I find disturbing... People say ‘these scenes are so shocking and disturbing’. Of course they are. We need to feel that. When we become so removed from violence on screen, this is a very irresponsible thing. So I wanted to put us right within the frame with that person experiencing the loss of everything they hold dear”.

Aisling Franciosi is next level here as a woman who has her whole life torn from her, leaving her as nothing but a raging husk out for vengeance. It would be so easy to fall into odd couple tropes once she teams up with reluctant native tracker Billy (an equally impressive newcomer, Baykali Ganambarr) but the film continues to stay true to the harsh racism of the era, unafraid to depict our heroine - our point of sympathy - as horrendously racist towards her own ally. Their partnership is not easily solidified but that makes it all the stronger when they star to trust each other. Sam Claflin is also career best here, weaponizing his usual charm into dangerous menace and even after cementing himself as the year’s most evil villain, he can still draw out the humanity in such a broken and corrupt man.

Gorgeously shot in the Academy ratio, the forest landscape here is oppressive and claustrophobic. Kent also steps back into her horror roots with some mesmerising, skin crawling dream scenes that amplify the woozy nightmarish tone and overbearing sense of dread. Once seen, never forgotten, this is not going to be everyone’s cup of tea (and that’s fine) but when cinema can affect you on such a visceral level and be this powerful, reflective and honest about our own past, it’s hard to ignore. Stunning.

8. The Irishman

Aka Martin Scorsese’s magnum opus, I did manage to see this one in a cinema before the Netflix drop and absolutely loved it. I’ve watched 85 minute long movies that felt longer than this - Marty’s mastery of pace, energy and knowing when to let things play out in agonising detail is second to none. This epic tale of the life of Frank Sheeran (Robert De Niro) really is the cinematic equivalent of having your cake and eating it too, allowing Scorsese to run through a greatest hits victory lap of mobster set pieces, alpha male arguments, a decades spanning life story and one (last?) truly great Joe Pesci performance before simply letting the story... continue... to a natural, depressing and tragic ending, reflecting the emptiness of a life built on violence and crime.

For a film this long, it’s impressive how much the smallest details make the biggest impacts. A stammering phone call from a man emotionally incapable of offering any sort of condolence. The cold refusal of forgiveness from a once loving daughter. A simple mirroring of a bowl of cereal or a door left slightly ajar. These are the parts of life that haunt us all and it’s what we notice the most in a deliberately lengthy biopic that shows how much these things matter when everything else is said and done. The violence explodes in sudden, sharp bursts, often capping off unbearably tense sequences filled with the everyday (a car ride, a conversation about fish, ice cream...) and this contrast between the whizz bang of classic Scorsese and the contemplative nature of Silence era Scorsese is what makes this film feel like such an accomplishment. De Niro is FINALLY back but it’s the memorably against type role for Pesci and an invigorated Al Pacino who steals this one, along with a roll call of fantastic cameos, with perhaps the most screentime given to the wonderfully petty Stephen Graham as Tony Pro, not to mention Anna Paquin’s near silent performance which says more than possibly anyone else.

Yes, the CG de-aging is misguided at best, distracting at worst (I never really knew how old anyone was meant to be at any given time... which is kinda a problem) but like how you get used to it really quickly when it’s used well, here I kinda got past it being bad in an equally fast amount of time and just went with it. Would it have been a different beast had they cast younger actors to play them in the past? Undoubtedly. But if this gives us over three hours of Hollywood’s finest giving it their all for the last real time together, then that’s a compromise I can live with.

7. The Last Black Man in San Francisco

Wow. I was in love with this film from the moving first trailer but then the film itself surpassed all expectations. This is a true indie film success story, with lead actor Jimmie Fails developing the idea with director Joe Talbot for years before Kickstarting a proof of concept and eventually getting into Sundance with short film American Paradise, which led to the backing of this debut feature through Plan B and A24. The deeply personal and poetic drama follows a fictionalised version of Jimmie, trying to buy back an old Victorian town house he claims was built by his grandfather, in an act of rebellion against the increasingly gentrified San Francisco that both he and director Talbot call home.

The film is many things - a story of male friendship, of solidarity within our community, of how our cities can change right from underneath us - it moves to the beat of it’s own drum, with painterly cinematography full of gorgeous autumnal colours and my favourite score of the year from Emile Mosseri. The performances, mostly by newcomers or locals outside of brilliant turns from Jonathan Majors, Danny Glover and Thora Birch, are wonderful and the whole thing is such a beautiful love letter to the city that it makes you ache for a strong sense of place in your own home, even if your relationship with it is fractured or strained. As Jimmie says, “you’re not allowed to hate it unless you love it”.

For me, last year’s Blindspotting (my favourite film of the year) tackled gentrification within California more succinctly but this much more lyrical piece of work ebbs and flows through a number of themes like identity, family, memory and time. It’s a big film living inside a small, personal one and it is not to be overlooked.

6. Little Women

I had neither read the book nor seen any prior adaptation of Louisa May Alcott’s 1868 novel so to me, this is by default the definitive telling of this story. If from what I hear, the non linear structure is Greta Gerwig’s addition, then it’s a total slam dunk. It works so well in breaking up the narrative and by jumping from past to present, her screenplay highlights certain moments and decisions with a palpable sense of irony, emotional weight or knowing wink. Getting to see a statement made with sincere conviction and then paid off within seconds, can be both a joy and a surefire recipe for tears. Whether it’s the devastating contrast between scenes centred around Beth’s illness or the juxtaposition of character’s attitudes to one another, it’s a massive triumph. Watching Amy angrily tell Laurie how she’s been in love with him all her life and then cutting back to her childishly making a plaster cast of her foot for him (’to remind him how small her feet are’) is so funny.

Gerwig and her impeccable cast bring an electric energy to the period setting, capturing the big, messy realities of family life with a mix of overwhelming cross-chatter and the smallest of intimate gestures. It’s a testament to the film that every sister feels fully serviced and represented, from Beth’s quiet strength to Amy’s unforgivable sibling rivalry. Chris Cooper’s turn as a stoic man suffering almost imperceptible grief is a personal heartbreaking favourite.

The book’s (I’m assuming) most sweeping romantic statements are wonderfully delivered, full of urgent passion and relatable heartache, from Marmie’s (Laura Dern) “I’m angry nearly every day of my life” moment to Jo’s (Saoirse Ronan) painful defiance of feminine attributes not being enough to cure her loneliness. The sheer amount of heart and warmth in this is just remarkable and I can easily see it being a film I return to again and again.

5. Booksmart

2019 has been a banner year for female directors, making their exclusion from some of the early awards conversations all the more damning. From this list alone, we have Lulu Wang, Jennifer Kent and Greta Gerwig. Not to mention Lorene Scafaria (Hustlers), Melina Matsoukas (Queen & Slim), Jocelyn DeBoer & Dawn Luebbe (Greener Grass), Sophie Hyde (Animals) and Rose Glass (Saint Maud - watch out for THIS one in 2020, it’s brilliant). Perhaps the most natural transition from in front of to behind the camera has been made by Olivia Wilde, who has created a borderline perfect teen comedy that can make you laugh till you cry, cry till you laugh and everything in-between.

