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mostlymovieswithmax · 3 years

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Movies I watched in May

Sadly, I kind of skipped writing a post for April. It was a mad month with so much going on: lots of emails sent and lots of stress. I started a new job so I’m getting to grips with that... and even then, I still watched a bunch of movies. But this is about what I watched in May and, yeah… still a bunch. So if you’re looking to get into some other movies - possibly some you’ve thought about watching but didn’t know what they were like, or maybe like the look of something you’ve never heard of - then this may help! So here’s every film I watched from the 1st to the 31st of May 2021 Tenet (2020) - 8/10 This was my third time watching Christopher Nolan’s most Christopher Nolan movie ever and it makes no sense but I still love it. The spectacle of it all is truly like nothing I’ve ever seen. I had also watched it four days prior to this watch also, only this time I had enabled audio description for the visually impaired, thinking it would make it funny… It didn’t.

Nomadland (2020) - 6/10 Chloé Zhao’s new movie got a lot of awards attention. Everyone was hyped for this and when it got put out on Disney+ I was eager to see what all the fuss was about. Seeing these real nomads certainly gave the film an authenticity, along with McDormand’s ever-praisable acting. But generally I found it quite underwhelming and lacking a lot in its pacing. Nomadland surely has its moments of captivating cinematography and enticing commentary on the culture of these people, but it felt like it went on forever without any kind of forward direction or goal. The Prince of Egypt (1998) - 6/10 I reviewed this on my podcast, The Sunday Movie Marathon. For what it is, it’s pretty fun but nowhere near as good as some of the best DreamWorks movies.

Chinatown (1974) - 8/10 What a fantastic and wonderfully unpredictable mystery crime film! I regret to say I’ve not seen many Jack Nicholson performances but he steals the show. Despite Polanski’s infamy, it’d be a lie to claim this wasn’t truly masterful. Howl’s Moving Castle (2004) - 8/10 Admittedly I was half asleep as I curled up on the sofa to watch this again on a whim. I watched this with someone who demanded the dubbed version over the subtitled version and while I objected heavily, I knew I’d seen the movie before so it didn’t matter too much. That person also fell asleep about 20 minutes in, so how pointless an argument it was. Howl’s Moving Castle boasts superb animation, the likes of which I’ve only come to expect of Miyazaki. The story is so unique and the colours are absolutely gorgeous. This may not be my favourite from the legendary director but there’s no denying its splendour.

Bāhubali: The Beginning (2015) - 3/10 The next morning I watched some absolute trash. This crazy, over the top Indian movie is hilarious and I could perhaps recommend it if it weren’t so long. That being said, Bāhubali was not a dumpster fire; it has a lot of good-looking visual effects and it’s easy to see the ambition for this epic story, it just doesn’t come together. There’s fun to be had with how the main character is basically the strongest man in the world and yet still comes across as just a lucky dumbass, along with all the dancing that makes no sense but is still entertaining to watch. Seven Samurai (1954) - 10/10 If it wasn’t obvious already, Seven Samurai is a masterpiece. I reviewed this on The Sunday Movie Marathon podcast, so more thoughts can be found there. Red Road (2006) - 6/10 Another recommendation on episode 30 of the podcast. Red Road really captures the authentic British working class experience. Before Sunrise (1995) - 10/10 One of the best romances put to film. The first in Richard Linklater’s Before Trilogy is undoubtedly my favourite, despite its counterparts being almost equally as good. It tells the story of a young couple travelling through Europe, who happen to meet on a train and spend the day together. It is gloriously shot on location in Vienna and features some of the most interesting dialogue I’ve ever seen put to film. Heartbreakingly beautiful.

Tokyo Story (1953) - 9/10 This Japanese classic - along with being visually and sonically masterful - is a lot about appreciating the people in your life and taking the time to show them that you love them. It’s about knowing it’s never too late to rekindle old relationships if you truly want to, which is something I’ve been able to relate to in recent years. It broke my heart in two. Tokyo Story will make you want to call your mother. Before Sunset (2004) - 10/10 Almost a decade after Sunrise, Sunset carries a sombre yet relieving feeling. Again, the performances from Julie Delpy and Ethan Hawke take me away, evoking nostalgic feelings as they stroll through the contemporary Parisian streets. There is no regret in me for buying the Criterion blu-ray boxset for this trilogy. Before Midnight (2013) - 10/10 Here, Linklater cements this trilogy as one of the best in film history. It’s certainly not the ending I expected, yet it’s an ending I appreciate endlessly. Because it doesn’t really end. Midnight shows the troubling times of a strained relationship; one that has endured so long and despite initially feeling almost dreamlike in how idealistically that first encounter was portrayed, the cracks appear as the film forces you to come to terms with the fact that fairy-tale romances just don’t exist. Relationships require effort and sacrifice and sometimes the ones that truly work are those that endure through all the rough patches to emerge stronger. The Holy Mountain (1973) - 10/10 Jodorowsky’s masterpiece is absolute insanity. I talked more about it on The Sunday Movie Marathon podcast.

The Grand Budapest Hotel (2014) - 10/10 Another watch for Grand Budapest because I bought the Criterion blu-ray. As unalterably perfect as ever. Blue Jay (2016) - 6/10 Rather good up to a point. My co-hosts and I did not agree on how good this movie was, which is a discussion you can listen to on my podcast. Shadow and Bone: The Afterparty (2021) - 3/10 For what it’s worth, I really enjoyed the first season of Shadow and Bone, which is why I wanted to see what ‘The Afterparty’ was about. This could have been a lot better and much less annoying if all those terrible comedians weren’t hosting and telling bad jokes. I don’t want to see Fortune Feimster attempt to tell a joke about oiling her body as the cast of the show sit awkwardly in their homes over Zoom. If it had simply been a half hour, 45 minute chat with the cast and crew about how they made the show and their thoughts on it, a lot of embarrassment and time-wasting could have been spared. Wadjda (2012) - 6/10 Another recommendation discussed at length on The Sunday Movie Marathon. Wadjda was pretty interesting from a cultural perspective but largely familiar in terms of story structure.

Freddy Got Fingered (2001) - 2/10 A truly terrible movie with maybe one or two scenes that stop it from being a complete catastrophe. Tom Green tried to create something that almost holds a middle finger to everyone who watches it and to some that could be a fun experience, but to me it just came across as utterly irritating. It’s simply a bunch of scenes threaded together with an incredibly loose plot. He wears the skin of a dead deer, smacks a disabled woman over and over again on the legs to turn her on, and he swings a newborn baby around a hospital room by its umbilical cord (that part was actually pretty funny). I cannot believe I watched this again, although I think I repressed a lot of it since having seen it for the first time around five years ago. The Twilight Saga: Breaking Dawn - Part 1 - (2011) I have to say, these movies seem to get better with each instalment. They’re still not very good though. That being said, I’m amazed at how many times I’ve watched each of the Twilight movies at this point. This time around, I watched Breaking Dawn - Part 1 with a YMS commentary track on YouTube and that made the experience a lot more entertaining. Otherwise, this film is super dumb but pretty entertaining. I would recommend watching these movies with friends. Solaris (1972) - 8/10 Andrei Tarkovsky’s grand sci-fi epic about the emotional crises of a crew on the space station orbiting the fictional planet Solaris is much as strange and creepy as you might expect from the master Russian auter. I had wanted to watch this for a while so I bought the Criterion blu-ray and it’s just stunning. It’s clear to see the 2001: A Space Odyssey inspiration but Solaris is quite a different beast entirely. Jaws (1975) - 4/10 I really tried to get into this classic movie, but Jaws exhibits basically everything I don’t like about Steven Spielberg’s directing. For sure, the effects are crazily good but the story itself is poorly handled and largely uninteresting. It was just a massive slog to get through.

Darkman (1990) - 6/10 Sam Raimi’s superhero movie is so much fun, albeit massively stupid. Further discussion on Darkman can be found on episode 32 of The Sunday Movie Marathon podcast. Darkman II: The Return of Durant (1995) - 1/10 Abysmal. I forgot the movie as I watched it. This was part of a marathon my friends and I did for episode 32 of our podcast. Darkman III: Die Darkman Die (1996) - 1/10 Perhaps this trilogy is not so great after all. Only marginally better than Darkman II but still pretty terrible. More thoughts on episode 32 of my podcast. F For Fake (1973) - 8/10 Rewatching this proved to be a worthwhile decision. Albeit slightly boring, there’s no denying how crazy the story of this documentary about art forgers is. The standout however, is the director himself. Orson Welles makes a lot of this film about himself and how hot his girlfriend is and it is hilarious.

