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talyayet474 · 5 months

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Chloë Grace Moretz

#chloë grace moretz #actress #model #celebrity #icons #fashionstyle #sexy celebrities #beautiful woman #lovely ladies #fashion model #chloë moretz #lovely legs #pretty woman #young lady

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whenmypartysover · 7 months

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NIMONA(2023)

a netflix original movie based off the graphic novel by ND Stevenson(2015) about a knight framed for a crime he did not commit, and the only person who can help him prove his innocence is Nimona, a shape-shifting teen who might also be a monster he’s sworn to kill.

starring: Chloë Grace Moretz, Riz Ahmed, Eugene Lee Yang, Frances Conroy, Lorraine Toussaint, Beck Bennett, Indya Moore, RuPaul Charles, Julio Torres, & Sarah Sherman

maturity rating: PG13 (violence & action, thematic elements, some language, & rude humor

directors: Troy Quane & Nick Bruno

producers: Karen Ryan, Roy Lee, & Julie Zackary

writers/screenplay: Robert L. Baird, Lloyd Taylor

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multiprises · 1 year

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« That’s what makes life so hard: no reboot… »

The Creation of a Thousand Forests, The Peripheral, 1.08

Alrick Riley (D), Greg Plageman & Scott B. Smith (S), 02/12/22

#chloë grace moretz #icones #made in usa #the peripheral

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theplastichearts · 11 months

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#avatares #chloë grace moretz #chloë grace moretz icons

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rosecarlate · 11 months

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JORDAN BOLGER GIF PACK

By clicking on THE SOURCE LINK at the bottom of this post you will directed to FIFTY-ONE gifs of JORDAN BOLGER as CAMERON in TOM & JERRY (THE MOVIE) (2021). Jordan is of Jamaican and English descent, so please cast him accordingly. All gifs were made by me from scratch and are intended for roleplay purposes. DO NOT repost, edit, or turn these into gif icons. If you found these helpful, please like and/or reblog to help spread the resource around & show your support.

Gifs feature: Chloë Grace Moretz.

Warnings/triggers: Alcohol.

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wonderfulworldofmichaelford · 7 months

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Is It Really That Bad?

In 1974, Stephen King’s career was launched with his debut novel (one rescued from the trash can by his wife, Tabitha), and two years later we got Brian De Palma’s iconic film adaptation that launched the career of Sissy Spacek, resurrected the career of Piper Laurie, and was so good that King prefers it over the book. It really set the stage for future adaptations of his work to be of a similarly high quality… Something which has unfortunately only rarely happened. To this day, it still remains a beloved classic.

And you know how it is with beloved horror classics: If they're good enough, you know they'll get remade. Now, the thing with remakes is that, when it comes to horror, they have as many hits as they have misses. Amazing films like The Thing, The Fly, The Blob, and The Ring all exist alongside mediocre crap like Rob Zombie’s Halloween films, the shot-for-shot Psycho remake, and the Jackie Earle Haley-starring Elm Street reboot. It really comes down to the creative vision and the story you want to tell, you know?

And Carrie is ripe for that, as the original movie cut out a lot of elements from the book that would be interesting to see in a modernized context, as bullying has evolved and even gotten harsher and more deadly over the years since Carrie was pelted with tampons in the locker room. And that’s exactly what director Kimberly Price wanted to do! She wanted to make a film that can stand on its own, a retelling of the story that wouldn’t be a remake of the film, but a different attempt at adapting the book.

The studio, however, had different ideas, and made her do a bunch of reshoots and trim 40 minutes off the film to make it more like De Palma’s version of the story. Three months prior to release the Sandy Hook shooting happened as well, which combined with the editing to turn the film into a remake pushed it back to October, and I’m sure it didn’t exactly help make the film more palatable to audiences either. While not a failure by any means, the resounding critical consensus to the film was “Why did this need to exist?” Even King himself was reportedly not much of a fan, though he did appreciate the modern updates to the story.

As time has gone on, the hate towards the film has cooled and it has picked up a fandom of its own, so I figured it was high time I gave this a watch. In honor of the film’s upcoming tenth anniversary, let’s see if the 2013 take on the iconic King story is really that bad.

