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dans-den · 11 months

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Demon Slayer Season 3 Review

Hey everyone how's it going? Dan here and today I'll be reviewing Demon Slayer season 3!

Spoiler Warning (if you wanna watch it, just do the free trial for two weeks on Crunchyroll)

Now I've been looking forward to this season after season 2 which I thought was a near masterpiece thanks to the animation and the story as well as the characters. Season 3 has been hyped up for the last year and people have been frothing at the mouth (myself included honestly) waiting for this to drop. Though I will say I'm sure some people weren't happy it was exclusive to Crunchyroll only whereas Season 2 was on Hulu and Crunchyroll. Either way, people were ready to watch season 3 and I will say it's great but I think season 2 was slightly better.

I love Tanjiros journey and how he's slowly becoming a stronger swordsman and demon slayer and how we got more background into his ancestors and how they knew Yoriichi as well as more background into the dance that was passed down to them. I also liked that we finally got Muzans backstory animated and how he became a demon. If you've read the manga you already know how it goes but even so I always enjoy when we get these scenes in the pages animated since I love the medium. Speaking of animation, I also want to point out how they used 3D animation as well and I'll admit it, it looks well done. Doesn't clash badly with the 2D style and it blends well enough to be a pleasant visual experience.

Now the demon slayer cast this season was interesting. Instead of the main cast which consist of Tanjiro, Nezuko, Zenitsu and Inosuke, we get two Hashira's and someone from Tanjiros class Genya. Tanjiro and Nezuko are still the main protagonists and I did enjoy the Hashira's in this season. Mitsuri and Muichiro had great backstories but the one I think I liked most was Genyas backstory (though Muichiro was a close second) and explains why he is the way he is and why his brother Sanemi is the way he is as well. The upper moon demons this season were pretty insane. I thought the last seasons Upper moon was insane and to be honest, upper moon 6 was definitely better than the upper moon 5 demon. Upper moon 4 however, that was a complete unit themselves. Its a shame Muichiro spent almost all his fighting on Upper moon 5 who I thought was a bit underwhelming compared to upper moon 4 and definitely compared to upper moon 6. Though I will say the backstories for the Upper demons were near nonexistent. Upper moon 5 didn't get one and Upper moon 4 got a little bit of backstory but compared to last seasons Upper moon, it's not as significant but still decent.

Now my main complaint here is the absence of Zenitsu and Inosuke. Inosuke is my favorite character of the demon slayer cast while Zenitsu is my least favorite. Even with that as the case, I still feel they should have been in the swordsmith village arc. To me, Tanjiro, Nezuko, Zenitsu and Inosuke are a package deal. I enjoy seeing them train, go on adventures and battling demons together. They only appeared in the first episode and that's it, they made a little post credit cameo but that doesn't count in the main story. I'm sure they'll have a huge part in the next season but I felt it was the same without these two fighting along side Tanjiro and Nezuko continuing to get stronger as they battle upper ranked demons.

Overall I enjoyed season 3 and the ending to it. Despite my nitpicks here and there, this is still a great anime and a great season. Now I'm excited to see how things go in Season 4 with Muzan plotting to take Nezuko to complete his goal of being the ultimate lifeform. I hear the Infinity Castle Arc will be the best Arc in the entire series and with what's suppose to go down, I am once again ready for it!

Rating this I will give it:

8.5/10

I like it just like I like the other seasons, each one has its strengths and weaknesses but overall its still a great anime series and I highly recommend watching season 3 as well as the other seasons and movies of Demon Slayer.

That's all I got for today.

See ya!

#dans den #demon slayer #swordsmith village arc #anime #crunchyroll #tv show review #demon slayer season 3 #tanjiro #nezuko #muzan kibutsuji

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koebichan · 2 years

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Hashihime of the Old Book Town

I would like to preface this with that I'm a writer and colourist working on a visual novel myself. Hashihime of the Old Book Town as story felt at many points very relateable and as a game also very motivating. It is moving and beautiful and cruel and for me a motivator to create something that will evoke as many emotions in others as this novel did in me. If you give this visual novel a try - I hope you will enjoy your stay as much as I did. This novel will surely stick with me for a very long time.

Story 10/10

Voice Acting 10/10

Visuals 10/10

Music 8/10

Length 10/10

STORY An intricate but not too complex time travel plot, murder, friendship and romance. This novel touches a lot of topics on the nuances of relationships between people. The story progresses at just the right pace and won't leave you in the dark about things without a reason. There is not a single dull moment, every sentence making you want to know more and keep reading. Perfectly cut visual scenes mixed with music will have you feeling shocked, amused and dumbfounded. A lot to take in but never too much that you start to get tired of whatever unbelievable thing could happen next, this story will keep you on your toes and always wanting for more.

(Also, some spicy scenes are a nice extra.)

VOICE ACTING The voice acting is perfectly conveying the characters moods and feelings, making them feel alive.

VISUALS The art style is simple in regards to the character designs. Whilest in a lot of visual novels every member of the main cast will look very unique and have a detailed design, in Hashihime of the Old Book Town the designs are kept simple and realistic for the time the story takes place in. However the artist proves to have an ingenious understanding of colour and design, making the scenes of spectacular and the contrast gives these scenes an additional story-telling effect.

MUSIC The only point I am not 100% on. The soundtrack is very good and a joy to listen to, however it lacks a certain something to feel really unique and special. A lot of the tracks sound like a lot of other tracks you have probably heard in a lot of other visual novels. Nontheless the use of music in this novel perfectly mirrors the events that are taking place, calming and exciting the reader at just the right places.

LENGTH The amount of playtime you get is more than worth what they sell this novel for, even more so if you grab it on sale. This novel isn't something you finish just like that in one evening. It has kept me awake until 4AM more than once, having made me forget about time and my surroundings...

Conclusion: Definitely one of the best visual novels I have read in my life, it will hold a special spot in my heart. I fully recommend it and I hope it won't rob you off your sleep as much as it did for me. And if it does, I hope the following day you will have your coffee or tea ready.

EDIT (14.3.2021) 2 months after I finished I now also own the artbook and the soundtrack. This VN has me absolutely hooked. Everyone involved in creating this masterpiece: Thank you for this glorious and unique experience.