The Mitchells vs. The Machines (2021) - 4/10 More style over substance, Sony’s new animated adventure wants so much to be in trend with the current internet culture but it simply doesn’t understand what it’s emulating. There’s a nyan cat reference, for crying out loud. For every joke that works, there are about ten more that do not and were it not for the wonderful animation, it simply wouldn’t be getting so much praise. Taxi Driver (1976) - 10/10 The first movie I’ve seen in a cinema since 2020 and damn it was good to be back! I’ve already reviewed Taxi Driver in my March wrap-up but seeing it in the cinema was a real treat. Irreversible (2002) - 8/10 One of the most viscerally horrendous experiences I’ve ever had while watching a movie. I cannot believe a friend of mine gave me the DVD to watch. More thoughts on episode 32 of The Sunday Movie Marathon podcast. Don’t watch it with the family. The Golden Compass (2007) - 1/10 I had no recollection of this being as bad as it is. The Golden Compass is the definition of a factory mandated movie. Nothing it does on its own is worth any kind of merit. I would say, if you wanted an experience like what this tries to communicate, a better option by far is the BBC series, His Dark Materials. More of my thoughts can be found in the review I wrote on Letterboxd.

Antichrist (2009) - 8/10 Lars von Trier is nothing if not provocative and I can understand why someone would not like Antichrist, but I enjoyed it quite a lot. After watching it, I wrote a slightly disjointed summary of my interpretations of this highly metaphorical movie in the group chat, so fair warning for a bit of spoilers and graphic descriptions: It's like, the patriarchy, man! Oppression! Men are the rational thinkers with big brains and the women just cry and be emotional. So she's seen as crazy when she's smashing his cock and driving a drill through his leg to keep him weighted down. Like, how does he like it, ya know? So then she mutilates herself like she did with him and now they're both wounded, but the animals crowd around her (and the crow that he couldn't kill because it's Mother nature, not Father nature, duh). Then he kills her, even though she could've killed him loads of times but didn't. So it's like "haha big win for the man who was subjected to such horrific torture. Victory!" And then all the women with no faces come out of the woods because it's like a constant cycle. Manchester By The Sea (2016) - 6/10 Great performances in this super sad movie. I can’t say I got too much out of it though. Roar (1981) - 9/10 Watching Roar again was still as terrifying an experience as the first time. If you want to watch something that’s loose on plot with poor acting but with real big cats getting in the way of production and physically attacking people, look no further. This is the scariest movie I’ve ever seen because it’s all basically real. Cannot recommend it enough. Eyes Without A Face (1960) - 8/10 I’m glad I checked this old French movie out again. There’s a lot to marvel at in so many aspects, what with the premise itself - a mad surgeon taking the faces from unsuspecting women and transplanting them onto another - being incredibly unique for the time. Short, sweet and entertaining!

Se7en (1995) - 10/10 The first in a David Fincher marathon we did for The Sunday Movie Marathon, episode 33. Zodiac (2007) - 10/10 Second in the marathon, as it was getting late, we decided to watch half that evening and the last half on the following evening. Zodiac is a brilliant movie and you can hear more of my thoughts on the podcast (though I apologise; my audio is not the best in this episode). Gone Girl (2014) - 10/10 My favourite Fincher movie. More insights into this masterpiece in episode 33 of the podcast. Friends: The Reunion (2021) - 6/10 It was heartwarming to see the old actors for this great show together again. I talked about the Friends reunion film at length in episode 33 of my podcast.

Wolfwalkers (2020) - 10/10 I reviewed this in an earlier post but would like to reiterate just how wonderful Wolfwalkers is. If you get the chance, please see it in the cinema. I couldn’t stop crying from how beautiful it was. Raya and The Last Dragon (2021) - 6/10 After watching Wolfwalkers, I decided I didn’t want to go home. So I had lunch in town and booked a ticket for Disney’s Raya and The Last Dragon. A child was coughing directly behind me the entire time. Again, I reviewed this in an earlier post but generally it was decent but I have so many problems with the execution. The Princess Bride (1987) - 9/10 Clearly I underrated this the last time I watched it. The Princess Bride is warm and hilarious with some delightfully memorable characters. A real classic!

The Invisible Kid (1988) - 1/10 About as good as you’d expect a movie with that name to be, The Invisible Kid was a pick for The Sunday Movie Marathon podcast, the discussion for which you can listen to in episode 34. Babel (2006) - 9/10 The same night that I watched The Invisible Kid, I watched a masterful and dour drama from the director of Birdman and The Revenant. Babel calls back to an earlier movie of Iñárritu’s, called Amores Perros and as I was informed while we watched this for the podcast, it turns out Babel is part of a trilogy alongside the aforementioned film. More thoughts in episode 34 of the podcast. Snake Eyes (1998) - 1/10 After feeling thoroughly emotionally wiped out after Babel, we immediately watched another recommendation for the podcast: Snake Eyes, starring Nicolas Cage. This was a truly underwhelming experience and for more of a breakdown into what makes this movie so bad, you can listen to us talk about it on the podcast.

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life-rewritten · 3 years

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THE GIANTS OF THAI BL 2020 AKA SHOWS STEALING MY HEART IN NOVEMBER

UPDATE AND UPCOMING ANALYSIS NOVEMBER 2020

It's the moment I've been waiting for since the excruciating silence of Thai BLS during the lockdown. It's November, the month of thanksgivings, the month of pre-Christmas jitters, nanowrimo and the month that has finally made me realise we are so close to ending this godforsaken year. Still, most of all, November means that we are getting buttloads of shows that are about to take my breath away. This year has been such an exciting year for BLS because of the increasingly amount of companies and directors willing to produce and release different types of BLS. In this list, we have awaited sequels, delicious plotlines and shocking comebacks. But most of all we have lots and lots of romance and men. Which of these have you been waiting for? Let me know. Let's squeal about it. November is going to be so great!

Ratings: From 1 to 5 (1 being least excited to watch, 5 being most,) how excited am I to delve into these shows?

Shows already airing

1.I TOLD SUNSET ABOUT YOU/ INTERPRET, MY LOVE, WITH YOUR HEART

Genre/Themes: Romance, Melodrama, Coming of Age, Angst, Drama, Childhood friendship

Country: Thailand

Verdict: So finally I rise from the memories of poorly produced bls, and pains of bad acting, and toxic writings, and traumas of stiff actors and homophobic agendas to finally say that without a doubt. Nadao has produced another masterpiece after my other favourite (Non) BL; Greater Man academy. Nadao stuns me, and for a very long time, I couldn't understand that this was how everyone was feeling, one because I wasn't fully educated or in the know about the company, I only saw tv shows in Thailand that were produced by GMMTV and to be honest I didn't think there was anything else above that standard in shows apart from Lakorns and Movies. (I know Sacrebleu) Getting to know and watch Nadao shows has been an experience, and for BL, I am hooked and ready for what else they have to offer. The only qualms that prevent me from gushing about the show are how international fans are treated. It took me a very long time to forgive ITSAY for its subbing platform (and price range), and that's why I refused to watch it with positive feelings. After episode 2 though, I'd be a fool to hold on to resentment when there is no doubt that this BL (despite not knowing if it's a sad ending. I'd hate if it is but it wouldn't change anything) is the best BL of this year. With ridiculous, incredible production, outstanding breathtaking cinematography, beautiful and talented actors and writing so good it blows me away. Episode 2 left my heart in pieces, but in a good way, I haven't recovered from the angst.

Ratings: 4.5/5 Would have been a 5/5 if the pricing made sense but also I'm terrified about a sad ending which I won't be too happy about.

2. FRIEND FOREVER/ OUR LOVE IS SICK

Genre/Themes: Romance, Music, Coming of Age, Angst, Drama, Childhood friendship, Rich vs poor, Bullying

Country: Thailand

Verdict: It's a pity this show is not available for international fans. Because I think people would actually love this show the way I do. It's so precious, reminds me so much of my first ever BL Lovesick (made by the same production team so makes sense) but better. What can I say about this show, really adorable cast, actually so good on the screen, great chemistry, and good storylines that keep me hooked. I am so in love with surprisingly one of my favourite couples this year Tin and Sea. I have such a great time watching this show, and I enjoy also analysing and just piecing together some of the mysteries in the show. It's been so good so far, and I can't wait for more. The first episodes are a little slow-paced, but it gets better as you keep watching it. I'd advise you to watch the director's cut because that has all of the storylines in the episode instead of the tv version which is more censored and has a lot of deleted scenes that mess with the flow of the storyline. Still, one of my favourite Thai shows right now.

Ratings: 4/5 I think 4/5 is a fair score just because of some confusion when trying to watch it internationally and getting the right version and I do think the story feels like a whiplash between the different styles of writing of the main two couples. Go watch this though if you haven't, dm me and I'll show you how.

NON-THAI

3. GAYA SA PELIKULA

Genre/Themes: Romance, Drama, Comedy, Angst, LGBTQ+ Education, Contract relationship, Haters to lovers

Country: Philippines

Verdict: Normally with verdicts, I have so much to say about a show, also when I analyse I can write essays and essays of information. When it comes to this show, I'm speechless. I'm in awe; I'm crying just even trying to explain how great this show is. How great Fridays are because of this show. How upsetting and damaged I am when the end of the episode occurs, I literally mourn waiting for the next episode the next week because it's too long. This show pulls you in, and it never lets you go. I'm mindblown by the writing of this show, mindblown by the acting, by the production, music, but most of all I have become a mess because of this meta in this show. I have cried so much because of how much I care about this show, the characters are all fleshed out, are so powerfully written, and emotionally tugs at your heartstrings whilst still educating and representing LGBTQ community fantastically. I don't know what we did to deserve a show like this. Maybe its because after years of waiting for something to finally show up and just be unproblematic and be so great with no questions, no confusions, no struggle, this show is just that. And I will be forever thankful to the whole team that brought this to us

Ratings: 5/5 I would give this more than 5 if I could. That's how much this show means to me.