Subverting the (usually male focused) ‘one last party before college’ tropes that fuel the likes of Superbad and it’s many inferior imitators, Booksmart follows two overachievers who, rather than go on a coming of age journey to get some booze or get laid, simply want to indulge in an insane night of teenage freedom after realising that all of the ‘cool kids’ who they assumed were dropouts, also managed to get a place in all of the big universities. It’s a subtly clever remix of an old favourite from the get go but the committed performances from Kaitlyn Dever and Beanie Feldstein put you firmly in their shoes for the whole ride.

It’s a genuine blast, with big laughs and a bigger heart, portraying a supportive female friendship that doesn’t rely on hokey contrivances to tear them apart, meaning that when certain repressed feelings do come to the surface, the fallout is heartbreaking. As I stated in a twitter rave after first seeing it back in May, every single character, no matter how much they might appear to be simply representing a stock role or genre trope, gets their moment to be humanised. This is an impeccably cast ensemble of young unknowns who constantly surprise and the script is a marvel - a watertight structure without a beat out of place, callbacks and payoffs to throwaway gags circle back to be hugely important and most of all, the approach taken to sexuality and representation feels so natural. I really think it is destined to be looked back on and represent 2019 the way Heathers does ‘88, Clueless ‘95 or Easy A 2010. A new high benchmark for crowd pleasing, indie comedy - teen or otherwise.

4. Ad Astra

Brad Pitt is one of my favourite actors and one who, despite still being a huge A-lister even after 30 years in the game, never seems to get enough credit for the choices he makes, the movies he stars in and also the range of stories he helps produce through his company, Plan B. 2019 was something of a comeback year for Pitt as an actor with the insanely measured and controlled lead performance seen here in Ad Astra and the more charismatic and chaotic supporting role in Once Upon a Time... in Hollywood.

I love space movies, especially those that are more about broken people blasting themselves into the unknown to search for answers within themselves... which manages to sum up a lot of recent output in this weirdly specific sub-genre. First Man was a devastating look at grief characterised by a man who would rather go to a desolate rock than have to confront what he lost, all while being packaged as a heroic biopic with a stunning score. Gravity and The Martian both find their protagonists forced to rely on their own cunning and ingenuity to survive and Interstellar looked at the lengths we go to for those we love left behind. Smaller, arty character studies like High Life or Moon are also astounding. All of this is to say that Ad Astra takes these concepts and runs with them, challenging Pitt to cross the solar system to talk some sense into his long thought dead father (Tommy Lee Jones). But within all the ‘sad dad’ stuff, there’s another film in here just daring you to try and second guess it - one that kicks things off with a terrifying free fall from space, gives us a Mad Max style buggy chase on the moon and sidesteps into horror for one particular set-piece involving a rabid baboon in zero G! It manages to feel so completely nuts, so episodic in structure, that I understand why a lot of people were turned off - feeling that the overall film was too scattershot to land the drama or too pondering to have any fun with. I get the criticisms but for me, both elements worked in tandem, propelling Pitt on this (assumed) one way journey at a crazy pace whilst sitting back and languishing in the ‘bigger themes’ more associated with a Malik or Kubrick film. Something that Pitt can sell me on in his sleep by this point.

I loved the visuals from cinematographer Hoyte van Hoytema (Interstellar), loved the imagination and flair of the script from director James Gray and Ethan Gross and loved the score by Max Richter (with Lorne Balfe and Nils Frahm) but most of all, loved Pitt, proving that sometimes a lot less, is a lot more. The sting of hearing the one thing he surely knew (but hoped he wouldn’t) be destined to hear from his absent father, acted almost entirely in his eyes during a third act confrontation, summed up the movie’s brilliance for me - so much so that I can forgive some of the more outlandish ‘Mr Hyde’ moments of this thing’s alter ego... like, say, riding a piece of damaged hull like a surfboard through a meteor debris field!

3. Avengers: Endgame

It’s no secret that I think Marvel, the MCU in particular, have been going from strength to strength in recent years, slowly but surely taking bigger risks with filmmakers (the bonkers Taika Waititi, the indie darlings of Ryan Coogler, Cate Shortland and Chloe Zhao) whilst also carefully crafting an entertaining, interconnected universe of characters and stories. But what is the point of building up any movie ‘universe’ if you’re not going to pay it off and Endgame is perhaps the strongest conclusion to eleven years of movie sequels that fans could have possibly hoped for.

Going into this thing, the hype was off the charts (and for good reason, with it now being the highest grossing film of all time) but I remember souring on the first entry of this two-parter, Infinity War, during the time between initial release and Endgame’s premiere. That film had a game-changing climax, killing off half the heroes (and indeed the universe’s population) and letting the credits role on the villain having achieved his ultimate goal. It was daring, especially for a mammoth summer blockbuster but obviously, we all knew the deaths would never be permanent, especially with so many already-announced sequels for now ‘dusted’ characters. However, it wasn’t just the feeling that everything would inevitably be alright in the end. For me, the characters themselves felt hugely under-serviced, with arguably the franchise’s main goody two shoes Captain America being little more than a beardy bloke who showed up to fight a little bit. Basically what I’m getting at is that I felt Endgame, perhaps emboldened by the giant runtime, managed to not only address these character slights but ALSO managed to deliver the most action packed, comic booky, ‘bashing your toys together’ final fight as well.

It’s a film of three parts, each pretty much broken up into one hour sections. There’s the genuinely new and interesting initial section following our heroes dealing with the fact that they lost... and it stuck. Thor angrily kills Thanos within the first fifteen minutes but it’s a meaningless action by this point - empty revenge. Cutting to five years later, we get to see how defeat has affected them, for better or worse, trying to come to terms with grief and acceptance. Cap tries to help the everyman, Black Widow is out leading an intergalactic mop up squad and Thor is wallowing in a depressive black hole. It’s a shocking and vibrantly compelling deconstruction of the whole superhero thing and it gives the actors some real meat to chew on, especially Robert Downy Jr here who goes from being utterly broken to fighting within himself to do the right thing despite now having a daughter he doesn’t want to lose too. Part two is the trip down memory lane, fan service-y time heist which is possibly the most fun section of any of these movies, paying tribute to the franchise’s past whilst teetering on a knife’s edge trying to pull off a genuine ‘mission impossible’. And then it explodes into the extended finale which pays everyone off, demonstrates some brilliantly imaginative action and sticks the landing better than it had any right to. In a year which saw the ending of a handful of massive geek properties, from Game of Thrones to Star Wars, it’s a miracle even one of them got it right at all. That Endgame managed to get it SO right is an extraordinary accomplishment and if anything, I think Marvel may have shot themselves in the foot as it’s hard to imagine anything they can give us in the future having the intense emotional weight and momentum of this huge finale.

2. Knives Out

Rian Johnson has been having a ball leaping into genre sandpits and stirring shit up, from his teen spin on noir in Brick to his quirky con man caper with The Brothers Bloom, his time travel thriller Looper and even his approach to the Star Wars mythos in The Last Jedi. Turning his attention to the relatively dead ‘whodunnit’ genre, Knives Out is a perfect example of how to celebrate everything that excites you about a genre whilst weaponizing it’s tropes against your audience’s baggage and preconceptions.