THE GOOD

Across the board, I think all of the performances are really solid. Chloë Grace Moretz does a fine job as Carrie (even if, like Spacek before her, she seems a bit too pretty for the part) and Julianne Moore does a fantastic job as Margaret White to the point I might even say she’s on par with Piper Laurie. Judy Greer as Miss Desjardin might be my favorite performance in the movie, though; I just love how brutal she gets with enforcing the punishments on Carrie’s bullies, and how she doesn’t give an inch to the alpha bitch when she tries to start shit. As for Carrie’s peers, they’re all decent, but none of them strike me as very memorable. They all do a good job (even certified creep Ansel Elgort) but none of them really stand out as better than the rest. Still, there aren’t any weak performances here.

I think the finale really works better even if it is a little more over-the-top, mainly because even if it was significantly cut down compared to the original vision. We actually get to see some of Carrie’s rampage taken out into the town, and while we don’t get the full-on force of nature destruction the book gives us, we do get a pretty good taste. I think it gets a little too CGI at times (the floating knives at the end being particularly egregious) but I think it is ultimately a very satisfying take on the ultraviolent ending of the story.

I also like how the story was updated for the modern age, with cyberbullying now being a key part in how Carrie is abused by her peers. Carrie is genuinely a story I feel works much better in a modern context than in its original form. The ways bullying has evolved and become so much more horrifying in the modern age lends itself well to a story of an outcast being harassed by those around her, and her ultimate snapping feels even more justified and cathartic since the bullying she suffers is even more extreme and psychologically damaging than before. Honestly, I think this Carrie is even more sympathetic than the original; I’m not going to fault a teenager who is the victim of parental abuse and then has embarrassing videos of her spread across the internet from frying her bullies with electrical wires or blowing them up in a giant fireball. Fuck ‘em! They deserve it!

THE BAD

...Which is what I'd love to say, but real life has unfortunately made that a little harder to do. In the years since the original, there has been a very unfortunate number of incidents where people were killed in schools. School shootings weren’t really a thing in the 70s, but after Columbine it seemed like one happened every other year. In light of that, cheering while a high schooler brutally massacres her peers seems a bit… tasteless. Now obviously we as the audience are privy to all sorts of details that makes Carrie’s rage justified and her ultimate vengeance cathartic, but still, it does give me pause at least. Should I be cheering while these high school students get slaughtered like pigs? Is this not horribly fucked up? It’s an interesting moral dilemma with rooting for this killer, and while I did put this down in the “Bad” section I think being uncomfortable with what Carrie does is a valid response. I think that the fact her rampage can be viewed as either justified vengeance or as woefully disproportionate violence or even as both at once is a great strength of the story.

What isn’t a great strength, though, is how this was forced into a being a remake, because boy is it ever stuck in the original’s shadow. Moretz and Moore really end up trapped in the shadows of Spacek and Laurie’s takes on Carrie and her mother, and the whole film really just plays it straight with adapting what the original film did. It might be one of the worst studio decisions ever, because despite the strength of the cast and the overall solid quality of the filmmaking, the whole thing just feels boring. Even with the new angles and the interesting takes, the fact remains that the story and plot beats are unchanged and stuff we saw in the original film. It’s not as egregiously shot-for-shot as Van Sant’s Psycho was, but there’s not much here that justifies watching this if you’ve seen the original film.

IS IT REALLY THAT BAD?

As far as horror remakes go, this is one of the most inoffensive ones out there.

Look, I’m gonna be honest: Carrie is not even close to being my favorite King work, and the original movie isn’t one of my favorites. The book is a good debut and the movie is decent enough, but they’re not something I find myself revisiting. So even going into this movie I wasn’t expecting anything worse than what I’d already seen, and that’s basically what I got. This is a very unambitious film, though as mentioned before that was mostly by studio mandate, and thus it’s mostly more of the same—and what we got before was okay, so this ends up being okay too.

I think so much of the backlash comes from the original movie being a beloved horror classic, and thus not something that should be retried lightly. This film seriously would have benefited from more closely adapting the book and modernizing it like was originally planned rather than just rehashing the original movie with flashier effects. What we’re left here is a decent redo that lacks an identity of its own, but is still competent enough to not be the worst thing ever. If you like the movie, I can’t really fault you for it because I can understand why someone would like this much like I can with the original. Even if I’m not super fond of them, they’re decent enough movies.