4. CHERRY MAGIC

Genre/Themes: Romance, Comedy, Supernatural, Office drama, Slice of Life

Country: Japan

Verdict: Kurosawa and Adachi. That's it. That's the reason for the 5/5 stars when it comes to watching this show. First of all, I like Japanese romantic comedy shows, and anime, and manga. So seeing cherry magic come to life as this amazing form of that makes me so happy. Typically with Japanese BL, everything feels so serious sometimes, and then sometimes it feels too crazy and over the top. But Cherry Magic just feels like a warm hug when you watch it; you can't help your self but to smile and giggle at Adachi's adventures realising that he can read minds because he's a virgin at 30 years old. To add to that, he is given Kurosowa this incredible, amazing, wonderful non-toxic man who absolutely adores him and unconditionally is there for him. I just like what? Where do I get my own Kurosawa? Like it just feels so unfair haha. But really cherry magic is full of great acting, fantastic plot and unique as well. Every character is also written well, and all have interesting dynamics. We also have another side couple who is so funny and ridiculous but also just cute and heartwarming. I have a great time watching this show and the fact that it's ending on Christmas day? Already tells you what this show is, a gift and its a great one.

Ratings: 5/5 I want my own Kurosawa. That's it. That's all I want Universe.

Shows Upcoming

5. THARNTYPE 7 YEARS OF LOVE

Genre/Themes: Romance, Drama, Comedy, Mature, LGBTQ+ Representation, Internalised homophobia, Sequel

Country: Thailand

Verdict: This is a complicated show to gush about. First of all TharnType, the series in 2019 was one of my favourite shows that brought me back to this BL thing. I absolutely adore all the actors, and I also loved the storyline like I said before there's something about Mame's writing that I appreciate, I think most of her strengths is found in TharnType. Because of this, this sequel is one of my most anticipated show this year. However, I feel conflicted because I hate sequels. I hate couples having to go through the weird-ass, shallow, conflicts that just end up ruining the meaning of their previous show and leaves me with a bad taste in my mouth about the couple I once loved (Looking at you Together with me the next chapter still traumatised honestly). Enough of the negatives, Tharn and Type from the trailer looks like it's going to be a wild ride, I can even see the great chemistry that made me fall for MewGulf, and I'm so excited to see the new couples and characters. I also am so excited to see TECHNO again and laugh with him every Friday. We also know that the awaited wedding between our couple is also going to be in this show. And that's going to make me bawl like a baby. Let's hope we don't have too many toxic or troublesome storylines, let's hope we don't have too many breakups and fights (because that hurts so much seeing Mew cry) and let's hope we finally have a sequel that is better than its predecessor.

Ratings: 4.5/5 This is how I feel about it, I don't think I can rate it as 5/5 because of all the worry and anxiety at what the storyline entails—still a great show to look forward to.

6. MANNER OF DEATH

Genre/Themes: Romance, Crime, Mature, Angst, Drama, Mystery, Thriller, Haters to Lovers

Country: Thailand

Verdict: Think about it. Why wouldn't this be number one on everyone's list of upcoming BLS? We have the return of one of the best actors in this genre MaxTul the actual godfathers of Thai BL; we have an incredible team here with a director that has won multiple awards, with a storyline that is unique to Thai BL, we're getting crime, detective, mystery BL with mature characters who are not in university? As if that's not enough, we also have a really incredible plotline about this forensic doctor who falls in love with someone who we are not sure if we should trust because he could be a murderer! Like oooh yes please, the drama, the angst, the thrill?? I'm ready for this; I am so prepared to give my whole heart and attention on this show. I want it to be so good, to defeat the shows of 2019 that came and took our hearts away, to be the best BL ever. It's so difficult not to raise my expectations when it comes to this show when I know we have a great cast, great chemistry, non-stiff acting, and just a really non-toxic author as well. I look forward to this so much. Only issue/question? Where is the trailer? Hello WETV, where is our teaser? Why don't we know the date for when this is coming out? I want it out now. But I'll try and be patient okay?

Ratings: 5/5 I can't think of how this show won't be good. And that's really worrying. But for now, I'll keep my expectations high and wait.

7. TONHON CHONTALEE

Genre/Themes: Romance, Coming of Age, Angst, Comedy, Childhood friendship, GMMTV

Country: Thailand

Verdict: Podd and KHAOTHUNG, (my sun, my heart, my favourite person ever) Sorry just gushing over my two faves. GMMTV has shocked me this year with the announcement of this show. First of all, Khao gets to have a show where he's the main lead. I've been waiting for this, and I'm so proud and excited for him. Not only that obviously, but TonTonChontalee looks really good with a vibe of a comedic spin to one of my favourite shows Theory of love. I am ready to see Podd act so stupid as Ton and at the same time sob when he finally realises that Chon is the one. I'm so ready to see Khao act his socks off, and the show looks so funny, so fun and just like the chemistry between two is definitely a winner. I cannot wait for this next Friday. And it also has Mike and Toptap! What's not to love? Seriously though I'm praying this is successful, and it helps both Podd and Khao to dominate GMMTV. Let's find out next Friday.

Ratings: 5/5 For Podd and Khaothung. Just worth the rating.

8. GEN Y THE SERIES

Genre/Themes: Romance, Drama, Comedy, Angst, 2moons Fanfiction, Haters to Lovers

Country: Thailand

Verdict: First of all 2 MOONS Reunion! What?? Very shocked to see this show tbh one because it's like a direct copy of 2moons the series; the same cast, the weird alternations to the same name, the same kind of plot as well. Channel 3 has finally decided to invest in BLs, one of the biggest companies in Thailand, so the budget is high, the actors are known and famous, the production is good. This is so exciting to see. Also, 2moons was one of my favourite past BLs the whole time it was airing, and I had a massive affinity for Kimmon and Copter, so it's great to see them play their characters again but with a better budget and now glow up and grown. Their acting seems to have improved, Kit and Ming's storyline being the main focus is also really lovely to see. I also love seeing Bas and the other actors from other Bl series (The Moment actors) and I'm excited to know more about the new cast as well. So yeh this show has a great potential to win my heart as well, and the competition is not easy at all. But with a great company behind them and an exciting premise, this can also be a winner.

Ratings: 4/5 I'm intrigued by this show, and I look forward to seeing what it brings.

November is such an exciting month for someone like me who just loves watching tv and analysing and just seeing romance bloom. These couples, stories and actors have a great potential to be the best things of 2020 so far, each of these shows holds evidence that they're worth paying attention to and honestly I've missed seeing Thai BLs that make me so excited so much. I've missed these actors, I've loved each and every one of them, and I can't wait to see them this month on my screen. What about you, guys? What do you look forward to? Who are your favourites? What are you worried about when it comes to these comebacks. Let's discuss.

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aylinaliens · 3 years

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I am officially caught up on Oxygen and I started it yesterday, so that’s a new record. I’m so freaking obsessed! And, I’d love some recs because I need more to watch. My first step into the world of Bls came from My Engineer which was brilliant and frustrating, but I loved it. Now, I’m just looking for more and more and more, and this started in July 😂. I’d love some recs and to pop in randomly to chat about the bls if you’d be up for it because they all kill me ~♉️

Sorry for the delayed response but I wanted to take some time to compile a list of recs for you. I tried to mainly rec ones that are mainly available on YouTube, Viki, Line TV, and Netflix but if you need help finding links to watch them let me know!

I highly recommend these (based on the previous ones you’ve seen or ones that I personally loved):

Cherry Magic: This is a Japanese BL that’s currently airing but it’s so good and easily my favorite of the year. It has a wacky premise but it’s very heartwarming, realistic, and soft.

Like In The Movies (aka Gaya Sa Pelikula): This recently ended like a week ago but it was a masterpiece. GSP accurately depicts the struggle of being the LGBTQ+ community and is just generally really well made in terms of the script, cinematography, and OST. There were quite a few BL’s from Philippines released this year but IMO this was the best.

He’s Coming to Me: Incredibly underrated which sucks because it’s really good. The premise is very unique and it’s another accurate depiction of the struggles that LGBTQ+ individuals have to go through. This is pretty angsty but hilarious/heartwarming/adorable at the same time.

Theory of Love: People either absolutely adore TOL or absolutely despise TOL. I personally adored it because I’m a big fan of angst, flawed characters (oh boy were they flawed), and OffGun so it’s one of my favorites. But fair warning the characters are frustrating. So frustrating that you’ll probably want to reach through the screen to smack them but if you hang on till the end it’s worth it. Plus they just released a special episode like a month ago and it really improved any issues I had with TOL.