An impeccable cast have the time of their lives here, revelling in playing self obsessed narcissists who scramble to punt the blame around when the family’s patriarch, a successful crime novelist (Christopher Plummer), winds up dead. Of course there’s something fishy going on so Daniel Craig’s brilliantly dry southern detective Benoit Blanc is called in to investigate.There are plenty of standouts here, from Don Johnson’s ignorant alpha wannabe Richard to Michael Shannon’s ferocious eldest son Walt to Chris Evan’s sweater wearing jock Ransom, full of unchecked, white privilege swagger. But the surprise was the wholly sympathetic, meek, vomit prone Marta, played brilliantly by Ana de Armas, cast against her usual type of sultry bombshell (Knock Knock, Blade Runner 2049), to spearhead the biggest shake up of the genre conventions. To go into more detail would begin to tread into spoiler territory but by flipping the audience’s engagement with the detective, we’re suddenly on the receiving end of the scrutiny and the tension derived from this switcheroo is genius and opens up the second act of the story immensely.

The whole thing is so lovingly crafted and the script is one of the tightest I’ve seen in years. The amount of setup and payoff here is staggering and never not hugely satisfying, especially as it heads into it’s final stretch. It really gives you some hope that you could have such a dense, plotty, character driven idea for a story and that it could survive the transition from page to screen intact and for the finished product to work as well as it does. I really hope Johnson returns to tell another Benoit Blanc mystery and judging by the roaring box office success (currently over $200 million worldwide for a non IP original), I certainly believe he will.

1. Eighth Grade

My film of the year is another example of the power of cinema to put us in other people’s shoes and to discover the traits, fears, joys and insecurities that we all share irregardless. It may shock you to learn this but I have never been a 13 year old teenage girl trying to get by in the modern world of social media peer pressure and ‘influencer’ culture whilst crippled with personal anxiety. My school days almost literally could not have looked more different than this (less Instagram, more POGs) and yet, this is a film about struggling with oneself, with loneliness, with wanting more but not knowing how to get it without changing yourself and the careless way we treat those with our best interests at heart in our selfish attempt to impress peers and fit in. That is understandable. That is universal. And as I’m sure I’ve said a bunch of times in this list, movies that present the most specific worldview whilst tapping into universal themes are the ones that inevitably resonate the most.

Youtuber and comedian Bo Burnham has crafted an impeccable debut feature, somehow portraying a generation of teens at least a couple of generations below his own, with such laser focused insight and intimate detail. It’s no accident that this film has often been called a sort of social-horror, with cringe levels off the charts and recognisable trappings of anxiety and depression in every frame. The film’s style services this feeling at every turn, from it’s long takes and nauseous handheld camerawork to the sensory overload in it’s score (take a bow Anna Meredith) and the naturalistic performances from all involved. Burnham struck gold when he found Elsie Fisher, delivering the most painful and effortlessly real portrayal of a tweenager in crisis as Kayla. The way she glances around skittishly, the way she is completely lost in her phone, the way she talks, even the way she breathes all feeds into the illusion - the film is oftentimes less a studio style teen comedy and more a fly on the wall documentary.

This is a film that could have coasted on being a distant, social media based cousin to more standard fare like Sex Drive or Superbad or even Easy A but it goes much deeper, unafraid to let you lower your guard and suddenly hit you with the most terrifying scene of casually attempted sexual aggression or let you watch this pure, kindhearted girl falter and question herself in ways she shouldn’t even have to worry about. And at it’s core, there is another beautiful father/daughter relationship, with Josh Hamilton stuck on the outside looking in, desperate to help Kayla with every fibre of his being but knowing there are certain things she has to figure out for herself. It absolutely had me and their scene around a backyard campfire is one of the year’s most touching.

This is a truly remarkable film that I think everyone should seek out but I’m especially excited for all the actual teenage girls who will get to watch this and feel seen. This isn’t about the popular kid, it isn’t about the dork who hangs out with his or her own band of misfits. This is about the true loner, that person trying everything to get noticed and still ending up invisible, that person trying to connect through the most disconnected means there is - the internet - and everything that comes with it. Learning that the version of yourself you ‘portray’ on a Youtube channel may act like they have all the answers but if you’re kidding yourself then how do you grow?

When I saw this in the cinema, I watched a mother take her seat with her two daughters, aged probably at around nine and twelve. Possibly a touch young for this, I thought, and I admit I cringed a bit on their behalf during some very adult trailers but in the end, I’m glad their mum decided they were mature enough to see this because a) they had a total blast and b) life simply IS R rated for the most part, especially during our school years, and those girls being able to see someone like Kayla have her story told on the big screen felt like a huge win. I honestly can’t wait to see what Burnham or Fisher decide to do next. 2019 has absolutely been their year... and it’s been a hell of a year.

#top 20 #films of the year #films of 2019 #10-1 #toy story 4 #the nightingale #the irishman #the last black man in san francisco #little women #booksmart #ad astra #avengers endgame #knives out #eighth grade

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destroyer-of-days4 · 4 years

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“agentsofcomedyandchaosfor character asks can you do 4, 7, 15, and 20 for bus kids? i just thought of random numbers lol. thank you :) “

Best places to kiss on their body

Daisy really loves gentle intimacy, so she reacts far better to things like forehead kisses, as much as she loves all the other good stuff. Jemma loves the feeling of Fitz’s lips on hers, but she’s not afraid to let him explore a little, and she has a few hot spots around her waist and stomach, which Fitz is happy to indulge in. Fitz really likes Jemma kissing his scars, and he’ll gladly point them out to her.

Their tickle spots

Daisy will love to insist that she’s tickle free, but everyone knows she’s weak on her feet, and the back of her knees. Jemma is ticklish just about anywhere, except, oddly, under her neck. Fitz is the master at avoiding tickling retaliation, and no one knows exactly where his ticklish spots are, although Daisy swears he’s vulnerable under the arms.

What it takes to make them cry

Daisy doesn’t cry easily, even at sad films, but she’s definitely been known to spill a few tears when one of her family shows her deep, unexpected affection. One example was giving her a surprise birthday party the first year she knew when it was. When Daisy entered the common room and saw what they’d done, she sat down on the floor and bawled. Jemma has cried a lot in secret, thinking about how much her friends have suffered. She absolutely cried when Daisy told her some details of her past, and in her room at night after seeing all her scars from abuse. Just generally thinking about her family being in pain is enough to set her off. Fitz is the only one of them to really cry at movies. He tries not to show it, but Pixar and Disney set him off to no end. He also burst into tears each and every time Jemma gave birth (and fainted at least twice, but that’s another story)

What Ifs/ Alternate Timelines

I have a few alternate timelines for the Bus kids. One is that Daisy/Skye is a lil’ baby ghost and only kids Fitzsimmons can see her, so they befriend her. Another is that Daisy/Skye runs away from an abusive foster home and is found by Fitzsimmons, who bring her food and snacks and hide her in their treehouse. This is actually based on one of my favourite fanfictions, which I can’t seem to track down at the moment, but I’ll stick it in here when I do!