EDIT (18.11.2022) Captivated like on the first day I bought the Switch Version. Truly the most captivating visual novel I have ever played.

Link to my review:

#Hashihime of the Old Book Town #Review #Visual Novel #Boys Love #Crime #Taisho Era

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chronic-claire-universe · 3 years

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Tokyo Revengers: How They Have Sex + Visual Pt.2

It's spooky season my dust bunnies, but I want to treat you with the thirst of the week since it's already Monday here 💜

Show them who's your favourites without saying it Claire 😁

Pt.1 | Pt.2 |

Chifuyu: link link link link link link link

sub/soft dom - Oral sex is everything for Chifuyu, as I said before he loves giving you lot of orgasms before fucking you properly. This could lead to the wrong thought that he is pretty vanilla and this is partly true, but I'm sure that Fuyu is a man who can try something different from time to time. He's into threesome, if it's Baji or Kazutora, but he also enjoy people watching you in comprosing positions, that's why he loves video taping while you two have sex, he can let his friends watch the masterpiece that you are together, and this is a reason of proudness for him.

Ran: link link link link link link link

soft/mean dom - Many people tend to associate different kinds of sex between Tenjiku Ran and Bonten Ran, I could never agree with it. Ran is a romantic motherfucker, exhibitionism is in his brain but he loves too many other kinks. Let me explain, he tries most of the things in bed with your approvement, he's a sex risker, but this doesn't mean that he's necessarily into it. Peg him? You did it but this doesn't mean he will let you do it again; He cross dress and wear female clothes just to please you? Of course, but never expect to dom him! He kisses with another man, be the other Sanzu or Koko, it's legit! Overall Ran is one that likes to try different things because he knows that letting you try it will help keeping the flame high, he will do it at his best, but as I said in part one he's most of all on missionary position, giving you slow and deep thrusts while you moan his name and he says how much he loves you. Bonus the experiments you try are good but overall you prefer your romantic Ran with his hand holding and his teasing with the baton.

Hanma: link link link link link link

mean dom - I really would love to say that Hanma is someone romantic but no, for real, even if he loves you the sex will always be the same. Hanma loves playing with you, tease the hell out of you, orgasm denial and overstimulation are his best way to bring excitement to his mind. He loves giving you oral sex, but he prefers toying with you.He loves using gag bal and sensory deprivation while vibrators or dildos enter you until you're on the verge of tears and Hanma isn't satisfied with neglecting you the best orgasm you can ever ask for. Talking about the main plate, Hanma can be rough with you when you're alone in your room, tears makes his cock twitch while inside you. However having the exhibitionism kink, that's where you can enjoy the less agressive side of him. Hanma loves to fuck you in open nature and public places, in the garden, in the window of hotel letting everyone know everything you're doing, all of this even in the middle of the day. Talking about cum, Hanma isn't picky about it seeing his white load in your eyes, tears streaming down because of it, make him hard again in no minute, but what he loves the most is filling you inside. He hasn't a breeding kink or the desire to be father, but if you end up pregnant , Present Hanma will definitely be happy about it and develope a lactation kink, no one not even his child will let him loose the feeling of fucking your pretty tight cunt!

Mikey: link link link link link link link

lazy/mean dom - I coined the term lazy role just for him, because how can we really describe it? Mikey is a worshipper, of lazy morning sex, I imagine him with his bedhead sleepy eyes while his morning wood let him push his cock on your thigs or pussy without even him understanding. He will wake up after a while when he's near to his orgasm and pulling out he will make a mess all over the sheet or your short, because he will definitely fuck you just shoving your short on the side. He loves handjob and he can cum without you even touching him, this was a reason of shame at the beginning, but seeing you so worked up while he shoot his load on the abs without doing anything, let him enjoying his mind. Bonten and Kanto Mikey definitely developed a mean side due to his dark impulses, he loves domming you, rhytmic thrusts while touching your boobs and enjoying you fucked out face. He will definitely develope the need insult you or slap you from time to time and sometimes you will need to use your safe word cause he will get dragged and not notice that he went overboard both physically and pshycologically. He will definitely hug you, not mentioning a word expect a murmur of a sorry, he knows you know about his impulses and if you feel like breaking up with him about this he will never say anything even in the situation, but it's canon that he will cry once he's alone cause you were the safe anchor for his mind, the only way to let him stay sane. That's why he will develope a more or less romantic side where he gifts you with the best orgasm, smiles and hand holding whie his head stay on your shoulder and you hear him cry while he cums inside you.

Draken: link link link link link link

service dom - I was tired to write about mean dom, that's why Draken is here to save our romantic side. Draken is stated as a service dom definitely. He loves to lick your pussy, to have pressed his head in your cunt, while he guides you to keep spread your little legs. Draken will guide to the pleasure, instruction you on what he's going to do, "Good girl, keep your legs spreade so I can fuck you" he says while caressing your labias with his leaky tip. Sex with Draken isn't violent but he's a dom for a reason, he will not definitely go easy on you, deep and fast thrusts are his only way to fuck you. But even seeing the tears, being them for pleasure or being them cause his cock strecth you way too much, Draken will always praise you while caressing your cheek and washing the tears away. Anything that involves kinks? Size kink, otherwise we can define Draken as a pretty vanilla that enjoys fucking you almost always the same, missionary and doggy style. Everything that involves cum, I guess Draken isn't picky about but the only times where he wants to decide the place, it's when you give him blowjob. He's stressed out, that's why you will suck him and let him the green light to face fuck you and cumming down your troath.

@httptamaki @thesimphouse @ravenina14 @erishaitto @nanaminswaifu @nkogneatho @ebiharachan

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bluetomorrows · 2 years

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Going Through My Movies Part 11: Grave of the Fireflies (1988)

What I always found peculiar about this film is how in its original release, it was paired as a double feature with Ghibli's other new film at the time, My Neighbour Totoro. I still do think it was a poor decision, there's simply too much tonal whiplash, and a kid who was old enough for Totoro may not be old enough to handle this.