The Untamed: this is technically labeled as being a ‘bromance’ because of China’s censorship laws but like...it’s extremely obvious that the two ML’s are more than just platonic bros. In the book it’s based on they were together romantically and the drama does a good job of expressing the love they share with subtle (and not so subtle) looks, dialogue, cinematography, touches, and music. The Untamed is very long and at times confusing but 100% worth it.

History 3 Trapped: This was my first introduction to BL and it spoiled all other ones for me. It’s about a gangster and a police officer who go from enemies to lovers. The plot is messy but the chemistry between the leads + second leads makes up for that.

Where Your Eyes Linger: This is a Korean BL and almost everyone I talked to ended up loving this. Sadly this is really short (only 8 episodes that are 10 minutes long) but it’s worth it. It’s about two childhood friends—one of them is the son of a wealthy family and the other is his bodyguard. It handles the friends to lovers excellently and plus the leads have a ton of chemistry.

Mr. Heart: Another Korean BL that was produced by the same company that did WYEL. It’s also short but it’s fluffy and adorable which is a big shift tone from WYEL but I loved both equally.

Life Love On The Line: Another Japanese BL! It came out this year and I feel like it’s really underrated. It’s based on a short manga so the length of the series isn’t that long (4 ep that are 20-30 min long) but it still manages to effectively tell a beautiful love story.

Kinou Nani Tabeta? (What Did You Eat Yesterday): I’m only on episode 1 but...woah. People need to stop sleeping on this. It’s a slice of life drama centered around two men in their forties who are already together. It’s wholesome, soft, and makes me feel all warm inside. Please give this a chance okay?

I Told Sunset About You: I haven’t finished this yet but it’s honestly a masterpiece. The cinematography...the OST...the acting...the script...I’m in complete awe of the whole thing.

Gameboys: Another wonderful PINOY BL! It’s set during this year when the pandemic is going on and it was really good—so good that it got a GL spin off (Pearl Next Door, I highly rec this too even if it’s not BL) and a season 2 which comes out next year.

Hello Stranger: Honestly the Philippines are thriving this year because this was another stellar BL! It’s kind of like Gameboys in how almost the whole drama is filmed over video chat/social media but it was very cute. I believe Hello Stranger is also releasing a movie next year.

Ingredients: This is literally just a very long supermarket ad that’s been going on for 8 months now but it’s adorable. It’s a very low stakes fluffy BL where nothing happens plot wise yet you can’t put it down. Plus...they were roommates ;)

Sotus/Sotus S: not one of my favorites but it’s one of the OG bl’s for a reason. So many people loved the first season but didn’t care for the second (but it was the complete opposite for me). This is kind of the one of the most quintessential Thai BLs out there so feel free to give it a try.

History 2 Right or Wrong: Bls rarely center around mature individuals let alone parents so when I found out the premise of this I was sold. Its only 4 episodes so it’s not the most fleshed out thing ever made but it was incredibly adorable, fluffy, and as honest as they can to address LGBTQ+ parenting. Basically it’s about this college student who ends up as a babysitter for his professor (yeah okay that premise is not for everyone so just be aware if you don’t like that kind of thing) and they fall in love. The whole thing is so fluffy and heartwarming!

Ossan’s Love: This is a Japanese BL about this thirty year old office worker who finds himself in a weird love triangle between his married boss and roommate. I know it sounds like a mess and trust me it definitely is but it’s hilarious. It was a wild ride start to finish but I loved (and hated) every second of it.

Diary of Tootsies: Okay this isn’t a typical BL I guess but it’s about three gay men + their lesbian best friend so you know what? I’m including it on this list. It’s hilariously dumb yet also addresses serious topics like homophobia/sexually transmitted diseases. It’s underrated and I’m so sad about it because it’s genuinely a delight to watch.

YYY the Series: do you know those crack videos on YouTube full of memes and references? Yeah. That’s basically YYY summed up. The whole thing makes zero sense because of how chaotic it is but despite how it’s constantly makes everyone ???? it also has a TON of heart. It’s so dumb but it had me reflecting on my life all the time. I really rec this not just because of how hilarious it is but also because it breaks the mold of other BLs! Don’t ever let anyone tell you that you can’t have a comedic show and talk about consent and how important healthy communication is in relationships because YYY does it perfectly and so much more.

Dark Blue Kiss: I didn’t love this but you might. It’s a sequel/spin off to like two other series (Kiss Me & Kiss Me Again) but you don’t have to watch the others to understand this. Just know that the leads have been dating awhile before the start of the series.

Great Men Academy: People debate if this is a real BL because the main character is a girl who can transform into a boy but I think it still counts. I really enjoyed this and thought the whole cast had a ton of chemistry between them—it was sweet, funny, and had the right amount of angst.

HIS: this is a Japanese movie (I know you said dramas but I enjoyed this so I figured I would include it too). It’s beautiful, angsty, and sweet. There’s a prequel series this is based on but you don’t have to watch it to understand what’s going on.

I have way more recommendations but I figured I would stop there. Hopefully if you give these a go you enjoy this and my asks are always open if you ever want to talk about BL :)

#♉️ anon #kay answers #bl recs #i left out so many because i didn’t want to make this really long + i wanted provide explanation as to why they were worth the watch #I also didn’t include dramas that just had bl side stories/characters

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ironwoman359 · 4 years

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I have an odd history with Disney movies, due mostly to being very picky as a child and refusing to watch movies that I hadn’t seen before. I think it was a combination of having a few very unpleasant experiences with movie theaters/ movies in general and not wanting to go through the mental stress of experiencing a New Thing (why do that when I could have the comforting experience of watching something I knew already?) but I kinda find it interesting what movies I have and have not seen, so I decided to make a list about it for whatever reason. Here we go!

Disney Movies I grew up with:

Cinderella (and Cinderella 2)

Lady and the Tramp

Aladdin

Aristocats

The Fox and the Hound

Bambi

Robin Hood

Peter Pan

The Lion King

Tarzan (and Tarzan)

Lilo & Stitch and Lilo & Stitch 2: Stich has a Glitch

Mulan

Winnie the Pooh (Many Adventures, The Tigger Movie, Piglet’s Big Movie)

Brother Bear

Home on the Range

Disney Movies I saw once or twice but wouldn’t say I “grew up with”:

Dumbo (I absolutely hated it, worst Disney movie, -6/10)

One Hundred and One Dalmations (I really liked it but we never owned a copy)

The Rescuers Down Under (saw it at a friend’s house, enjoyed it but never saw it again)

The Emperor’s New Groove (a masterpiece, but again, we only saw it at a friend’s house)

Stitch: The Movie (I don’t know WHERE we saw this because we didn’t have a copy but we liked it anyway)

Lady and the Tramp 2 (same with Stitch, idk where this movie came from but it was alright I guess)

An Extremely Goofy Movie (I couldn’t even tell you what was up with this film tbh)

Disney Movies that I only saw after I became a teenager:

Hercules: I don’t know how old I was when I first saw it, but it was after middle school (I was resistant at first because of my greek mythology phase and it not being “accurate”)

Pocahontas: I didn’t see it until I was 17

Snow White: I didn’t see it until I was 18

Hunchback of Notre Dame: I didn’t see it until I was 19

Disney Movies (that I’ve seen) that only came out after I became a teenager:

Princess and the Frog: It came out when I was 13, and I don’t remember when I saw it but it was before I graduated highschool

Tangled: It came out when I was 14, but I didn’t see it until 5 or 6 years later in college

Wreck it Ralph: it came out when I was 16

Frozen: it came out when I was 17

Big Hero 6: it came out when I was 18

Zootopia: it came out when I was 20

Moana: it came out when I was 20

Disney Movies that I Have Not Seen to this day:

Pinocchio

Fantasia or Fantasia 2000

Alice in Wonderland

Sleeping Beauty

The Sword in the Stone

The Jungle Book

The Rescuers

Black Cauldron

The Great Mouse Detective

Who Framed Roger Rabbit

Oliver & Company

The Little Mermaid

Beauty and the Beast

The Nightmare Before Christmas

A Goofy Movie

Dinosaur

Atlantis: The Lost Empire

Treasure Planet

Ralph Breaks the Internet

Frozen II

Bonus - Pixar Movies that I haven’t seen:

Toy Story 3

Brave

Monsters University

The Good Dinosaur

Cars 3

Coco

Incredibles 2

Toy Story 4

Onward

#taylor talks #disney #idk why i made this list #other than boredom

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grigori77 · 4 years

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Summer 2020′s Movies - My Top Ten Favourite Films (Part 1)

20. THE OUTPOST – it’s been a great year for war movies already, but summer was definitely where the genre really blew up, showering a TRIO of crackers on us, starting with this intensely rugged actioner about the Battle of Kamdesh in 2009 Afghanistan, in which a small group of American soldiers fought against an overwhelming Taliban force in extremely hostile terrain. Director Rod Lurie (The Last Castle, The Contender) hasn’t had the most impressive career so far, but he shines here, as does a powerful ensemble cast which includes Scott Eastwood, Caleb Landry Jones and Orlando Bloom.