#agents of s.h.i.e.l.d.#fitzsimmons #daisy johnson #leo fitz #jemma simmons #headcanon #prompt list

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grigori77 · 3 years

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2020 in Movies - My Top 30 Fave Movies (Part 2)

20. ONWARD – Disney and Pixar’s best digitally animated family feature of 2020 (beating the admittedly impressive Soul to the punch) clearly has a love of fantasy roleplay games like Dungeons & Dragons, its quirky modern-day AU take populated by fantastical races and creatures seemingly tailor-made for the geek crowd … needless to say, me and many of my friends absolutely loved it. That doesn’t mean that the classic Disney ideals of love, family and believing in yourself have been side-lined in favour of fan-service – this is as heartfelt, affecting and tearful as their previous standouts, albeit with plenty of literal magic added to the metaphorical kind. The central premise is a clever one – once upon a time, magic was commonplace, but over the years technology came along to make life easier, so that in the present day the various races (elves, centaurs, fauns, pixies, goblins and trolls among others) get along fine without it. Then timid elf Ian Lightfoot (Tom Holland) receives a wizard’s staff for his sixteenth birthday, a bequeathed gift from his father, who died before he was born, with instructions for a spell that could bring him back to life for one whole day. Encouraged by his brash, over-confident wannabe adventurer elder brother Barley (Chris Pratt), Ian tries it out, only for the spell to backfire, leaving them with the animated bottom half of their father and just 24 hours to find a means to restore the rest of him before time runs out. Cue an “epic quest” … needless to say, this is another top-notch offering from the original masters of the craft, a fun, affecting and thoroughly infectious family-friendly romp with a winning sense of humour and inspired, flawless world-building. Holland and Pratt are both fantastic, their instantly believable, ill-at-ease little/big brother chemistry effortlessly driving the story through its ingenious paces, and the ensuing emotional fireworks are hilarious and heart-breaking in equal measure, while there’s typically excellent support from Julia Louis-Dreyfus (Elaine from Seinfeld) as Ian and Barley’s put-upon but supportive mum, Laurel, Octavia Spencer as once-mighty adventurer-turned-restaurateur “Corey” the Manticore and Mel Rodriguez (Getting On, The Last Man On Earth) as overbearing centaur cop (and Laurel’s new boyfriend) Colt Bronco. The film marks the sophomore feature gig for Dan Scanlon, who debuted with 2013’s sequel Monsters University, and while that was enjoyable enough I ultimately found it non-essential – no such verdict can be levelled against THIS film, the writer-director delivering magnificently in all categories, while the animation team have outdone themselves in every scene, from the exquisite environments and character/creature designs to some fantastic (and frequently delightfully bonkers) set-pieces, while there’s a veritable riot of brilliant RPG in-jokes to delight geekier viewers (gelatinous cube! XD). Massive, unadulterated fun, frequently hilarious and absolutely BURSTING with Disney’s trademark heart, this was ALMOST my animated feature of the year. More on that later …

19. THE GENTLEMEN – Guy Ritchie’s been having a rough time with his last few movies (The Man From UNCLE didn’t do too bad but it wasn’t exactly a hit and was largely overlooked or simply ignored, while intended franchise-starter King Arthur: Legend of the Sword was largely derided and suffered badly on release, dying a quick death financially – it’s a shame on both counts, because I really liked them), so it’s nice to see him having some proper success with his latest, even if he has basically reverted to type to do it. Still, when his newest London gangster flick is THIS GOOD it seems churlish to quibble – this really is what he does best, bringing together a collection of colourful geezers and shaking up their status quo, then standing back and letting us enjoy the bloody, expletive-riddled results. This particularly motley crew is another winning selection, led by Matthew McConaughey as ruthlessly successful cannabis baron Mickey Pearson, who’s looking to retire from the game by selling off his massive and highly lucrative enterprise for a most tidy sum (some $400,000,000 to be precise) to up-and-coming fellow American ex-pat Matthew Berger (Succession’s Jeremy Strong, oozing sleazy charm), only for local Chinese triad Dry Eye (Crazy Rich Asians’ Henry Golding, chewing the scenery with enthusiasm) to start throwing spanners into the works with the intention of nabbing the deal for himself for a significant discount. Needless to say Mickey’s not about to let that happen … McConaughey is ON FIRE here, the best he’s been since Dallas Buyers Club in my opinion, clearly having great fun sinking his teeth into this rich character and Ritchie’s typically sparkling, razor-witted dialogue, and he’s ably supported by a quality ensemble cast, particularly co-star Charlie Hunnam as Mickey’s ice-cold, steel-nerved right-hand-man Raymond Smith, Downton Abbey’s Michelle Dockery as his classy, strong-willed wife Rosalind, Colin Farrell as a wise-cracking, quietly exasperated MMA trainer and small-time hood simply known as the Coach (who gets many of the film’s best lines), and, most notably, Hugh Grant as the film’s nominal narrator, thoroughly morally bankrupt private investigator Fletcher, who consistently steals the film. This is Guy Ritchie at his very best – a twisty rug-puller of a plot that constantly leaves you guessing, brilliantly observed and richly drawn characters you can’t help loving in spite of the fact there’s not a single hero among them, a deliciously unapologetic, politically incorrect sense of humour and a killer soundtrack. Getting the cinematic year off to a phenomenal start, it’s EASILY Ritchie’s best film since Sherlock Holmes, and a strong call-back to the heady days of Snatch (STILL my favourite) and Lock, Stock & Two Smoking Barrels. Here’s hoping he’s on a roll again, eh?

18. SPONTANEOUS – one of the year’s biggest under-the-radar surprise hits for me was one which I actually might not have caught if things had been a little more normal and ordered. Thankfully with all the lockdown and cinematic shutdown bollocks going on, this fantastically subversive and deeply satirical indie teen comedy horror came along at the perfect time, and I completely flipped out over it. Now those who know me know I don’t tend to gravitate towards teen cinema, but like all those other exceptions I’ve loved over the years, this one had a brilliantly compulsive hook I just couldn’t turn down – small-town high-schooler Mara (Knives Out and Netflix’ Cursed’s Katherine Langford) is your typical cool outsider kid, smart, snarky and just putting up with the scene until she can graduate and get as far away as possible … until one day in her senior year one of her classmates just inexplicably explodes. Like her peers, she’s shocked and she mourns, then starts to move on … until it happens again. As the death toll among the senior class begins to mount, it becomes clear something weird is going on, but Mara has other things on her mind because the crisis has, for her, had an unexpected benefit – without it she wouldn’t have fallen in love with like-minded oddball new kid Dylan (Lean On Pete and Words On Bathroom Walls’ Charlie Plummer). The future’s looking bright, but only if they can both live to see it … this is a wickedly intelligent film, powered by a skilfully executed script and a wonderfully likeable young cast who consistently steer their characters around the potential cliched pitfalls of this kind of cinema, while debuting writer-director Brian Duffield (already a rising star thanks to scripts for Underwater, The Babysitter and blacklist darling Jane Got a Gun among others) show he’s got as much talent and flair for crafting truly inspired cinema as he has for thinking it up in the first place, delivering some impressively offbeat set-pieces and several neat twists you frequently don’t see coming ahead of time. Langford and Plummer as a sassy, spicy pair who are easy to root for without ever getting cloying or sweet, while there’s glowing support from the likes of Hayley Law (Rioverdale, Altered Carbon, The New Romantic) as Mara’s best friend Tess, Piper Perabo and Transparent’s Rob Huebel as her increasingly concerned parents, and Insecure’s Yvonne Orji as Agent Rosetti, the beleaguered government employee sent to spearhead the investigation into exactly what’s happening to these kids. Quirky, offbeat and endlessly inventive, this is one of those interesting instances where I’m glad they pushed the horror elements into the background so we could concentrate on the comedy, but more importantly these wonderfully well-realised and vital characters – there are some skilfully executed shocks, but far more deep belly laughs, and there’s bucketloads of heart to eclipse the gore. Another winning debut from a talent I intend to watch with great interest in the future.