But I do think the two films do share a sort of kinship. They're both very much about childhood and how children experience life. In Totoro's the conditions are perfect to fuel childhood wonder and joy. Grave of the Fireflies is the opposite.

The world often doesn't provide the right conditions for childhood. Children are expected to live in an adult's world. When they don't grow up as fast as we'd like them to, we consider them selfish and bad. Seita and Setsuko are normal kids. They're just like you and I were. The film does as much as it can to shorten the distance between the audience and them. And there have been thousands of kids like them. Born at the wrong time and in the wrong place. Children trying to survive in a place that is both literally hurting them and taking away their opportunity to be children.

War kills our children in more ways than one.

This film is also incredibly well written, surprisingly so. Not a piece of dialogue is wasted. Everything tells us something new about the characters. It works even better because it’s also a dialed back script. So much is communicated without words, simply through the animation. I know it’s a ghibli movie, but it still amazed me how much is communicated visually.

I love the final shot of this film. We see our two protagonists sitting on a bench viewing a modern Tokyo skyline. Society has moved forward, but these two are trapped in time. We’ve built our world on top of their bones and we act like they don’t exist. We’ve moved on. We’ve forgotten about them. They’re a statistic in the history of war. They stop being people when we treat them like this. And we must never forget the horrors inflicted upon them.

Despite everything the children are put through, the film finds solace in the idea that after their suffering, there is peace waiting for them in the afterlife. Wether you can find solace in this depends on your personal beliefs, but as a part of the film it’s a good way to let the audience relax after what they’ve seen.

Grave of the Fireflies is one of the best-animated movies I’ve ever seen. It manages to destroy you emotionally at every turn, but never feels like it’s fishing for a cry or manipulating you. It doesn’t feel like it’s sad just for the sake of being sad. This is a masterpiece I’m not sure if I’ll ever watch again.

Next up in my collection is The Human Condition Trilogy set from Criterion. I'm excited for this one but daunted because they're all 3 hours long. I will probably do individual posts on these, but if I feel they should be viewed as a whole maybe I'll just make one big one.

See ya when I see ya.

#film #movie #cinema #review #film review #anime #80s anime #ghibli #grave of the fireflies #isao takahata

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derl30 · 3 years

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ALTERED STATES REVIEW TIME!

OK, this tumblr is, today, a vehicle for me to review ALTERED STATES. And you (the one person who stumbled on this review two-hundred years from n- oh who am I kidding, when the aliens from A.I. who show up to thaw out Haley Joel Osment and the teddy bear who was the real hero of that movie find this) should be very excited about this. Because this movie is insane. And highly entertaining.

Yes, the movie poster looks like ass. If I told you this was a movie where William Hurt (not the William Hurt from that awful 90's Lost in Space remake, or the one who slept through an entire performance as Duke Leto in the Syfy miniseries of Dune. This is before the body snatchers got him) took ayahuasca and got in a isolation tank and it blew his mind so hard he started devolving into a neanderthal and creating dimensional portals and he couldn't stop because he was addicted to finding the truth of existence... Well you wouldn't get that from this poster, would you? So let's move on. Shall we?

The film opens in 1967 with William Hurt's character, psychopathologist Edward Jessup, already immersed in a sensory deprivation tank, whilst his colleague and “buddy” Bob Balaban (he's just Bob Balaban in everything I'm not giving you his character's name look it up yourself if it's bugging you so much) oversees.

Now, you may notice I put buddy in quotes. The reason for that is that Jessup is a self-obsessed ass who seemingly has no reason to be around other people unless he can expound to them one of his various monologues. Bob Balaban barely gets a word in edgewise throughout the entire film. Bob Balaban.

See, Jessup loves the sensory deprivation tank experience. Unsurprisingly, as it allows him to be completely alone with himself for hours.

Later, at perhaps the lamest party ever, a bunch of faculty are chilling out and listening to the Doors. Everyone we see is talking about Jessup. Why? Well, much as Jessup is obsessed with himself, everyone else seems to follow suit by being obsessed with him. One young woman, Emily, (Blair Brown) is introduced to him in this very shot below as he arrives at the party:

Notice how is framed in holy light? There is a closeup after, of him framed in blinding glowing light followed up with a zoom in on Emily's face, enraptured with this incredible dynamic man. So much so that the moment he tries to make a goddamn sandwich she starts grabbing his celery (get your mind out of the gutter) and flirting with him. Which for these two that means talking science, immediately. Talking more at each other than with each other. This is often the way with Paddy Chayefsky's scripts.

PAUSE

Paddy Chayefsky is doubtless one of the great American writers for the screen. He wrote Marty, The Hospital and Network (which is a fucking incredible piece of work). He got an Oscar for all three. He also wrote this movie (Altered States, remember? Good lord) and disowned it completely three weeks in to production. His scripts tend to have very intelligent, driven characters at the center, who monologue extensively at each other. These scripts are not attempting to sound naturalistic.

Ken Russell, however, directed the film. He, like Chayefsky, is top notch at what he does (Direct. I said he directed the film like a second ago, come on keep up). His films, like Women in Love, The Devils, (which was banned in several major countries upon release and has never been shown publicly in its full, uncut form (by the way it's a masterpiece)) the Who's Tommy, Gothic, and Lair of the White Worm are all fucking gonzo nuts. I mean like, when you gave this guy the reins, you were going to Overthetopsville and there will be no stops on this trip. And god bless! I love directors who GO for it!

You're getting the chance to make a movie. Stop hemming and hawing and hit me over the head with what you want to say! Film is a visual medium, USE IT!

I feel I might have made my feelings clear here. So, moving on...

Ken Russell and Paddy Chayefsky immediately started butting heads, right from the start. Chayefsky was a BIG deal, and he wanted control over the picture in a BIG way. Ken would listen to his suggestions on everything to lighting and set dressing, and politely tell him, “No.”, and continue being the director of the film. Chayefsky hated him pretty quickly.

He had much more control over films like The Hospital. Which, if you watch The Hospital, well, it shows. You've got great actors (George C. Scott, Dame Diana Rigg (Dame may be the greatest official title of all time)) saying great dialogue. But its just two very witty bitter people sort of expounding on topics and speaking at each other and suddenly admitting they are in love and discussing what drapes they will have to buy for their new home. It's utterly preposterous, and it doesn't work in the way Sidney Lumet got it to work in Network, by literally making one of the lead characters realize his life is turning into a ludicrous soap opera.