19. BIT – the first notable feature from indie director Brad Michael Elmore is an enjoyably offbeat little vampire flick in which small-town transgender teen Laurel (Supergirl’s Nicole Maines) moves out to Los Angeles and gets swept up in the strictly girls-only revolution of local head vamp Duke (Goliath’s Dianna Hopper) and her feminist pack. Maines and Hopper are both phenomenal, while Elmore does wonders with his tiny budget and really pays off on his film’s intriguing ideas.

18. DA 5 BLOODS – Spike Lee’s latest joint must be the most tripped-out and subversive Vietnam War movie since Apocalypse Now, letting his politically-charged mixture of reportage and personal drama run riot with particularly colourful results as we follow a group of ageing black Vets on their journey to retrieve the remains of a fallen comrade and a fortune in illicit gold. The cast are uniformly excellent, particularly Delroy Lindo as traumatised hothead Paul, while there’s a magnificent turn from Chadwick Boseman in one of his final roles.

17. THE LOVEBIRDS – director Michael Showalter reunites with Kumail Nanjiani, star of his indie hit The Big Sick, for this riotous screwball comedy in which lovers Jibran and Leilani (Nanjiani and Insecure’s Issa Rae) find their faltering relationship tested to breaking point when they’re forced to prove their innocence after being framed for murder by a corrupt cop. The laughs come thick and fast, but there’s an endearing warmth that adds emotional heft to the story, bolstered by the leads’ palpable chemistry.

16. UNHINGED – Russell Crowe brings every motorist’s worst nightmare to life as Tom Cooper, a deranged psychopath who harasses struggling divorcee Rachel (Slow West and Mortal Engines’ Caren Pistorius) and her son to increasingly terrifying extremes after one bad day leads to a road-rage misjudgement. The overblown revenge thriller plot works best if you don’t think about it too much, but the incredibly game cast give their all and director Derrick Borte (The Joneses) keeps the tension cranked up to breaking point.

15. THE NEW MUTANTS – the last ever Fox-based X-Men movie slumps into cinemas with little fanfare after a series of increasingly lamentable delays with an inevitable sense of Marvel Studios going through the motions out of mere obligation to what was once the franchise that MADE them. It’s truly criminal treatment because this is a CRACKING film, the property taking an intriguing swerve into horror movie territory as five young mutants trapped in a shadowy government institute are terrorized by their own worst fears. The Fault in Our Stars’ director Josh Boone shows a surprisingly sure hand with the superheroics AND the scares, but the film really belongs to its uniformly excellent young cast, particularly Game of Thrones star Maisie Williams as shapeshifter Rahne Sinclair and Anya Taylor-Joy as fan favourite Illyana Rasputin. It’s another worthy mutant-fest, which makes it all the more heartbreaking watching with the knowledge that, now that the X-Men and their ilk have been officially folded into the all-encompassing behemoth of the MCU, it’s the opening chapter of a new franchise we’ll never get to see …

14. BECKY – ambitious indie directing duo Jonathan Millott and Cary Murnion have been on my ones-to-watch list for a while now (ostensibly after their horror comedy Cooties but mainly thanks to supercharged single-shot action thriller Bushwick), but they’ve really outdone themselves with this left-field survival horror, in which a pack of neo-Nazi prison-breakers led by brutal genius Dominick (a cannily cast-against-type Kevin James) find themselves up against something they never bargained for – Anabelle: Creation star Lulu Wilson’s eponymous, unexpectedly lethal 13 year-old girl.

13. THE VAST OF NIGHT – despite its far more understated, super-low budget origins, there’s a strong dose of Super 8 in the DNA of this astounding debut from writer-director Andrew Patterson, an intriguingly ambitious first-contact sci-fi thriller set in small town America in the 1950s. Some Kind of Hate’s Sierra McCormick and newcomer Jake Horowitz are the endearingly sparky core of the film, putting the rich quick-fire screenplay through its paces while Patterson displays uncannily sophisticated flair behind the camera. I can’t wait to see what he’s going to deliver in the future …

12. IN SEARCH OF DARKNESS – not just the best feature I’ve watched so far in what’s already been an unusually strong year for documentary films, but one of the best I’ve watched in a good long while, this epic examination of ALL the key horror cinema releases of the 1980s and their enduring cultural impact makes for undeniably engrossing viewing. Despite clocking in at OVER FOUR HOURS, it never outstays its welcome, with writer-director David A. Weiner’s fascination for the subject proving overwhelmingly infectious.

11. GET DUKED! – four wayward teenage boys are pursued by gun-toting aristocratic psychopaths in the Scottish Highlands while doing their Duke of Edinburgh Award (well, it was that or Borstal) in this gleefully OTT comedy masterpiece from debuting writer-director Ninian Doff. One of last year’s major festival hits, it’s an absolute riot, a blissfully unapologetic non-PC laugh-fest powered by a quartet of astonishing turns from its young leads and brilliant support from Eddie Izzard, Kate Dickie and James Cosmo.

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dailytomlinson · 4 years

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It’s hard to deal with the thought that we’re leaving the decade that birthed One Direction behind, and that it’s unlikely we’ll see them together again in the new decade. Louis Tomlinson, Harry Styles, Liam Payne and Niall Horan seemingly haven’t made any plans for a comeback, not yet at least.

Something positive that came out of their break-up, though, are their careers as soloists, which we support and cherish – with all of our heart.

Here’s a journey through Louis Tomlinson’s top 7 moments of 2019 – just in time before the release of his debut album, set to be in January!

And if you don’t know who he is – take a look at our previous article about him. You won’t regret it.

1. When he announced the release date of his debut album AND a headline worldwide tour in the span of two days!

It’s October 23, 2019 when Louis Tomlinson manages to send the whole of Twitter into a meltdown with one simple tweet.

“Got something hiding around online for you… here’s a head start”

What was he hiding? Nothing less than the artwork cover for his debut solo album, “Walls”, out on January 31, 2020. The fans went wild trying to piece the puzzle together, and eventually brought the name of the album in the worldwide trends!

Walls is available to pre-order here!

And since that wasn’t enough, Louis also announced his first headline tour, which brings him on stage in 20 different countries over 3 different continents, starting in March 2020.

Been waiting for this moment since I started my solo career. Can't wait to see you all on tour. There are also a few more dates going up at a later date. Thanks for everything. Here we go! http://louis-tomlinson.com

Make sure to get your tickets to see Louis on his website.

2. When he performed his biggest solo set yet, in front of 30.000 people!

A month ago, Louis performed as the headliner of the #CCME festival in Madrid in front of 30.000 people. Seeing him again on the stage, where he belongs, was one of the best experiences of my life He made me feel so proud, and he lighted up the whole city

Yes, you heard that right: Louis’ longest headline show to date was in front of 30.000 people. We’re in Madrid, on September 14: Louis takes over the stage with a brilliant performance that includes, other than his previously released singles Kill My Mind and Two Of Us, four brand new songs straight out of “Walls”: Don’t Let It Break Your Heart (which will later become his third single before the album release), Defenceless, Too Young and Habit.

Nedless to say – he absolutely smashed it. We’re jealous of everyone who had the chance to witness his incredible performance live.

3. Louis and Richard

If we thought Louis Tomlinson couldn’t prove himself to be a better person than he already did, boy, were we wrong! Along with the lyrical masterpiece, and incredibly emotional, that his song ‘Two Of Us’ is, Louis released a music video called Louis And Richard.

#LouisAndRichard http://smarturl.it/LouisAndRichard

“Who’s Richard?” one may ask. Richard is a lovely 83 years old British man who sadly lost his wife around the same time Louis lost his mum. In the video, Louis takes Richard to several places in order for him to fullfill his bucket list: they go racing, they drive a helicopter, Richard gives Louis a tattoo – and in the end, he performs in front of a sold out arena.

An incredibly heartwarming video if you ask us!

4. ‘We Made It’ signage in Times Square

“The song started with the title and we were talking about what the title means to me. It kind of was a message between the fans and myself that we made it. The feel of touring together, that’s the theme. It was the base and we really raved about those moments.”

“We Made It” is a song Louis built around the concept of ‘making it’ together with his fans. We can only imagine how much of a proud moment it must’ve been for him to see himself on a huge Billboard in Times Square when it was released!

Absolutely buzzing for this! Massive love @spotify ! I just wanna say another massive general thank you to anyone who has helped work the record and of course the biggest thanks goes to you, the fans.

His “Thank you,” as always, went to the fans who supported the song.

5. The iconic note that changed everything

Wanted to get this off my chest

Changing your whole sound may be terrifying to many artists – but not to Louis Tomlinson. He already went through something similar, after all, when he decided to take matters into his own hands and revolutionized One Direction’s whole discography, writing banger after banger and giving the band a chance to rise out of the “bubblegum pop” genre they had been put into.

The aforementioned note was tweeted by Louis as an announcement to fans: from now on, I’ll be myself, regardless of how well my music might do charts and sales wise.

It takes bravery to make such a move. Congrats, Louis! We’re behind you!