I think the score is right about where it belongs, though I might be nice enough to round it up to 6. It’s a decent horror movie, and if you like it, I can’t really blame you. It has a lot of good elements going for it, and I think if it had been allowed to be an adaptation of the book I wouldn’t hesitate to call it the definitive Carrie adaptation. Bumping the good parts of It to the 80s made that story a lot better, after all! But the meddling to turn one director’s vision into a mirror image of a previous one’s vision really just holds this back a bit for me. If you want to throw this on your Halloween watchlist or add it to your Stephen King movie collection, it’s a decent addition, but it really deserved to be so much more than the reheated leftovers of De Palma.

#is it really that bad #IIRTB #review #movie review #Carrie #Carrie 2013 #Stephen King #chloe grace moretz #julianne moore #horror movie #horror #remake

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adamwatchesmovies · 8 months

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Hugo (2011)

Martin Scorsese is not known for his family films. You associate the name with gritty crime stories. So what drew him to Hugo? Perhaps he wanted to try something different? On top of being suitable for the whole family, the picture makes impressive use of 3D and special effects. If you’ve seen Hugo the whole way through, you’ll know why. I suspect Scorsese connected to this story on a deeply personal level.

In 1931 Paris, 12-year-old Hugo Cabret (Asa Butterfield) maintains the clocks at Gare Montparnasse railway station. His alcoholic uncle Claude officially does the work but he’s been gone for months and as long as the machines keep the time, Station Inspector Gustave Dasté (Sacha Baron Cohen) won't ask any questions. This means Hugo is free to focus on the automaton he and his father were repairing before he became orphaned. Hugo keeps to himself, occasionally stealing parts from a toy store owner, Georges (Ben Kingsley). After he is caught and his book on the automaton is confiscated, Hugo befriends the toy maker’s goddaughter, Isabelle (Chloë Grace Moretz). He hopes she can help him get his book back.

There’s no way you can guess where this movie is going. The surprises along the way are a big part of the fun and the screenplay by John Logan (based on The Invention of Hugo Cabret by Brian Selznick) is in no hurry to get to its big reveals. As Hugo goes about his day, we meet all the characters who frequent the station. Richard Griffiths plays a man pining for a dog owner (played by Frances de la Tour) whose pooch can’t stand him. Shy Inspector Dasté wants to approach a beautiful flower saleslady (Emily Mortimer) but is embarrassed by an old war injury. Christopher Lee plays the owner of a book store who probably knows more than he lets on, Papa Georges is hiding something from Isabelle. And then there’s the automaton Hugo is repairing. How is it tied to his father? There’s enough going on with these characters that it doesn't matter if you don't know where the plot is going. You’re having a great time simply getting to know them, admiring the performances (Moretz does a flawless accent) and enjoying Scorsese's direction. Check out the way the camera moves down chutes, through crowds and then into the secret openings into Hugo’s home or the breathtaking shots of a long-gone Paris.

Ultimately, this is a small, personal story. The world’s fate does not rest in the hands of Hugo. The secrets we uncover deal with very human tragedies but it’s shot like all of reality hinges on the lonely boy finding a friend. After Hugo is over, you remember specific shots, specific characters and the emotions you felt while watching them. These would attract any director but I suspect Scorsese wanted this project specifically because the film contains numerous references to specific events in the history of cinema. We see a clip of Harold Lloyd’s Safety Last! and the film’s most iconic shot is re-imagined later on. The Montparnasse derailment of 1895 is reimagined and Scorsese gives us to opportunity to relive the shocked reaction audiences would’ve had while viewing “L'Arrivée d'un train en gare de La Ciotat” - that famous shot of a train coming towards the camera that supposedly had audiences falling out of their seats in terror - by shooting it in 3D - literally having the train come right towards the screen and frighten us. There are many other references to the history of cinema throughout. If you love movies, you’ll get an extra kick out of these scenes.