So of course Ken tried to humanize, naturalize, the dialogue sequences. And it works! The film feels more human than the Hospital or Network. Despite the fact that Jessup is literally becoming more and more inhuman throughout the film. One of the ways he does this is by having the character's eat, drink, and work on other things during the dialogue sequences. This is perfectly normal in film, it's called giving the actor “business” to do, during the scene. Chayefsky HATED this. “They are mumbling my precious dialogue! Chewing through it! Sucking it through a straw!” Sorry, Chayefsky buddy. It works for the picture. Chayefsky also felt the actors were too emotional with his dialogue. Right. See, they call that acting.

UNPAUSE

Which brings us back to the first meeting of Emily and Jessup at the party. They are eating during this important scene! I can just picture Chayefsky seeing this, and running to the studio brass to tattle and get Ken Russell fired (as he got Arthur Penn of Bonnie and Clyde fame fired before Ken Russell came on board).

Emily and Jessup are, true to Chayefsky form, extremely intelligent, driven people and hearing them discuss topics such as anthropology and schizophrenia is quite interesting. It's just that what is to come, film being a visual medium, will eclipse just about any dialogue, no matter how good, from our mind thingys.

The two give up on the science talk and go straight to banging on her couch. After, she asks what he was thinking about. His answer is priceless. “God. Jesus. Crucifixions.”

She smiles.

Bwahahaha! Oh Paddy Chayefsky, you sure know women.

He admits he used to have religious visions. She listens to him from the sweaty couch whilst he sits naked on the floor, and starts going on about his father's horrible death of cancer and his loss of faith. And he admits to her that he's a nut. Her response is to call him a fascinating bastard. I think Lucas may have taken notes for Padme and Anakin.

So naturally, they get married immediately.

But none of that matters because Jessup gets back in the sensory deprivation tank and has his first vision. A nightmare of his dying father and lost faith in christianity. It's pretty great, filled with foreboding hospital rooms, his father's face being covered in a burning Shroud of Turin, everything covered by horrible blood red clouds and then THIS FUCKING THING SHOWS UP AND ITS ALIVE AND WRIGGLING

AAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHH!!!!!!!!

excuse me...

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHH!!!!!!

The many-eyed goat is slaughtered over a gold bible and suddenly Jessups screwing Emily again and we enter a blood vessel looking thing and the vision ends and he never mentions this again. Oh. Okay,

Emily continues on about what a nut Jessup is as they make marriage plans. Her monologue:

“You're an unmitigated madman. You don't have to tell me how weird you are. I know how weird you are. I'm the girl in your bed the past two months. Even sex is a mystical experience for you. You carry on like a flagellant... Which can be very nice, but I sometimes wonder if it's me that's being made love to. I feel like I'm being harpooned by some raging monk in the act of receiving God. (Emphasis mine)

"And you are a Faust-freak Eddie! You'd sell your soul to find the great truth. Well, human life doesn't have great truths. We're born in doubt. We spend our lives persuading ourselves we're alive. And one way we do that is we love each other, like I love you. I can't imagine living without you. So let's get married, and if it turns out to be a disaster, it'll be a disaster.”

It's a disaster.

As in, by the next scene. It starts off happy enough looking, they have kids and people are smiling. And hey, wow it's seven years later! But, well, see, whoops, they are getting a divorce. Well, not they. See, he is divorcing her because he considers the seven years with her a complete waste.

She still loves him, desperately. He doesn't give a shit about her or the kids. He tells Bob Balaban this, straight up. And then starts bugging him about deprivation tanks and Hinchi Indians in South America who have sacred mushrooms that can really fuck you up.

It's at this point you would like for Jessup to be hit by a Mack truck. But the movie continues on. By the way, this is one of the kids he doesn't give a crap about:

That's right. Drew Barrymore's first role is a kid that William Hurt doesn't give a shit about. Something that William Hurt would make a career out of with narcoleptic performances in Lost in Space and Syfy's Dune. So, Emily takes the kids to Africa for her anthropology work while Jessup goes to South America to go deeper into his own creepy mind.

The Hinchi Indians agree to allow him to participate in the drug ritual. They enter their holy cave.

This shot is beautiful. At this point the film becomes increasingly gorgeous. Ken Russell has started to go into overdrive, ladies and gentlemen. Buckle. Your. Seatbelts.

The Indians grab Jessup's hand and cut him, freaking him out. They pour his blood into the drug mixture. They begin to drink. Then he takes a sip. The intensity of the film here has quadrupled. The vision begins, fireworks going off all around him. He sees cave paintings of humans and komodo dragons and this:

The proper life he left behind with Emily. He's convulsing, sweating. The Indians are all around, masked. Snakes. He's laughing in pain. Energy spills from the void. A snake under the parasol strikes and begins to strangle him. He and Emily march toward a nuclear explosion as energy pours from the cut on his hand, becoming a lizard. From within a sandstorm, Emily watches him, naked. Jessup looks at her, entranced, as the soothing sands cover them both, slowly.

It's a beautiful sequence. A perfect film sequence. I can't overstate how strong the vision sequences are from this point forward. Great visual effects work and the madman mind of Ken Russell create something unforgettable, with it's own pace, independent from the rest of the film.

Jessup awakens with a komodo dragon laying before him, ripped to pieces. The Indians and the others all claim he killed it in rage. Jessup remembers nothing, takes samples of the drug to reproduce it, and goes back home.

Back home, Jessup keeps doing as much of the drug as he can and having Bob Balaban record results. They can't up the dosage any more so Jessup hops back in to the self deprivation tank to create a more extreme experience.

In his next session, Jessup states he is having a vision of early man, hunting a deer and killing it. Suddenly he states he is one of them, killing the deer. He begins to grunt like an animal. The two pull him out. He's incredibly pale, blood seeping out of his mouth. He can't speak, and has difficulty breathing. He insists they do an X-ray. It shows that there is a vocalizing lump in the front part of his throat. Jessup claims that his body had begun to revert to a simian state. The medical doctor agrees, stating the throat X-rays looks like that of a gorilla.