6. Don’t go against One Direction…

…or you might have to face serious consequences.

Such as, dealing with a very angry Louis.

Biggest load of bullshit I’ve seen in a while. Typical unprovoked venom from The Mirror. Couldn’t be further from the truth!

Ouch! We believe someone from The Mirror had to deal with loads of backlash – and probably an unhappy boss – after Louis’ tweet.

They clearly did it to rile fans up because they knew everyone was hyped for the band’s anniversary... actually disgusting how they would use such delicate topics against you guys. Imagine studying journalism for years to come up with bullshit like that..... ridiculous

I know tragic isn’t it! Anyway said my piece moving on

Louis didn’t stop there – he also called their poor attempt to bring the band down “tragic”. We couldn’t agree more.

7. Our Teen Choice Artist is:

For the third year in a row, Louis went and secured himself a Teen Choice Award, this time as “Choice Song Male Artist” for ‘Two Of Us’.

He’s only gone and won another Teen Choice Award! Well done @Louis_Tomlinson - You have the best fans on the planet #TwoOfUs

Your #ChoiceSongMaleArtist is...@Louis_Tomlinson! #TeenChoice

And for the third year in a row he gushed about how much he loves his fans, and how grateful he is for their constant support.

Could we love him more? We don’t think so, but we hope our list of Louis’ top 7 moments of 2019 made YOU love him more!

#the honey pop #wpress #301219 #louis tomlinson

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hlupdate · 4 years

Link

Something positive that came out of their break-up, though, are their careers as soloists, which we support and cherish – with all of our heart.

Here’s a journey through Louis Tomlinson’s top 7 moments of 2019 – just in time before the release of his debut album, set to be in January!

And if you don’t know who he is – take a look at our previous article about him. You won’t regret it.

1. When he announced the release date of his debut album AND a headline worldwide tour in the span of two days!

It’s October 23, 2019 when Louis Tomlinson manages to send the whole of Twitter into a meltdown with one simple tweet.

“Got something hiding around online for you… here’s a head start”

Walls is available to pre-order here!

And since that wasn’t enough, Louis also announced his first headline tour, which brings him on stage in 20 different countries over 3 different continents, starting in March 2020.

Been waiting for this moment since I started my solo career. Can’t wait to see you all on tour. There are also a few more dates going up at a later date. Thanks for everything. Here we go! http://louis-tomlinson.com

Make sure to get your tickets to see Louis on his website.

2. When he performed his biggest solo set yet, in front of 30.000 people!

Nedless to say – he absolutely smashed it. We’re jealous of everyone who had the chance to witness his incredible performance live.

3. Louis and Richard

#LouisAndRichard http://smarturl.it/LouisAndRichard

An incredibly heartwarming video if you ask us!

4. ‘We Made It’ signage in Times Square

His “Thank you,” as always, went to the fans who supported the song.

5. The iconic note that changed everything

Wanted to get this off my chest

The aforementioned note was tweeted by Louis as an announcement to fans: from now on, I’ll be myself, regardless of how well my music might do charts and sales wise.

It takes bravery to make such a move. Congrats, Louis! We’re behind you!

6. Don’t go against One Direction…

…or you might have to face serious consequences.

Such as, dealing with a very angry Louis.

Biggest load of bullshit I’ve seen in a while. Typical unprovoked venom from The Mirror. Couldn’t be further from the truth!

Ouch! We believe someone from The Mirror had to deal with loads of backlash – and probably an unhappy boss – after Louis’ tweet.

They clearly did it to rile fans up because they knew everyone was hyped for the band’s anniversary… actually disgusting how they would use such delicate topics against you guys. Imagine studying journalism for years to come up with bullshit like that….. ridiculous

I know tragic isn’t it! Anyway said my piece moving on

Louis didn’t stop there – he also called their poor attempt to bring the band down “tragic”. We couldn’t agree more.

7. Our Teen Choice Artist is:

For the third year in a row, Louis went and secured himself a Teen Choice Award, this time as “Choice Song Male Artist” for ‘Two Of Us’.

He’s only gone and won another Teen Choice Award! Well done @Louis_Tomlinson - You have the best fans on the planet #TwoOfUs

Your #ChoiceSongMaleArtist is…@Louis_Tomlinson! #TeenChoice

And for the third year in a row he gushed about how much he loves his fans, and how grateful he is for their constant support.

Could we love him more? We don’t think so, but we hope our list of Louis’ top 7 moments of 2019 made YOU love him more!

#louis tomlinson #articles #301219

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lovelytonys · 5 years

Text

100 great things about megamind

basically i just watched megamind and wrote down everything that made me go “hey that’s good”

1. The opening monologue slaps I literally do not care about your “cliches” it’s GOOD

2. “8 days old and still living with my parents...pathetic right?”

3. The idea that Megamind is inherently good since his origin story should have been his dad saying he’s destined for “greatness” but the greatness got cut off uwu

4. Literally just the fact that Megamind was about to go to the Rich Nice House and his destiny changed at the last second,,,everything about this movie makes it a cinematic masterpiece

5. “A baby! How thoughtful!” “yes yes I saw it and thought of you”

6. “While they were learning the itsy bitsy spider I was learning how to dehydrate objects and rehydrate them at will”

7. When you hear the Bad to the Bone guitar riff kick in,,,,,,heck yeah babey!!

8. J.K Simmons is here! yeah!

9. Will Ferrell’s voice acting is literally SO darn good like even just from the beginning,,, the funny affectation of whatever kind of accent that is,,,,,the expressiveness of literally everything he says,,,,,I’m not actively a fan of Will Ferrell or anything but he just did a good job ok

10. “His heart is an ocean inside a bigger ocean”

11. Idk why but I just love the phrase “you fantastic fish you”

12. Metro Man is such a fun character. Like. A hero who shouldn’t be a hero, but he just….is one? Someone who’s idol-worshipped and, despite his grandeur, doesn’t exactly deserve it?

13. MEGAMIND’S CHARACTER DESIGN IS LITERALLY SO GOOD like the vivid colors of his skin and eyes? His COSTUME? His hilarious proportions, between the giant head and the skinny & scrawny everything else? Superb, you funky little alien

14. All dialogue between Megamind and Minion is god tier by default

15. The twist on “damsel in distress” where yeah the girl gets kidnapped but she is so not distressed and has the intellectual power in the situation as she roasts Megamind at every turn and he can’t combat anything she says

16. “Oh potato tomato potato tomato”

17. “I’m shaking in my BABY SEAL LEATHER BOOTS”

18. THE ENTIRE EXCHANGE BETWEEN MEGAMIND AND METRO MAN ABOUT JUSTICE AND REVENGE AND THE MICROWAVE OF EVIL AND WARRANTIES

19. “Can someone stamp my frequent kidnapping card” “You of all people know that we discontinued that”

20. The way this movie manages to SO effectively establish character while diving right into the action and keeping with a fun, fast pace? The world & characters are set up incredibly well AND the start of the journey/ “break into the new world” hits at a brisk 20 minutes? Lovely work, Dreamworks

21. When Highway to Hell kicks in with the lasers and Megamind dancing at the police,,,,,this is nothing short of priceless

22. “Imagine the most horrible terrifying evil thing you could possibly think of and multiply it…..BY SIX”

23. When you’re a supervillain who takes over the city and you say “let’s just have fun with this” to the citizens

24. *whispering behind the door* “now slam the door really hard!” *snickering like a 12 year old girl* “move they can still see you”

25. “Did you think this day would come?” “No, no not in a million years, not ever...I mean yes”

26. “That’s called a window, sir. All the kids are looking through them”

27. Crazy Train is SUCH a nice touch, the fade into Alone Again Naturally is great. The use of music in this movie is absolutely A+, MEGAMIND DID IT FIRST AND GUARDIANS OF THE GALAXY AIN’T SPECIAL (jk gotg you’re so special ily)

28. The images of Megamind’s destruction & deterioration of the city are so creative and funny

29. *to a desk toy bird* “What’s your vacuum like?”