17. HAMILTON – arriving just as Black Lives Matter reached fever-pitch levels, this feature presentation of the runaway Broadway musical smash-hit could not have been better timed. Shot over three nights during the show’s 2016 run with the original cast and cut together with specially created “setup shots”, it’s an immersive experience that at once puts you right in amongst the audience (at times almost a character themselves, never seen but DEFINITELY heard) but also lets you experience the action up close. And what action – it’s an incredible show, a thoroughly fascinating piece of work that reads like something very staid and proper on paper (an all-encompassing biographical account of the life and times of American Founding Father Alexander Hamilton) but, in execution, becomes something very different and EXTREMELY vital. The execution certainly couldn’t be further from the usual period biopic fare this kind of historical subject matter usually gets (although in the face of recent high quality revisionist takes like Marie Antoinette, The Great and Tesla it’s not SO surprising), while the cast is not at all what you’d expect – with very few notable exceptions the cast is almost entirely people of colour, despite the fact that the real life individuals they’re playing were all very white indeed. Every single one of them is also an absolute revelation – the show’s writer-composer Lin-Manuel Miranda (already riding high on the success of In the Heights) carries the central role of Hamilton with effortless charm and raw star power, Leslie Odom Jr. (Smash, Murder On the Orient Express) is duplicitously complex as his constant nemesis Aaron Burr, Christopher Jackson (In the Heights, Moana, Bull) oozes integrity and nobility as his mentor and friend George Washington, Phillipa Soo is sweet and classy as his wife Eliza while Renée Elise Goldsberry (The Immortal Life of Henrietta Jacks, Altered Carbon) is fiery and statuesque as her sister Angelica Schuyler (the one who got away), and Jonathan Groff (Mindhunter) consistently steals every scene he’s in as fiendish yet childish fan favourite King George III, but the show (and the film) ultimately belongs to veritable powerhouse Daveed Diggs (Blindspotting, The Good Lord Bird) in a spectacular duel role, starting subtly but gaining scene-stealing momentum as French Revolutionary Gilbert du Motier, the Marquis de Lafayette, before EXPLODING onto the stage in the second half as indomitable third American President Thomas Jefferson. Not having seen the stage show, I was taken completely by surprise by this, revelling in its revisionist genius and offbeat, quirky hip-hop charm, spellbound by the skilful ease with which is takes the sometimes quite dull historical fact and skews it into something consistently entertaining and absorbing, transported by the catchy earworm musical numbers and thoroughly tickled by the delightfully cheeky sense of humour strung throughout (at least when I wasn’t having my heart broken by moments of raw dramatic power). Altogether it’s a pretty unique cinematic experience I wish I could have actually gotten to see on the big screen, and one I’ve consistently recommended to all my friends, even the ones who don’t usually like musicals. As far as I’m concerned it doesn’t need a proper Les Misérables style screen adaptation – this is about as perfect a presentation as the show could possibly hope for.

16. SPUTNIK – summer’s horror highlight (despite SERIOUSLY tough competition) was a guaranteed sleeper hit that I almost missed entirely, stumbling across the trailer one day on YouTube and getting bowled over by its potential, prompting me to hunt it down by any means necessary. The feature debut of Russian director Egor Abramenko, this first contact sci-fi chiller is about as far from E.T. as it’s possible to get, sharing some of the same DNA as Carpenter’s The Thing but proudly carving its own path with consummate skill and definitely signalling great things to come from its brand new helmer and relative unknown screenwriters Oleg Malovichko and Andrei Zolotarev. Oksana Akinshina (probably best known in the West for her powerful climactic cameo in The Bourne Supremacy) is the beating heart of the film as neurophysiologist Tatyana Yuryevna Klimova, brought in to aid in the investigation in the Russian wilderness circa 1983 after an orbital research mission goes horribly wrong. One of the cosmonauts dies horribly, while the other, Konstantin (The Duelist’s Pyotr Fyodorov) seems unharmed, but it quickly becomes clear that he’s now the host for something decidedly extraterrestrial and potentially terrifying, and as Tatyana becomes more deeply embroiled in her assignment she comes to realise that her superiors, particularly mysterious Red Army project leader Colonel Semiradov (The PyraMMMid’s Fyodor Bondarchuk), have far more insidious plans for Konstantin and his new “friend” than she could ever imagine. This is about as dark, intense and nightmarish as this particular sub-genre gets, a magnificently icky body horror that slowly builds its tension as we’re gradually exposed to the various truths and the awful gravity of the situation slowly reveals itself, punctuated by skilfully executed shocks and some particularly horrifying moments when the evils inflicted by the humans in charge prove far worse than anything the alien can do, while the ridiculously talented writers have a field day pulling the rug out from under us again and again, never going for the obvious twist and keeping us guessing right to the devastating ending, while the beautifully crafted digital creature effects are nothing short of astonishing and thoroughly creepy. Akinshina dominates the film with her unbridled grace, vulnerability and integrity, the relationship that develops between Tatyana and Konstantin (Fyodorov delivering a beautifully understated turn belying deep inner turmoil) feeling realistically earned as it goes from tentatively wary to tragically bittersweet, while Bondarchuk invests the Colonel with a nuanced air of tarnished authority and restrained brutality that made him one of my top screen villains for the year. One of 2020’s great sleeper hits, I can’t speak of this film highly enough – it’s a genuine revelation, an instant classic for whom I’ll sing its praises for years to come, and I wish enormous future success to all the creative talents involved.