Luckily his throat returns to normal. So Jessup finishes up his day by having over a student of his and sleeping with her.

Our hero, people!

At this point we hardly feel sorry for him as his body suddenly begins to twist and bulge in the middle of the night, shifting in and out of neanderthal shapes. It's a horrific sequence, disturbing as hell. You certainly didn't expect the film to shift into body horror.

Jessup feels normal after a while. but sees visions of lava explosions, the birthing of the Earth all around him. Not a good sign.

He goes to pick up Emily from the airport the next day. She asks how he is doing.

“Oh, fine.”

Yeah right.

Emily has been told what Jessup has been doing and is worried, which of course pisses off Jessup even more. The guy is obviously obsessed with reaching the truth and root of existence, much as Emily surmised earlier, and we see he has no fear of even losing his own soul, again true to her word. The only thing that allows us to give a shit about him at this point is that Emily cares for him and she's decent people, okay?

So back Jessup goes into the tank with his ayahuasca or whatever it is. Alone. The tank door opens from the inside.

The hand that pushes it open is covered in thick hair. He's devolved.

Ape-Jessup escapes the tank room and chases a janitor around the building. Again, this scene is fucking freaky as hell. We can't get a good look at this screaming animal that was Jessup.

The janitor gets a guard to help and chases after him into the boiler room, where we finally get a good look at him when he assaults the security guard and escapes.

AAAAAAAAAHHHHHHHHHHHHHHHHHHH!!!!!

Ape-Jessup runs through the city at night, making his way to the zoo where he kills a antelope and eats it. The Ape-Jessup sequence goes on way too long, but is nonetheless unforgettable. The makeup is much more convincing than the above picture suggests, and whoever performed Ape-Jessup did an admirable job.

The cops find an unconscious Jessup in the zoo and bring him in. Emily picks him up and questions him. Jessup admits everything that he can remember. He also admits that he probably killed that security guard. And once again doesn't seem to give a shit. Prick. He calls it the most supremely satisfying time of his life.

Even Emily seems disgusted with him. But, she's also fascinated with what he's accomplished. As an anthropologist, his transformation fascinates her. And so, she agrees to help oversee his next session. Big mistake.

Before the big session Emily and Jessup romantically reconnect, and then into the climactic session we go!

Get your popcorn ready!

After a few hours in to the session, the video monitor shows Jessup begin to literally melt apart like goo, reverting to primordial ooze, the very beginning of existence. An attempt to open the isolation tank doors blasts everyone unconscious, as light and energy pour forth. Emily is the only one left. She sees Jessup's life energy pulse from within the tank.

Rain pours down around them. The pipes on the walls twist and turn like jelly. The ground is covered with a pool of swirling fog and energy. Emily advances toward the vortex of the tank.

In the emptiness of the beginning of everything, Emily seizes the energy before her and reconstitutes Jessup.

They take him home. While he sleeps, Emily rages over the fact that she loves such a insane bastard, and can't get over him. And, then, after Bob Balaban leaves, leaving Emily alone, Jessup wakes up.

He sweetly admits that the truth he learned was that there was no learnable truth, just unknowable horror, and all that's real is human experience. And he'll be a good boy from now on. Well too bad!

Because that horrible truth isn't done with him, and it's back to goo-Jessup! Emily tries to help him, grabbing him, but this in turn effects her, turning her into a shimmering lava form of herself. Both of them begin to self-destruct as Jessup, enraged, watching her in pain, struggles to retake his humanity, slamming himself into the wall, reforming himself through sheer will and physicality. He grabs her and brings her back, mirroring what she did for him during the final session. They embrace naked in the hallway. He finally admits, “I love you, Emily.”

Fade to credits.

Awww true love!

What can I say to sum up? Awesome 80's practical effects. Genius wacko go-for-it Ken Russell directing. Out of this world vision sequences. A awake and actually remarkable performance from William Hurt. An occasionally turgid but often fascinating script by the ever ornery Paddy Chayefsky. Whats not to like?

Well, the ending is a little rushed. The ape sequence goes on for a little too long and takes up perhaps too much of the films overall running time. The central love story is, well... a little hard to swallow, but hey, I guess there really is somebody out there for everyone. Even self-absorbed, deadbeat, cheating, sensory deprivation loving, ayahuasca dropping, Harvard teachers with a messiah complex!

And on that note, aliens from A.I. Artifical Intelligence, have a good day, and don't leave poor Teddy alone with no one to keep him company!

Sayonara!

#altered states #ken russell #movies #review #funny?

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recentanimenews · 3 years

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FEATURE: The New Anime Films I'm Really Excited About in 2021

Hello everyone, and welcome back to Why It Works. I’m sure you’re all enjoying the commencement of the spring anime season, but at the moment, my mind is utterly preoccupied with something else entirely: the final Rebuild of Evangelion film, 3.0+1.0 Thrice Upon a Time. Neon Genesis Evangelion was the show that first inspired my passion for anime, and at this point, I’ve been waiting for the end of its Rebuild series my entire adult life. As I’ve changed, so has Evangelion. It’s been a fascinating franchise to grow up with and I’m both eager and a little sad to see that journey come to an end.

Even if you’re not onboard the Eva train, this is looking to be a phenomenal year in anime films. And so we come to today’s actual topic: let’s run down some of the exciting film productions soon to be gracing our screens!

First off, if you’re an action fan, the future is looking bright in terms of tie-in movies. Demon Slayer's Mugen Train film broke an absurd number of box office records upon its Japanese release, and from everything I’ve heard, it’s an absolutely dazzling visual experience. If you’re caught up on Demon Slayer, I’m sure you’re well aware of how ufotable’s talented animators and uniquely effective digital integration elevated its fight scenes; given the show proper’s highlights, I can’t even imagine how good the film will look. The second it’s available on streaming services, I’m certainly checking it out.