30. “GOING OFF THE RAILS ON A CRAZY TRAIN SIR”

31. Haven’t yet mentioned how lovely the animation of Megamind’s face is! Every single frame, he’s so expressive

32. Mispronunciation of words like “school”, “Metro City”, and “melancholy”

33. This voice cast in general is so good like it’s not just big names phoning it in for an animated movie, they’re fully into it

34. Real Bernard doesn’t get much screen time but he’s hilarious

35. “Typhoon Cheese”, whatever that was gonna be

36. The juxtaposition in body language & facial expression between Real Bernard and Megamind Bernard,,,,,actually just the way Megamind’s physicality is transferred to the other characters he disguises himself as. Great stuff

37. Megamind’s off-the-walls high energy is so fun and electric

38. “This is a bad idea” “yes, a good idea for the greater good of bad” “maybe it seems good from your bad perception but from a good perception it’s just plain bad” “oh you don’t know what’s good for bad”

39. Ollo? Oh, hello

40. “I’m just yelling at my…..mother’s urn”

41. Megamind and Minion just saying “code” before things that aren’t in code. This movie is so good with its running gags, they don’t feel like “oh haha they used that joke again!” they feel like inside jokes between the characters I love it

42. Megamind fighting himself as Bernard while complimenting himself, COMEDY GOLD

43. The various occurrences of random life-altering things happening on a whim to the wrong people, like Hal getting the superpowers and earlier Metro Man being molded into a hero and Megamind landing in prison as a baby

44. The forget me stick

45. Space Dad and Space Stepmom

46. Every character Megamind inhabits always retains Megamind’s eyes

47. MR BLUE SKY PLAYING OVER HAL’S DISASTROUS TRAINING SEQUENCE AND THE FALLING IN LOVE SEQUENCE THAT INCLUDES DONKEY KONG AND MEGAMIND WEIRDLY TEXTING ON A FLIP PHONE (gotgv2 who? Don’t know her)

48. Roxanne’s positive influence making Megamind genuinely want to make the city better uwu

49. ROXANNE AND METRO MAN WERE NEVER A COUPLE! Lovely trope subversion

50. Tropes in this movie in general are so fun. This isn’t some uninspired genre parody. They don’t just subvert tropes in the exact way that you’d expect. I feel like the way that this movie plays with the superhero genre often feels unique and creative

51. Bernard’s character design kind of slaps tbh. The turtleneck, the hair, the glasses, all very nice

52. When Hal calls Roxanne “a really good looking one I’ve got my eye on” like she’s meat or something as opposed to Megamind valuing her personality…..makes ya think u know

53. T h e b l a c k m a m b a a a a a

54. “Maybe I don’t want to be the bad guy anymore!” and Megamind & Minion’s subsequent falling out that served as a precursor to the disastrous date with Roxanne- it happens pretty much exactly halfway through the movie. Some people look down upon following structure to a T, but sometimes it’s satisfying when a movie perfectly follows structure and this movie’s structure is flawless

55. “Good luck on your date” “I will” “That doesn’t even make any sense” “I know”

56. Right after fighting w Minion when Megamind looks in a cracked mirror and frowns at his reflection but then changes into someone else, into Bernard, and then smiles? THE CINNAMON TOGROPHY, THE STORYTELLING

57. When Hal is just an incel whose feeling of entitlement is framed as disgusting and he’s not supposed to be sympathetic and Roxanne’s rejection of him is not framed as evil but rather completely justified? VERY epic of them, this movie would have SMASHED the pop culture scene if it came out today

58. The GRAVITY of the part when Roxanne accidentally reveals Megamind in the restaurant is so powerful that I can STILL barely watch it even though I’ve seen it so many times

59. The part that immediately follows where Roxanne shuts down Megamind is SO well done. Roxanne is giving out some harsh words to our dear protagonist, but she is not framed as the bad guy. The great thing about this scene is that they let Roxanne call out Megamind on how he’s been a jerk and she gets to be RIGHT. How very cash money of them! The emotion here isn’t anger at Roxanne because she’s ~being mean~ to Megamind. It’s a sting over the fact that she’s right, and the heartbreak over the dramatic irony of us knowing that Megamind is becoming a better person and Roxanne having no idea. Now Megamind is left with a decision that will show who he truly is on the inside: he could either retreat back into safe, evil ways for the rest of time because it’s easier to be bad because then no one expects anything from him and rejection is easier to handle, or he could ultimately choose to grow from this and recognize how he was wrong and how he has to change. The execution of this midpoint is exemplary.

60. “Do you really think I’d ever be with you?” “....no” the delivery of those lines is so good

61. “You were right! I was….less right!”

62. The Black Mamba is a god tier costume and the fact that it has its own theme song in the score makes it at least 6x better

63. WHEN BACK IN BLACK KICKS IN YEAAAHHHH (Iron Man who? Don’t know her) (Iron Man was already out at this point but how fun is it that this movie used TWO iconic mcu songs)

64. Megamind in the giant suit playing with cars

65. Hal SUCKS I love how much the movie wants you to hate him

66. The difference between Megamind and Hal/Titan/Tighten is so interesting to watch. How Megamind is the self-proclaimed “bad guy” but he’s not even out to do serious damage & it’s just a game to him, while Hal is out for blood but was created to be a hero

67. “Now it’s time for witty banter” “AAAAAAAAA” “I’m not really sure where to go with that”

68. “I’M CALLING A TIME OUT”

69. Twisting the Kryptonite trope by having Metro Man make up the copper weakness

70. “Does he have a hideout? A cave? A solitary fortress?” lol I understood that reference

71. “OW! MY GIANT BLUE HEAD!”

72. Metro Man’s confession scene is so good. Really, how often do you get a hero who feels that he was forced into being a hero? That’s usually a villain trope. Does the hero ever realize he doesn’t want to be a hero….and actually quit FOR GOOD? Again, the trope subversion is awesome

73. “I have eyes that can see right through leaaaaaaaad” that’s my favorite song

74. “You left the city to HIM! No offense” “no I’m with you”

75. “There’s a yin for every yang. If there’s bad, good will rise up against it.”

76. “I say we just go all GANGSTA on him” ms tina fey i would die for you

77. Megamind turns himself in to the police, the fact that he willingly submits himself to the punishment of being a villain at this point is a lovely and stirring way of showing the sense of justice he has deep down and showing his character development

78. When Roxanne gives Megamind a desperate & compassionate pep talk over live tv no matter what it means for her reputation :*))

79. When Megamind has 88 life sentences

80. “I. Am. Sorry!” *dramatically slides down door*

81. Megamind’s heartfelt and regretful admission of all his mistakes that brings his character arc to a head? Lovely

82. “Good luck” “WE’RE GONNA D I E! Hahahaha!”

83. “There is no Easter bunny, there is no tooth fairy, and there is no queen of England.”

84. MEGAMIND’S EPIC ENTRANCE BY COMING OUT OF HIS OWN MOUTH

85. “Oh you’re a villain alright. Just not a super one.” “Oh yeah? What’s the difference?”

86. P R E S E N T A T I O N

87. METRO MAN THUNDER CALVES

88. Again with the green eyes continuity! Love that!

89. “Going somewhere? Besides jail?” *flies in a fancy pose*

90. When Megamind is ready to let everyone think Metro Man is back but Roxanne wants to see the real hero :*))

91. “This is the last time you make a fool out of me!” “I made you a hero, you did the fool thing all by yourself” SICK BURN

92. “There’s a benefit to losing. You get to learn from your mistakes”

93. WHEN THE DEHYDRATION GUN COMES IN CLUTCH

94. Minion being a drama queen lol comedy peaked in 2010

95. Minion’s Little Face

96. “GET BACK YOU SAVAGES” “Sorry he’s just not used to positive feedback!”

97. “Destiny is not the path given to us but the path we choose for ourselves”

98. When Megamind gets to parallel Metro Man’s entrance from the beginning of the movie and everyone cheers for him :*)) and he adds his own fun little twist by making a villain joke

99. “Megamind, defender of Metro City” “you know? I like the sound of that!”

100. Name a better villain to hero story. YOU CANNOT. Cinematic excellence. I am never disappointed.

#I DO NOT DESERVE RIGHTS #lovelytonys personal thought

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theexecutionerssong · 4 years

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GAELLE HOW ARE WE FEELING THE ALL TIME LOW COME BACK?

EXCUSE ME BUT IM LOSING MY MIND because waking up to them dropping a new song was WILD I almost fell off my bed but!!! if you think about it this past year has been such a wild ride? i can’t get over how much content we’ve had in just a year, like:

All Time Low rereleasing Nothing Personal and touring it was big enough already but now they just went and dropped Some Kind of Disaster and it’s a perfect come back song, like excuse me??

first of all, MCR coming back, I think that’s enough said but it BEARS REPEATING BECAUSE HOLY SHIT THEY ARE BACK AND TOURING AND IT’S PRETTY STABBY???

as if Gerard hadn’t blessed us enough with The Umbrella Academy already

HAYLEY FUCKING WILLIAMS announcing solo music and it’s so close I can smell the hair dye

Yungblud finally blew up and tons of kids are loving him and embracing him, with his incredible lyrics and his cute dresses and his eyeliner

I’m sorry but I need to address this: Josh died his hair again and it was pink and Tyler Is Gonna Be A Dad yes this is making me overly emotional

Fall Out Boy did not only released Believers Not Die Vol. 2, but also new old songs - look at me in the eye and tell me Bob Dylan doesn’t slap, I dare you -

and as if that wasn’t enough, they are going on tour with Weezer AND Green Day playing massive stadiums???? talk about a HELLA MEGA TOUR :)))) btw all 3 of them dropping new songs on the day of the announcement was a damn move and let’s not forget the show that same evening in LA with Sarah Urie livestreaming it? i went feral

Speaking of Green Day, Father of All… and Fire, Ready, Aim absolutely send me, come on give me more already

can we talk about Waterparks releasing Fandom and 15 high quality songs? yes we can

The Maine released You Are OK and have been on tour twice in a year, jesus christ what did we do to deserve this

BMTH deciding to drop an EP out of nowhere filled with the most unexpected collabs, we have to stan

sorry not sorry, but by the way, Halsey absolutely belongs on here because Nightmare? fucking slaps, and every song on Manic is a blessing to my ears, how can you be that famous and still be underrated

Ryan performed Northern Downpour as if that wouldn’t kill me on the spot, the audacity

FUCKING BRENDON URIE is on the Frozen 2 soundtrack??? meanwhile High Hopes has been topping the charts for months

let’s not forget idkhow and the Christmas Drag

I can’t believe I almost forgot but blink-182 Nine dropped just 4 months ago

sum41 is on tour, hello!!!