15. THE INVISIBLE MAN – looks like third time’s a charm for Leigh Whannell, writer-director of my ALMOST horror movie of the year (more on that later) – while he’s had immense success as a horror writer over the years (co-creator of both the Saw and Insidious franchises), as a director his first two features haven’t exactly set the world alight, with debut Insidious: Chapter III garnering similar takes to the rest of the series but ultimately turning out to be a bit of a damp squib quality-wise, while his second feature Upgrade was a stone-cold masterpiece that was (rightly) EXTREMELY well received critically, but ultimately snuck in under the radar and has remained a stubbornly hidden gem since. No such problems with his third feature, though – his latest collaboration with producer Jason Blum and the insanely lucrative Blumhouse Pictures has proven a massive hit both financially AND with reviewers, and deservedly so. Having given up on trying to create a shared cinematic universe inhabited by their classic monsters, Universal resolved to concentrate on standalones to showcase their elite properties, and their first try is a rousing success, Whannell bringing HG Wells’ dark and devious human monster smack into the 21st Century as only he can. The result is a surprisingly subtle piece of work, much more a lethally precise exercise in cinematic sleight of hand and extraordinary acting than flashy visual effects, strictly adhering to the Blumhouse credo of maximum returns for minimum bucks as the story is stripped down to its bare essentials and allowed to play out without any unnecessary weight. The Handmaid’s Tale’s Elizabeth Moss once again confirms what a masterful actress she is as she brings all her performing weapons to bear in the role of Cecelia “Cee” Kass, the cloistered wife of affluent but monstrously abusive optics pioneer Aidan Griffin (Netflix’ The Haunting of Hill House’s Oliver Jackson-Cohen), who escapes his clutches in the furiously tense opening sequence and goes to ground with the help of her closest childhood friend, San Francisco cop James Lanier (Leverage’s Aldis Hodge) and his teenage daughter Sydney (A Wrinkle in Time’s Storm Reid). Two weeks later, Aidan commits suicide, leaving Cee with a fortune to start her life over (with the proviso that she’s never ruled mentally incompetent), but as she tries to find her way in the world again little things start going wrong for her, and she begins to question if there might be something insidious going on. As her nerves start to unravel, she begins to suspect that Aidan is still alive, still very much in her life, fiendishly toying with her and her friends, but no-one can see him. Whannell plays her paranoia up for all it’s worth, skilfully teasing out the scares so that, just like her friends, we begin to wonder if it might all be in her head after all, before a spectacular mid-movie reveal throws the switch into high gear and the true threat becomes clear. The lion’s share of the film’s immense success must of course go to Moss – her performance is BEYOND a revelation, a blistering career best that totally powers the whole enterprise, and it goes without saying that she’s the best thing in this. Even so, she has sterling support from Hodge and Reid, as well as Love Child’s Harriet Dyer as Cee’s estranged big sister Emily and Wonderland’s Michael Dorman as Adrian’s slimy, spineless lawyer brother Tom, and, while he doesn’t have much actual (ahem) “screen time”, Jackson-Cohen delivers a fantastically icy, subtly malevolent turn which casts a large “shadow” over the film. This is one of my very favourite Blumhouse films, a pitch-perfect psychological chiller that keeps the tension cranked up unbearably tight and never lets go, Whannell once again displaying uncanny skill with expert jump-scares, knuckle-whitening chills and a truly astounding standout set-piece that easily goes down as one of the top action sequences of 2020. Undoubtedly the best version of Wells’ story to date, this goes a long way in repairing the damage of Universal’s abortive “Dark Universe” efforts, as well as showcasing a filmmaking master at the very height of his talents.

14. EXTRACTION – the Coronavirus certainly has threw a massive spanner in the works of the year’s cinematic calendar – among many other casualties to the blockbuster shunt, the latest (and most long-awaited) MCU movie, Black Widow, should have opened to further record-breaking box office success at the end of spring, but instead the theatres were all closed and virtually all the heavyweights were pushed back or shelved indefinitely. Thank God, then, for the streaming services, particularly Hulu, Amazon and Netflix, the latter of which provided a perfect movie for us to see through the key transition into the summer blockbuster season, an explosively flashy big budget action thriller ushered in by MCU alumni the Russo Brothers (who produced and co-wrote this adaptation of Ciudad, a graphic novel that Joe Russo co-created with Ande Parks and Fernando Leon Gonzalez) and barely able to contain the sheer star-power wattage of its lead, Thor himself. Chris Hemsworth plays Tyler Rake, a former Australian SAS operative who hires out his services to an extraction operation under the command of mercenary Nik Khan (The Patience Stone’s Golshifteh Farahani), brought in to liberate Ovi Mahajan (Rudhraksh Jaiswal in his first major role), the pre-teen son of incarcerated Indian crime lord Ovi Sr. (Pankaj Tripathi), who has been abducted by Bangladeshi rival Amir Asif (Priyanshu Painyuli). The rescue itself goes perfectly, but when the time comes for the hand-off the team is double-crossed and Tyler is left stranded in the middle of Dhaka with no choice but to keep Ovi alive as every corrupt cop and street gang in the city closes in around them. This is the feature debut of Sam Hargrave, the latest stuntman to try his hand at directing, so he certainly knows his way around an action set-piece, and the result is a thoroughly breathless adrenaline rush of a film, bursting at the seams with spectacular fights, gun battles and car chases, dominated by a stunning sustained sequence that plays out in one long shot, guaranteed to leave jaws lying on the floor. Not that there should be any surprise – Hargrave cut his teeth as a stunt coordinator for the Russos on Captain America: Civil War and their Avengers films. That said, he displays strong talent for the quieter disciplines of filmmaking too, delivering quality character development and drawing out consistently noteworthy performances from his cast. Of course, Hemsworth can do the action stuff in his sleep, but there’s a lot more to Tyler than just his muscle, the MCU veteran investing him with real wounded vulnerability and a tragic fatalism which colours every scene, while Jaiswal is exceptional throughout, showing plenty of promise for the future, and there’s strong support from Farahani and Painyuli, as well as Stranger Things’ David Harbour as world-weary retired merc Gaspard, and a particularly impressive, muscular turn from Randeep Hooda (Once Upon a Time in Mumbai) as Saju, a former Para and Ovi’s bodyguard, who’s determined to take possession of the boy himself, even if he has to go through Tyler to get him. This is action cinema that really deserves to be seen on the big screen – I watched it twice in a week and would happily have paid for two trips to the cinema for it if I could have. As we looked down the barrel of a summer season largely devoid of blockbuster fare, I couldn’t recommend this enough. Thank the gods for Netflix …

13. THE TRIAL OF THE CHICAGO 7 – although it’s definitely a film that really benefitted enormously from releasing on Netflix during the various lockdowns, this was one of the blessed few I actually got to see during one of the UK’s frustratingly rare lulls when cinemas were actually OPEN. Rather perversely it therefore became one of my favourite cinematic experiences of 2020, but then I’m just as much a fan of well-made cerebral films as I am of the big, immersive blockbuster EXPERIENCES, so this probably still would have been a standout in a normal year. Certainly if this was a purely CRITICAL list for the year this probably would have placed high in the Top Ten … Aaron Sorkin is a writer whose work I have ardently admired ever since he went from esteemed playwright to in-demand talent for both the big screen AND the small with A Few Good Men, and TTOTC7 is just another in a long line of consistently impressive, flawlessly written works rife with addictive quickfire dialogue, beautifully observed characters and rewardingly propulsive narrative storytelling (therefore resting comfortably amongst the well-respected likes of The West Wing, Charlie Wilson’s War, Moneyball and The Social Network). It also marks his second feature as a director (after fascinating and incendiary debut Molly’s Game), and once again he’s gone for true story over fiction, tackling the still controversial subject of the infamous 1968 trial of the “ringleaders” of the infamous riots which marred Chicago’s Diplomatic National Convention five months earlier, in which thousands of hippies and college students protesting the Vietnam War clashed with police. Spurred on by the newly-instated Presidential Administration of Richard Nixon to make some examples, hungry up-and-coming prosecutor Richard Schultz (Joseph Gordon-Levitt) is confident in his case, while the Seven – who include respected and astute student activist Tom Hayden (Eddie Redmayne) and confrontational counterculture firebrands Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Succession’s Jeremy Strong) – are the clear underdogs. They’re a divided bunch (particularly Hayden and Hoffman, who never mince their words about what little regard they hold for each other), and they’re up against the combined might of the U.S. Government, while all they have on their side is pro-bono lawyer and civil rights activist William Kunstler (Mark Rylance), who’s sharp, driven and thoroughly committed to the cause but clearly massively outmatched … not to mention the fact that the judge presiding over the case is Julius Hoffman (Frank Langella), a fierce and uncompromising conservative who’s clearly 100% on the Administration’s side, and who might in fact be stark raving mad (he also frequently goes to great lengths to make it clear to all concerned that he is NOT related to Abbie). Much as we’ve come to expect from Sorkin, this is cinema of grand ideals and strong characters, not big spectacle and hard action, and all the better for it – he’s proved time and again that he’s one of the very best creative minds in Hollywood when it comes to intelligent, thought-provoking and engrossing thinking-man’s entertainment, and this is pure par for the course, keeping us glued to the screen from the skilfully-executed whirlwind introductory montage to the powerfully cathartic climax, and every varied and brilliant scene in-between. This is heady stuff, focusing on what’s still an extremely thorny issue made all the more urgently relevant and timely given what was (and still is) going on in American politics at the time, and everyone involved here was clearly fully committed to making the film as palpable, powerful and resonant as possible for the viewer, no matter their nationality or political inclination. Also typical for a Sorkin film, the cast are exceptional, everyone clearly having the wildest time getting their teeth into their finely-drawn characters and that magnificent dialogue – Redmayne and Baron Cohen are compellingly complimentary intellectual antagonists given their radically different approaches and their roles’ polar opposite energies, while Rylance delivers another pitch-perfect, simply ASTOUNDING performance that once again marks him as one of the very best actors of his generation, and there are particularly meaty turns from Strong, Langella, Aquaman’s Yahya Abdul-Mateen II (as besieged Black Panther Bobby Seale) and a potent late appearance from Michael Keaton that sear themselves into the memory long after viewing. Altogether then, this is a phenomenal film which deserves to be seen no matter the format, a thought-provoking and undeniably IMPORTANT masterwork from a master cinematic storyteller that says as much about the world we live in now as the decidedly turbulent times it portrays …