Personally, though, I’m more of a My Hero Academia fan than a Demon Slayer one, meaning I’m going to have to wait a little longer for my fix. This summer, the third My Hero Academia film will be released, directly following the first half of Season 5. I greatly enjoyed the first My Hero Academia movie, but frankly, I think the second film is actually the franchise’s high point so far. Building fight scenes from the ground up specifically for animation, that film was able to bring 1-A’s talents to life in glorious collaborative fashion, embodying the highest promise of the show’s potential. Topping that film would be a tall order, but I don’t expect My Hero’s team to back down from the challenge, and am eager to see what they come up with.

Outside of action properties, the big franchise adaptations all seem designed to please me specifically. I adored Violet Evergarden back in 2018 and am beyond excited for its soon-to-arrive tie-in film. Based on trailers alone, the film is looking to be a devastating follow-up to the series proper, while carrying on its tradition of beautiful artistry that only Kyoto Animation could provide. Also, the Ojamajo Doremi revival film comes out in just about a week, returning one of the greatest children’s series of all time to the silver screen. If you’re not familiar with Doremi, I’ve already written a tearful article exploring my love of the franchise and hope you’ll be joining the ojamajos this spring.

Fortunately, even if you’re not up to date on any of those franchises, there are some tantalizing self-contained films to look forward to. As I mentioned back in the fall, Josee, the Tiger and the Fish is looking to be an absolutely marvelous adaptation with a gorgeous look that feels reminiscent of Naoko Yamada’s masterpieces. Additionally, the ever-reliable Mamoru Hosoda has a new film coming out this summer that looks to return to Summer Wars’ fascination with digital worlds. Hosoda’s production pipeline is so consistent that he’s essentially a semi-annual institution at this point, but that doesn’t make his work any less welcome. I had a great time with both of his most recent features, and have no reason to suspect that’ll end anytime soon. And just a few days ago, Toho released a teaser trailer for The Deer King, a fantasy adaptation from the director of Moribito. Even just limited to standalone features, the year is looking bright!

Finally, the last film I’m looking forward to seems likely to be this year’s sleeper property: Pompo the Cinephile. Based on the film’s early trailers, it’s looking to be a magnificent visual experience, combining cartoonish character acting fundamentals with ambitious style shifts and multiple cinematic worlds. The film’s visual creativity makes sense, given its director is Takayuki Hirao. In his early career, Hirao collaborated closely with Satoshi Kon, gaining an appreciation for mind-bending animation that would lead to him becoming one of ufotable’s most creative and experimentally minded directors. Hirao possesses a truly distinct artistic perspective and I’m eager to see him bring his vision to Pompo the Cinephile.

All in all, it’s looking to be an impressive year in anime films. From long-running franchises to adaptations and originals, we’ve got plenty of movies to look forward to and I’m personally planning on checking out pretty much all of them. I hope you’ve found a film or two that seems promising among my selections.

Let me know what you're most excited for in the comments!

Nick Creamer has been writing about cartoons for too many years now and is always ready to cry about Madoka. You can find more of his work at his blog Wrong Every Time, or follow him on Twitter.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Nick Creamer

#Anime #News #Latest in Anime News by Crunchyroll!

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capitanmorgancyberzine · 4 years

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THE IRISHMAN press conference

London Film Festival 2019

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vimeo

London Film Festival Director Tricia Tuttle presents The Irishman’s Director Martin Scorsese with producers Emma Tillinger and Jane Rosenthal. And the actors Robert De Niro and Al Pacino.

Il film è incentrato sulla memoria e stilisticamente offre all’occhio del osservatore una quantità innumerevole di elementi visivi accattivanti. Questa opera fa dispiegare lo sguardo in modo drammatico sugli avvenimenti che storicamente si susseguono, inoltre allo stesso tempo ci fa fluttuare come in una sorta di distillazione del tempo e del luogo in cui è ambientato. L’uso degli effetti speciali è straordinario e come per quasi tutti i film di Scorsese ci troviamo di fronte a un capolavoro di genere.

The film is focused on memory and stylistically offers the eye of the observer an innumerable amount of captivating visual elements. This work makes the viewer's gaze unfold dramatically on the events that historically follow one another, and at the same time makes us float as if in a sort of distillation of the time and place where it is set. The use of special effects is extraordinary and like almost all Scorsese's films we are faced with a genre masterpiece.

Regia: Martin Scorsese

Interpreti: Robert De Niro, Al Pacino, Joe Pesci, Romano Bobby Cannavale Anna Paquin, Stephen Grahm, Harvey Keitel

Paese: USA

Anno: 2019

Durata: 209′

di seguito l’intervista ==>

Why did it take so long? You've known each other for decades. I know this project it has been in your mind for a while...

Bob De Niro: Yeah... he said, I just read it, it just had come out, I got to read that book... That was about three years earlier.. Marty was starting to show me ..

Martin Scorsese:

Some special work that Bob and I'm involved in for twenty somewhat years. that we were trying to get another project film, based on... Hollywood in the 70s 80s.. that developed into something else, about something else. We never quite settled on the project. The last time we worked together was in 1995: 'Casino'. So from that point on we would check on each other what we were doing, whether I could fit into his plan or vice versa. Ultimately we did, I think, in the winter of Frankie Machine... We decided we had to do something... maybe in 2010, no, 2008.. We thought this might be a project with possibilities... I was really looking for something that would enrich more or less where we had gone in the 70s and the 80s and early 90s.. to just replicate or trying to do the beginning of our careers wouldn't be anything enriching. So, you were about to direct the 'Good Shepard' - Eric ... was writing that... And Eric, knowing that we were trying to do something called 'Frankie Machine' about a hitman who retired... Eric gave you a book called 'I heard you paint houses' by Charles Bran for research

MS:

Jean Gabin film like 'Touches pas gris be'??? Matfields too low (Toulaux) Le deuxiËme circle...pictures like that... Gabin character...

By the time you're doing 'Casino', I felt that presence was similar

Bob:

And then I survived to read this book that I 've been always wanted to read called 'I heard you paint houses'. I read it just as research character . When I had read it I got together with Marty and said: you gotta look at this ... So that was it.

MS:

You had the story about (on the telephone) Brad Brit?? right?