Hugo is moving, warm, romantic, tragic and exciting. It goes in unexpected directions and the surprises make the movie feel big while also keeping it small and intimate. The performances are excellent, the characters fully realized. The only mark against it comes from the presentation. This movie is meant to be seen on the big screen and in 3D. Few people will be able to see it that way now. If that’s the only flaw you can find in a movie, it's doing a lot of things right. (On Blu-ray, September 25, 2020)

#Hugo #movies #films #movie reviews #film reviews #Martin Scorsese #John Logan #Brian Selznick #Ben Kingsley #Sacha Baron Cohen #Asa Butterfield #Chloe Grace Moretz #Ray Winstone #Emily Mortimer #Jude Law #2011 movies #2011 films

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squad-ghoulz · 1 year

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Yesterday, we lost a true icon of spookiness, and a pop culture legend. The person who defined one of the most iconic characters of the modern age, Lisa Loring. My love of all things creepy and kooky has always been deeply tied to The Addams Family, and especially the original sitcom. I watched the entire show with my family at a young age, and I was in love with every aspect of the show. I had already loved Halloween and everything spooky before watching, but The Addams Family was one of the first shows that showed me there's an audience for it well outside of one month, and others like me can and will embrace the strange and unusual. Lisa Loring's Wednesday not only defined the intricacies a classic character who began as nothing more than another dark and morbid Addams, not ony kickstarted a legacy carried by the likes of Christina Ricci, Chloë Grace Moretz, Jenna Ortega, and many more, but was a part of what formed me, and many others, into who we are today. Thank you, Lisa, for everything. You will be dearly missed.

#wednesday #wednsday addams #the addams family #lisa loring #rest in peace

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ibjb · 4 months

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Coach the Fragrance by Coach is a Floral fragrance for women. Coach the Fragrance was launched in 2016. Coach the Fragrance was created by Juliette Karagueuzoglou and Anne Flipo. Top notes are Raspberry Leaf, Pear and Pink Pepper; middle notes are Turkish Rose, Gardenia and Cyclamen; base notes are Suede, Musk, Cashmeran and Sandalwood.

Coach presents its new signature fragrance - Coach the Fragrance - in September 2016. The fragrance bears the same name as the 2007 edition, but is definitely a completely different creation with composition and bottle. Coach the Fragrance is designed as a scent that will convey the spontaneous energy and cool vibe of New York City. According to Stuart Vevers, the creative director of the house, Coach The Fragrance is "a fragrance that represents Coach’s free-spirited attitude...a scent that is individual, authentic, and cool."

The actress Chloë Grace Moretz has been chosen as the face of the new fragrance and the campaign shot by Steven Meisel. She represents the all-American girl with "youthfulness, modernity, authenticity and natural beauty." The actress said: “To me, this perfume is everything I love about Coach. It’s modern and happy. It perfectly captures the spirit, energy and excitement that Stuart has brought to Coach.”

The composition is floral with vibrant top notes of raspberry leaf, pink pepper and pear, which represent the energy of New York. The heart includes an authentic accord of Turkish rose, laid on the base of suede musk and sandalwood, which symbolize the leather accessories that made the brand famous. Perfumer Juliette Karagueuzoglou signed the creation.

The solid glass bottle references the signature Coach design details: a leather tag hangs from its side, the iconic turn-lock Coach handbag closure is turned into an atomizer, and the horse and carriage emblem is engraved in the glass of the bottle.

The fragrance comes in three different sizes as Eau de Parfum and as Eau de Toilette, with body lotion, body cream and shower gel.

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valuesunsky · 2 years

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Tom and jerry videos hd

Beheading In Front Of A Child - The Two Musketeers There is a movie franchise in which the bad guy boobytraps his victims to death and it’s called Saw and guess what… IT’S NOT FOR KIDS.Ĥ. He then boobytraps the bottle in such a way that if they try to get out of it, a gun will blow their brains off. Planned Homicide - Year of the MouseĪfter Jerry and his friend prank Tom a number of times, Tom gets them on gun-point and traps them inside a bottle. As the rope unties, three little kittens pop their heads out, purr and rush towards their paradise.Īnd the guard, while shaking his head, says “what some people won’t do.” Imagine explaining this scene to your kid.