12. GREYHOUND – when the cinemas closed back in March, the fate of many of the major summer blockbusters we’d been looking forward to was thrown into terrible doubt. Some were pushed back to more amenable dates in the autumn or winter (which even then ultimately proved frustratingly ambitious), others knocked back a whole year to fill summer slots for 2021, but more than a few simply dropped off the radar entirely with the terrible words “postponed until further notice” stamped on them, and I lamented them all, this one in particular. It hung in there longer than some, stubbornly holding onto its June release slot for as long as possible, but eventually it gave up the ghost too … but thanks to Apple TV+, not for long, ultimately releasing less than a month later than intended. Thankfully the film itself was worth the fuss, a taut World War II suspense thriller that’s all killer, no filler – set during the infamous Battle of the Atlantic, it portrays the constant life-or-death struggle faced by the Allied warships assigned to escort the transport convoys as they crossed the ocean, defending their charges from German U-boats. Adapted from C.S. Forester’s famous 1955 novel The Good Shepherd by Tom Hanks and directed by Aaron Schneider (Get Low), the narrative focuses on the crew of the escort leader, American destroyer USS Fletcher, codenamed “Greyhound”, and in particular its captain, Commander Ernest Krause (Hanks), a career sailor serving his first command. As they cross “the Pit”, the most dangerous middle stretch of the journey where they spend days without air-cover, they find themselves shadowed by “the Wolf Pack”, a particularly cunning group of German submarines that begin to pick away at the convoy’s stragglers. Faced with daunting odds, a dwindling supply of vital depth-charges and a ruthless, persistent enemy, Krause must make hard choices to bring his ships home safe … jumping into the thick of the action within the first ten minutes and maintaining its tension for the remainder of the trim 90-minute run, this is screen suspense par excellence, a sleek textbook example of how to craft a compelling big screen knuckle-whitener with zero fat and maximum reward, delivering a series of desperate naval scraps packed with hide-and-seek intensity, heart-in-mouth near-misses and fist-in-air cathartic payoffs by the bucket-load. Hanks is subtly magnificent, the calm centre of the narrative storm as a supposed newcomer to this battle arena who could have been BORN for it, bringing to mind his similarly unflappable in Captain Phillips and certainly not suffering by comparison; by and large he’s the focus point, but other crew members make strong (if sometimes quite brief) impressions, particularly Stephen Graham as Krause’s reliably seasoned XO, Lt. Commander Charlie Cole, The Magnificent Seven’s Manuel Garcia-Rulfo and Just Mercy’s Rob Morgan, while Elisabeth Shue does a lot with a very small part in brief flashbacks as Krause’s fiancée Evelyn. Relentless, exhilarating and thoroughly unforgettable, this was one of the true action highlights of the summer, and one hell of a war flick. I’m so glad it made the cut for the summer …

11. PROJECT POWER – with Marvel and DC pushing their tent-pole titles back in the face of COVID, the usual superhero antics we’ve come to expect for the summer were pretty thin on the ground in 2020, leading us to find our geeky fan thrills elsewhere. Unfortunately, pickings were frustratingly slim – Korean comic book actioner Gundala was entertaining but workmanlike, while Thor AU Mortal was underwhelming despite strong direction from Troll Hunter’s André Øvredal, and The New Mutants just got shat on by the studio and its distributors and no mistake – thank the Gods, then, for Netflix, once again riding to the rescue with this enjoyably offbeat super-thriller, which takes an intriguing central premise and really runs with it. New designer drug Power has hit the streets of New Orleans, able to give anyone who takes it a superpower for five minutes … the only problem is, until you try it, you don’t know what your own unique talent is – for some, it could mean five minutes of invisibility, or insane levels of super-strength, but other powers can be potentially lethal, the really unlucky buggers just blowing up on the spot. Robin (The Hate U Give’s Dominique Fishback) is a teenage Power-pusher with dreams of becoming a rap star, dealing the pills so she can help her diabetic mum; Frank Shaver (Joseph Gordon-Levitt) is one of her customers, a police detective who uses his power of near invulnerability to even the playing field when supercharged crims cause a disturbance. Their lives are turned upside down when Art (Jamie Foxx) arrives in town – he’s a seriously badass ex-soldier determined to hunt down the source of Power by any means necessary, and he’s not above tearing the Big Easy apart to do it. This is a fun, gleefully infectious rollercoaster that doesn’t take itself too seriously, revelling in the anarchic potential of its premise and crafting some suitably OTT effects-driven chaos brought to pleasingly visceral fruition by its skilfully inventive director, Ariel Schulman (Catfish, Nerve, Viral), while Mattson Tomlin (the screenwriter of the DCEU’s oft-delayed, incendiary headline act The Batman) takes the story in some very interesting directions and poses fascinating questions about what Power’s TRULY capable of. Gordon-Levitt and Fishback are both brilliant, the latter particularly impressing in what’s sure to be a major breakthrough role for her, and the friendship their characters share is pretty adorable, while Foxx really is a force to be reckoned with, pretty chill even when he’s in deep shit but fully capable of turning into a bona fide killing machine at the flip of a switch, and there’s strong support from Westworld’s Rodrigo Santoro as Biggie, Power’s delightfully oily kingpin, Courtney B. Vance as Frank’s by-the-book superior, Captain Crane, Amy Landecker as Gardner, the morally bankrupt CIA spook responsible for the drug’s production, and Machine Gun Kelly as Newt, a Power dealer whose pyrotechnic “gift” really isn’t all it’s cracked up to be. Exciting, inventive, frequently amusing and infectiously likeable, this was some of the most uncomplicated cinematic fun I had all summer. Not bad for something which I’m sure was originally destined to become one of the season’s B-list features …