Lady:

So you were ready to comit to making Frankie Machine, financed by Paramount, we were all on call together to get the green light and in the middle of this conversation Bob said: Well, this other book that we are thinking about, maybe we could combine these two movies . And Brad said: So you want to take a go with it and turn it into a development project?... That was 2007 ... Then we brought Steve Zillion on and Steve delivered (Steven, Marty and Bob worked together and did option 'I heard you paint houses' and Frankie Machine went away and Steve delivered the script in 2009..

MS:

The point is that we were trying to find something that we could ride /write with (I don't know how you define ride/write... it's ambiguous... kind of we felt comfortable in a way.. something we could not articulate and once he described this character to me, I felt that he had a good sense of it so I said: this is maybe where we could really try to explore and see what we could come up with, that it might really be of value ultimately or as a creative point which is what he cared getting out.. to impress the cast ... so we took a chance... Steve pulled together a wonderful script, and it took a number of years...

Bob:

Steve wrote the script which is terrific, wonderful as Marty says, and it was a matter of getting everybody's schedules to line up. Marty was doing ... coming over here.. I don't know when you was doing Euro.. 2009/ 2010.. We would talk about what we were going to do, if there was availability, you wanted to do 'Silence'... I said to Marty I wanted to make sure he was okay if we would just let it out there.. usually I am very superstitious about that it usually doesn't happen... I felt maybe in this case since we got no backers, no people really interested in the idea that we were doing it with Al and Joe... if they were okay with mentioning that they were on board.. So we did that and then we had a reading of the script..

Lady:

the reading of the script January right before you left to go to 'Silence'. That was this one opportunity to get everyone together, and we taped the reading 2012... I thought that that would be all we would have of the Irishman, since it would be difficult to get financing. Then when everybody heard it , there was a new energy, but Marty and Emma went back to shoot 'Silence', so we had another delay.. A good one.

Al Pacino:

I've known Marty and Bob for very long time..Anthony called me about it, it sounded really interesting...The opportunity to work with them was very important for me. For years we always spoke together, Marty and I, about different things.. and of course Bob and I worked together we had known each other since we were young actors

MS:

The first meeting we had about this, we talked about it in a hotel in LA

AP:

That's right! The hotel! It's all coming back to me now...

MS:

After all the discussions he looked at me and said, is this gonna happen, because... the complications and schedules and then of course, no real enthusiasm to say the least about financing, really made it something that is a nice dream and you said: that maybe the reading was going to be the only time you've heard it or seen it... we knew that from the beginning

AP:

I think that reading was very well orchestrated 09.06.72

Very effective...

MS:

Bob arranged it so there were the right kind of people there

Yeah, they got excited about it but still didn't raise the money

I remember, it was you, Al, Bob, ... Bobby Carneval, pauly Herman??? Joe pesci, Stefanie...

AL:

You can feel it that there was a live wire there.. I always thought it wouldn't happen...

Bob:

I got a call from Al...is it gonna happen..?

don't worry, they'll work it out...

Lady:

Thank goddness you did, because there were these fantastic time sugressions?? ..

Journalist:

Hello, Catherine Dreyer from Free Cinema... I just saw the film ', of course mind blowing.. one of those old epic things that make you like it to be in the cinema and watching it.. So thank you so much already for that. The question is... this is obviously a Netflix production, it's coming out very shortly after running in the cinemas. It seems to be a very good collaboration between TV / internet companies with the film industry.. Will we have at some point to redefine perhaps what is cinema?

MS:

...I think it's not just an evolving sort of thing, it's a revolution, even bigger a revolution that sound was for cinema, it's the revolution of cinema itself. A new technology, bringing things that are unimaginable... is it something extraordinarily good for narrative films, or stories told in motion pictures... it opens up the original conception of what a film is and where it's to be seen has now changed so radically that we may have to say, okay, this is a certain kind of film, it's made here... there might be a virtual reality films that have holograms, all sorts of things that are coming that we don't even know... Something that should always be protected as much as possible and that I think will always be there, is a comunal experience. I think that's best in the theater... Now, homes have become theaters, too... It's a major change... just keep an open mind... there is no doubt that seeing film with an audience is.... there is a problem though.. you have to make the film.. we ran out of room in a sense... there was no room for us to make this picture... for many different reasons, ultimately there was financial issue, too in terms of the CGI that we did and the reason why, the CGI is kind of complicated...because at a certain point if I made the film earlier they could have played younger and then at a certain point we missed that, and then they said, use younger actors who play them younger, and I said, well, what's the point of that... I want to find a CGI... let's see what they experiment, open it up... I mean CGI to that extend is really an evolution of make up... you'll accept certain make up, you know that she is not that old, she's not that young. You accept that as a norm. I mean you accept the illusion so to speak. Taking that and having the backing of a company that says, you have no interference, you can make this picture as you want, the trade off is its streams with the attribule distribution prior to that. That's the chance we take on this particular project. What streaming means and how that's going to define a new form of cinema, I'm not sure. I thought for a while maybe long form TV cinema- it's not! It simply isn't. It's a different viewing experience. You're going to get three episodes, two, four-ten... one one week, second episode the second week... that's not ... it's a different kind of thing, so there's got to be still what has to be protected is the singular experience... experiencing a picture, ideally with an audience... But there's room for so many others now, and so many other ways. There's gonna be cross overs... Value..? the value of a film that's like a theme park film for example, where the theme is becoming amusement parks... that's a different experience, it's not cinema, it's something else.. and it shouldn't be rated ?? by it.. That's a big issue.. We need the theater (audience?) to step up to that, to allow to show films that are narrative films. A narrative film could be one long take for three hours, too, you know. It doesn't have to be a conventional 120 minute film.

What Marty said, it will be in theaters and even when it goes on plate-work??? it still will continue to be in theaters, so audiences have their choice of whether we're going to watch it in theater and have an amazing cinema comunity experience or whether they want to watch it on the platform. Roma, for example, is still in theater around the world. So the audience has the choice of how they want to use something...

LADY:

Cinema has reached a point where changing has the option of having streaming as it were in this case...???

Journalist from AUSTRALIA:

Sergio Leone's 'Once upon a time in America', started de Niro, a film had small similar to this one,... do you think there are any references to that film here?... It's a long film, not as action packed as your early gangster films, I think they are very different to this.