Before Tom’s turn comes, the guard is caught by surprise as a squishy, wet pouch hops its way towards him. Child Murder - Heavenly PussĪfter being crushed by a piano (promising start, no?) Tom’s spirit needs to get past a security guard who decides if a cat goes to heaven or not. In order to do so, he spends all his savings on a diamond ring, which is too small for her and buys a new car by signing a 20-year slavery contract (remember, it’s a humourous show for KIDS) but fails to impress her.Īfter the love of Tom’s life marries a rich cat from town, a depressed Tom can be seen binge-drinking (albeit milk), and sitting in the middle of a railway track, awaiting his death. Recognised as the most depressing episode of them all, Blue Cat Blues shows Tom being deeply in love with a female cat, desperately trying to win her love. Here are 4 times Tom & Jerry was too dark and disturbing to be a ‘cartoon show for kids’. Having said that, even one of the most beloved shows of all time had certain dark and disturbing undertones to a few of their episodes hinting that maybe, just maybe, the show wasn’t for the kids but for their parents as well. Even then, whenever we tuned in to watch our favourite pair of ‘frenemies’ they seemed to entertain us, just the same. The original show ran for over 64 years, and a total of 162 episodes were produced during this time. Generations have grown watching them try to catch and beat each other up. People from all over the world love the endless war between the cat and the mouse. The film is rated PG for cartoon violence, rude humor and brief language.First aired in 1940, Tom & Jerry has become a timeless classic. Pictures and Warner Animation Group presentation, a Tim Story Film, “Tom & Jerry” will be distributed worldwide by Warner Bros. The music is composed by Christopher Lennertz.Ī Warner Bros. Elliot, and costume designer Alison McCosh. The creative filmmaking team includes director of photography Alan Stewart, production designer James Hambidge, editor Peter S. Serving as executive producers are Tim Story, Adam Goodman, Steven Harding, Sam Register, Jesse Ehrman, and Allison Abbate. It is written by Kevin Costello, based on characters created by William Hanna and Joseph Barbera. The film is directed by Tim Story (“Fantastic Four,” “Think Like a Man,” “Barbershop”) and produced by Chris DeFaria (“The LEGO Movie 2,” “Ready Player One,” “Gravity”). “Tom & Jerry” stars Chloë Grace Moretz (“Neighbors 2: Sorority Rising,” “The Addams Family”), Michael Peña (“Cesar Chavez,” “American Hustle,” “Ant-Man”), Rob Delaney (“Deadpool 2,” “Fast & Furious Presents: Hobbs & Shaw”), Colin Jost (“How to be Single,” “Saturday Night Live”), and Ken Jeong (“Crazy Rich Asians,” “The Hangover,” “Transformers: Dark of the Moon”). But soon, an even bigger problem arises: a diabolically ambitious staffer conspiring against all three of them.Īn eye-popping blend of classic animation and live action, Tom and Jerry’s new big-screen adventure stakes new ground for the iconic characters and forces them to do the unthinkable… work together to save the day. One of the most beloved rivalries in history is reignited when Jerry moves into New York City’s finest hotel on the eve of “the wedding of the century,” forcing the event’s desperate planner to hire Tom to get rid of him, in director Tim Story’s “Tom & Jerry.” The ensuing cat and mouse battle threatens to destroy her career, the wedding and possibly the hotel itself.

#Tom and jerry videos hd

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talyayet474 · 23 days

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Chloë Grace Moretz

#chloë grace moretz #actress #celebrity #model #beautiful woman #icons #fashionstyle #fashion sexsi hot #lovely dress #great legs #lovely ladies #fashion model #sexy celebrities #gorgeous legs #stilletto heels #blue dress

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editfandom · 5 years

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Cameron Post icons

like/reblog if you save

credit gagalacrax on twitter if you use

give credits if you repost, please

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multiprises · 1 year

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The Doodad, The Peripheral, 1.07

#the peripheral #chloë grace moretz #icones #made in usa

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originalnerdpalace · 2 years

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Chloë Grace Moretz…

#chloë grace moretz #celebrity #actress #icons

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feeling1the1aster · 3 years

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Shadow in the Cloud

Can we all talk about Chloë Grace Moretz’s new movie Shadow in the Cloud(2020).

Its an amazing movie made for badass ladies, directed by a badass director. You can immediately tell it was directed by a woman from the facts that: there isn’t a male gaze, no boob shots, convenient cuts that result in a croptop, she doesn’t get ‘saved’ by a man once- she always saves herself and others- , she doesn’t become less badass because she falls in love.

And I’m in love with the fact that despite there bein 7 men and 1 woman the camera never strays from Maude Garrett (Chloë Grace Moretz). What I mean from this is that the whole story is told from her perspective. We don’t see the boys unless she is in the shot with them.

We get Maude Garrett’s backstory but don’t know anything about the boys apart from names and I think that is beautiful. It’s a story about a badass girl and a badass girl only.