#onward #onward movie #The Gentlemen #spontaneous #spontaneous movie #hamilton #hamilton movie #sputnik #sputnik movie #The Invisible Man #Extraction #extraction movie #the trial of the chicago 7 #greyhound #greyhound movie #project power #2020 in movies

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local-femme-gentleman · 4 years

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10 things I’ve watched in the quarantine (so far)

1. Dazed and Confused 1993 ‧ Comedy/Indie film ‧ 1h 43m

So, I kicked off the apocalypse lockdown with Dazed and Confused - and yes, even though the movie made me realise I was going to have to survive literal months without my usual amount of marijuana consumption, it also filed me with that warped sense of nostalgia and longing for a bygone era that Dazed and Confused always leaves me with - especially a deep yearning for seventies music because the soundtrack of this movie may be one of its best aspects. It is equal parts kinda stupid, ridiculously fun, and wholly introspective, and at the end of the day I love this movie for helping me see what my boomer parents - and their whole generation - were like as teenagers more than anything else.

2. 2001: A Space Odyssey 1968 ‧ Sci-fi/Adventure ‧ 2h 44m

2001: A Space Odyssey has since its release become an absolute classic, and I for one adore it to absolute death. This was one of the first ‘adult’ movies I watched, I was 11 years old at the time - and although I didn’t understand it then, and frankly got a little bored, revisiting it now (after having rewatched it many many many times, and as a slightly older, well, kid) I’ve come to absolutely love it. I personally was looking for some slightly longer movies for the lockdown - considering I have more than enough time, and if you are too then this one may be just what you’re looking for - even if you’ve seen it already. There’s always more to discover in a movie like this one.

3. Okja 2017 ‧ Adventure/Drama ‧ 2 hours

Of all the movies on this list this may be the one I recommend the least. Not because it’s a bad movie, because it honestly and truly isn’t ( Bong Joon Ho still definitely came through for this one), however, this movie is, in my opinion, far too heartbreaking for this exact moment in time. If it was any other period in history I would be overwhelmingly promoting this movie, because I honestly and truly loved it - but it made me want to give up meat in a period of time where I simply do not have the resources for that to be an option. So if you’re down with your day just getting a little bit sadder, albeit in a not entirely bad way, I’d say watch Okja - if not, then I’d say, just for now, maybe stay away.

4. Spirited Away 2001 ‧ Animation/Fantasy ‧ 2h 5m

Okay, I love this movie, my parents love this movie, your parents love this movie, your sister loves this movie, your best friend loves this movie, you’re-cousin’s-nephew’s-dog’s-best-friend’s-owner loves this movie - and, if you don’t love this movie, well, each to their own but you’re kind of a monster. Spirited Away is one of those universally agreed upon masterpieces, everything about this movie just makes you feel good, from the colours, to the world, to the characters, to the animation. Spirited Away wraps you up in a blanket of all things warm and comforting in this world - if you’re looking to just feel better, which given current situations you probably are, this is the one for you.

5. Before Sunrise 1995 ‧ Romance/Drama ‧ 1h 45m

I’ve always loved this trilogy, yes, it may be one of the most teenage girl things to ever exist, the ultimate teenage girl fantasy, but what’s wrong with that? Before Sunrise, at every watch and rewatch, makes me want to meet a stranger on a train and just wander somewhere in europe for a single night. I’m fairly sure this will never happen, but this is the perfect time for daydreaming and so I will. Honestly, this movie truly is good, the amount of angles explored in Jesse and Celine’s still forming relationship over a single night is fascinating and it’s a very pretty film. If you’re just looking for something light and easy to watch - that gets you just the right amount of emotional, this is the one for you.

6. The Royal Tenenbaums 2001 ‧ Drama/Comedy-drama ‧ 1h 50m

Oh so you thought I’d go one recommendations video without mentioning Wes? Ha. Okay look, The Royal Tenenbaums is probably my fifth favorite Wes movie, but considering I love basically every Wes Anderson movie that isn’t not saying much. The Tenenbaum siblings stand as some of my favorite Wes Anderson characters and I love Angelica Houston no matter who she plays. The Royal Tenenbaums is just a good Wes Anderson film, and you get exactly what you’d want and expect from it - whip pans, impeccable wardrobes, symmetrical shots, a Wilson Brother, a sugary colour pallette, the futura font, and rich white people, well, being rich white people

7. American Vandal 2017 ‧ Satire ‧ 2 seasons

Ok I’ll say it, this is the perfect quarantine show. It’s completely stupid in the smartest way possible, absurdly funny, and overall one of the best shows netflix has ever produced. If you’re looking for a laugh, and I know I was when I clicked on this, then this is the one for you. American Vandal is satire at its peak - and I can officially say that both seasons hold up at a third rewatch, because yes, I’ve watched this entire show three times over. If you like true-crime series, or The Office and Parks and Rec (and yes I see the disparity in genre) then you will absolutely adore American vandal - and the fact that this show didn’t get a third season is a whole tragedy. Shame on you Netflix, shame on you.

8. Marriage Story 2019 ‧ Comedy-drama/Drama ‧ 2h 17m

Again, considering current times Marriage Story may have not been the best choice, but hey, I love this movie, and as sad as it makes me, it also makes me incredibly happy in a bittersweet sort of way. The good thing about marriage story is that it’s one of those films you truly get lost in, when I watched it just a few days ago, I truly and honestly, for just those few moments, forgot about everything going on right now, and - i say this at a risk of sounding selfish, I know - it felt good. Marriage Story is by far one of my favorite movies of last year, the writing is gorgeous, the editing is genius, and although the movie isn’t intrinsically happy in nature, it may just be what you need right now.

9. Every John Mulaney Special New in Town ‧ The Comeback Kid ‧ Kid Gorgeous ‧ etc.

So I, in true Gen-Z fashion, have watched every John Mulaney Comedy Special many many times. I love these specials, they truly mean quite a bit to me. I like playing these in the back while I do other things like cleaning my room or cooking. I think I watched him so much that his voice has become almost comforting - I may have formed a bit of an attachment. Chances are you’ve probably seen at least one John Mulaney Special, if you’ve only seen one watch the rest! And if you’ve seen the all then rewatch like I did! For me, this is the perfect time to just watch some good standup, so even if it isn’t John, just watch a comedian who makes you happy - trust me, it’ll help.

10. Tangled 2010 ‧ Animation/Musical ‧ 1h 40m

Ok so honestly my friends put this on together on Netflix Party to watch that first song and get some self-quarantine ideas - but then we just watched the whole movie so, yeah. I do love Tangled though, it was one of my favourite Disney movies as a kid, granted I’ve always been more of a Pixar girl (speaking of which this is the best time to binge on Pixar movies!!!!). Honestly, this is just a solid disney movie, it’s cute, it’s adorably animated, I properly adore Pascal and Maximus because no matter how old I get I will always adore a fun animal sidekick. Honestly, now is just a good time to watch a good disney movie, I had fun with this movie okay, no lie it was great.

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