But how is it different to your early gangster films?

MARTY:

Well, this underworld milieu... I guess the similarity is that it's very long and Bobby de Niro is in it.... I guess the two of us made a movie, when we were trying to get the finances, I know how to do this... I know how to follow it through.. I just went with that..

What did you feel looking at yourselves younger for the first time when you're looking back at the movie. Was it a bit crazy?

MS:

How does it relate to them? Well, back in 1973 we're 29, 30 years old, now we're much older and so we hope that maybe the... over time... that something has evolved, maybe deepened to a certain extend of our life... in a back it can be conveyed in a story, performances, in the way a film is put together, that would be some sort of an advancement, rather then just replicating what we have done in the past

New technology and all that... does it open a brand new world for everyone?

AP:

Considering everything is crazy. It was crazy. I don't know quite what you mean though, I'm sorry... what were you saying?

AP:

I don't feel that way, personally... this is a technique that is barely on? It's what they have said, it's a form of make up.. It could change things... But I don't think you feel that way -- as an actor -- I think you feel that as an actor, you're playing a role,... a role that more then likely hopefully you're suited for... so when you do that... it doesn't matter what you look like.. It is sort of true in a way... because, when I saw the film.. he showed it to me without anything... I just went with it and I didn't think anymore that.... this was a story... it was handled / delivered in such a way, alectorially, visually, costumage.. everything. And also the acting. I think that was what was taking me up... the story... I wasn't thinking about anything else after a while, I mean I didn't even think about when we first started.. Of course it was me ... I wasn't thinking about the wines, our faces or anything... this was accepting these people.. they existed, too, this is another thing. This was an interesting thing... because it's a story about real things that happened. people really lived.. Maybe that had something to do with my reaction. This whole thing can be innovative, of course, but at the same time it tells a story... I'm a little more concerned about that...

As I say, I did see the film without any work... and it was fine.. as a matter of fact, I'm the only one who felt that way

MS:

I think it is really good that we have that potential, it is stating what it's stating: the old days... some actor that we all knew and love and they put grey hair on him, we say, oh, he got older, but you accept it, because this is in the story

Bob:

I always joked that my career will be extended another thirty years... No, it's a whole industry... where / how it will evolve... I was just thinking about copyrights... likeness, and who gets it long after we're all gone, families and stuff like that. We even have that now in some way, using famous actors from years ago, commercial... to represent that product... I don't know, I'm just happy we're at the beginning stages of really being ... God knows where it goes... what excited me about it was that pablo helman was doing this thing and wanted to make it state of the art, the best it could be to date. That was an ambition for this movie, which was ambitious always... it fit the whole enterprise

MS:

It's also how you move... these are the little things

AP:

You're walking along looking... pretty and then you got to get up... (grimace)... hey, man, what are you doing, you're 39! 25.22.23

Question from German Journalist :

What was the biggest challenge for each one of you on this movie (directing - acting

MS:

Making (movies?) is a big challenge.. in terms of realm... the guys are performing.. so I cannot speak for them, but for me it's cutting through all the issues of how you perceive a story, the sweep of a story, what's essential, what isn't essential, making those editing choices right there, on the set. First of all even before set, before shooting begins, make those editing choices, and in shooting even top around those editing choices because it's very complex.. in terms of technology... and staying on point, staying on what's essential to the story. Those are the characters, particularly Frank's character, and eliminating everything else around that was getting in the way. And this I think was a 108 day shoot. So this is one thing. And then the editing, too. So it's wrangling the picture, in a way.. always threatening to run a little bit out of control, but grabbing it again, and using Frank Sharon as the anchor. The whole picture took finally to wind up with him alone. That's what all film is about. That's just general of how you make a movie. Otherwise you sometimes make a movie you don't know what you're going to do when you get there on the set... I tried that once, it didn't work... for me it didn't work... I usually like planning and fighting my way through the whole process.. until we get, the best we can, to the end... resolve with the character...

BN:

Yeah, I mean, certain things.. like Marty, every so often, I would come in to narrate pieces that Marty figured that had to voice over to give information or whatever... That's a novel part of making a movie...

MS:

You went into the audio tracks... the voice stories and setting and then we'd go... tell me something

Interesting... and then try to find time to shoot it.. in the film, like give it to Emma and tell her to find some production time, please

Emma:

I'd say yes

So was that your biggest challenge...

Emma:

.. helping Marty realize everything?... yeah...

(laughter)

We want all of them to have the time...time to create and the environment, a quite / safe space for them to do. You wanna wrab that at all... it's a challenge, but we are phenomenal partners, the best, we carved out that time in stakes, I hope

Why do you think we are constantly pulled back into talking about films about pain and trauma as in the Irishman, there's a lot on the macro level with the asasination section, but it really does go into personal individual pain

MS:

I think pain is an important story to everybody, pain, suffering... that idea what makes an interesting story... what do you think?

Bob:

Well I think, this was a simple story. It was about a guy who was caught between two people... powerful people.. One of them disappeared - we never knew what happened really to this day - the other one was also -- Joe Galler (?).. for him.. you still don't know who did that to him... it had that to hang on someway... this political, this grand story with these historical (if you want) type of characters... a simple story

MS:

... and not so far - in terms of that - of what we were talking about these guys.. and on the other level you have JFK, Bobby Kennedy, Martin Luther King... all this going on.. and nobody knows really what happened there... I always say, would it make any difference now if we knew exactly who, when, how, and where..

... the dark course of it take over (???)... that are always present... these guys are right in the middle of it, in a way... they just walk by a TV and there is missles coming from Cuba... and that's your afternoon lunch... when we say a simple story is because the rest is so complicated

For me in many ways this is about reflection. I was wondering as you have amazing careers... do you guys ever sit back and reflect or do you always look to what's the next project

And I was wondering... do you think you could have made this ...now, cause you have lived and are still alive ..so that now that you're in a kind of position to understand better the texture of this narrative

MS:

you mean, if we had made this film earlier it would have been different

Yeah

MS:

Absolutely, I mean... I don't think we got together and said, let's make a movie and reflect... as I say, it's intuitive

#london film festival #londonfilmfestival #LFF

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