Counterfeit keeps dropping masterpieces after masterpieces

The Faim finally released their first album and have gone on 3 different tours in a year…… i need a moment, wow

hot milk are having their first ever headline shows super soon and boi am i ready

this list isn’t complete without Palaye Royale and Massacre, the new american dream, holy shit

the rawring 20s are fucking on and i could talk again about it’s probably an almost direct consequence of the rise of facism everywhere but this is a celebration post so i’ll shut up

#gaelle parle #music stuff #Anonymous #you did not ask for this anon but i need to let out my excitement or i'll explode

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grimelords · 5 years

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Finished writing my January playlist up a couple weeks ago and forgot to post it. Sometimes things are like that I suppose. A pretty good mix of all the songs I was very into two months ago.

Terrapin Station (Suite) - Grizzly Bear & The National: It's shocking to think that a 5 hour long Grateful Dead tribute album changed my life but it really did. It's so good all the way through which is a feat in itself and it's a great introduction to every side of a band that can sometimes feel culturally overwhelming to try to get into. This song is a highlight, veering over every kind of territory for 16 minutes but always maintaining the sort of precision of purpose I associate with Grizzly Bear.

New Year - Beach House: January baby! I've got tickets to see Beach House later this month and I'm excited because they really surprised me as an incredible live band last time I saw them, building their songs with a lot more dynamism than the sort of drum machine play alongs their albums are (which I love!!).

BAGDAD - Cap.7: Liturgia - Rosalia: I'm still working my way into fully appreciating how good this Rosalia album is. The Justin Timberlake melody is so beautifully repurposed and I absolutely love the church choir behind the 'junta las palmas y las separa' part. It's just a heartbreaking and beautiful song even if I did have to google translate it.

Signs Of Life - Arcade Fire: I've been thinking a bit about Everything Now and how it was received and weirdly it seems to have a lot of parallels with the Achtung Baby/Zooropa/Pop era of U2, 20 years before it. Well established megastar bands who turned from their extremely heartfelt authentic origins and explored the world of pop and commercialism with varying critical success. Everything Now doesn't feel old fashioned but it's kind of weird they're playing with a lot of the same ideas U2 were in their Pop-Mart era so long ago. Anyway this is one of their best songs ever I think. The disco instrumentation versus the paranoid lyrics is just great, the backing vocals especially.

Discotheque - U2: The vocals in this song are so interesting. There are at times upwards of three Bonos harmonising with each other. It creates an unsettling image of a world overrun with Bonos. I do however love the extremely strangled guitar sound in the breakdown. I sort of wish this song were longer, long as it is, because it really starts to build into something serious by the end but then it just fades out disappointingly.

Violent Shiver - Benjamin Booker: I love Benjamin Booker but he needs to take a lesson from this song and do some hot licks again. He doesn't do hot licks like this in barely any other songs! Benjamin Booker sounds like he's from an alternate timeline where rock n roll stayed black and this is where it's at now.

Dawn Of The Dead - Does It Offend You, Yeah?: Can you imagine naming your band 'Does It Offend You, Yeah?' in 2019? What a time to be alive 2008 was. I absolutely love the steel drums in the prechorus and the bass and 'ooh ah' in the chorus. The production is just so chunky throughout. This whole song is thick.

Golden Skans - Klaxons: Anyway speaking of the heady days of English 'new rave' Golden Skans is a masterpiece. It's also masterfully compact, it's over in 2 and a half minutes. Amazing.

Go Bang - Pnau: I really applaud Pnau for having the audacity to release Chameleon and Go Bang on the same album right after each other when they're essentially the same song. Close enough to be the same song but different enough that you're still completely hyped when either of them come on.

Say You See Why So - Eleventh He Reaches London: I found this extremely serious Perth screamo band a little while ago they're so good i'm surprised I'd never heard of them before. I love the style of just endless new sections on new sections with barely any repetition, it makes you feel crazy which is perfect for this music.

Why Write A Letter That You'll Never Send - The Drones: I don't really know what to say about this song other than imagine literally getting this email verbatim lol.

Hold Me, Thrill Me, Kiss Me, Kill Me - U2: Fully fucked up that one of the best U2 songs only got released on the Batman Forever soundtrack.

Dead Of Night - Orville Peck: I'm so glad Lana Del Rey has been around long enough now that she's inspired a second wave. I absolutely love the whole concept Orville Peck has going, masked gay cowboy is a criminally underexplored genre.

Trip The Mains - Methyl Ethyl: I can't believe Methyl Ethyl are onto their third album already. I love how dancey this is compared to their other stuff, and his voice is still completely blowing my mind.

Strange Days (1999) - Health: I've had the cover for this single as my lock screen for two months now. It's simply very good and such a direct distillation of Health's essence. They've simplified and moved closer to pop ideas on this album and I'm all for it, they sound like Purity Ring if Purity Ring exploded occasionally which sounds very good to me.

Milk Crisis - The Go! Team: I'm racist because I thought for a long time that this song was gibberish but it turns out it's actually just in Japanese.

Cream On Chrome - Ratatat: It's fucking sick that Ratatat have been able to not only survive but thrive for so long making music that sounds like the loading screen of a Dreamcast racing game.

Will The Circle Be Unbroken - The Staple Singers: This is maybe my favourite example of 60s stereo recordings making completely bizarre decisions. The drums and bass in this are panned extremely far left and the guitar far right, which has the nice effect of letting you take out your left headphone and listen to a very beautiful stripped back guitar and vocals only version.

Angel From Montgomery - John Prine: I'm seeing John Prine next week and I'm very excited. He's approximately one million years old and seems to only now be getting the recognition he's deserved for decades.

(My Friends Are Gonna Be) Strangers - Merle Haggard: It's interesting thinking about the parts of American culture that don't really get exported to Australia. We got Johnny Cash and Hank Williams to a lesser extent but I hadn't really heard of Merle Haggard before this year which seems insane now that I've realised just how massive he was.

Debbie - Architecture In Helsinki: I have so much love for this vocal performance. Sitting in a weird half falsetto out of breath and just shrieking your way through it, mwah mwah I'm doing a chef's kiss right now.

Yandere - Yamantaka / / Sonic Titan: It's reassuring that the enthusiastic art nerd mindset of bands like The Red Paintings and The Sound Of Animals Fighting will never truly die. There should be more bands where they all have costumes and multi-movement songs songs telling an inscrutable story and a guy in the band whose whole job is just doing the lights.

Sweetness And Light (For Life Remix) - Itch-E & Scratch-E: My lifelong grudge against Paul Mac for enabling The Dissociatives and various other crimes will always be slightly tempered by how much this one song bangs.

Ontheway! - Earl Sweatshirt: I am such a big fan of this album. All the way through it feels like laying on the floor feels and it's addictive because of it. Every time I listen to it I just want to start it over again and lay the fuck down.

Mistake - Middle Kids: This song made me feel like a record producer in a movie or something when I first heard it because I got about one bar into the chorus and was absolutely smitten. It's just incredible.

Pressure To Party - Julia Jacklin: "I know where you live, I used to live there too" is maybe one of the best ever breakup album lines I've ever heard.

Our Shadows - Deantoni Parks: Deantoni Parks has a huge brain. The thing he does, where he sort of plays live mpc as part of a drumkit could be extremely naff and I'm sure there's a million guys on youtube doing it and making bad music, but he ain't one of them.. His take on it is so completely alien that the human element serves to bring it back to earth, all the disconnect that you would get from someone making a song like this on a laptop is metered out by a physical human body feeling every sound out personally and it's amazing.

Head To Toe In Morocco Leather - Muslimgauze: What's the word for being a weaboo except about the middle east and getting totally radicalised about it but never leaving England? Anyway Muslimgauze rocks and every six months or so I reread his wiki article and listen to his music exclusively for a couple of days before whatever that feeling is wears off again. I have a lot of respect for him but also suspect he may have just been a nut, which I respect as well.

In The Nervous Light Of Sunday - Circle Takes The Square: Very excited that Circle Takes The Square is on spotify now!!!

I'm In It - Kanye West: I heard that when they were recording this there was steam coming out of the horny meter that they have in the studio and then the glass broke on the horny meter and the needle started spinning around and around because the horny levels were so high.

Do Me A Favour - Arctic Monkeys: Alex Turner has two songwriting modes: incredibly tangible story songs and songs where he's just playing word association rhyming games and the craziest thing is both types are good. This is absolutely one of his best of the first kind I think.

listen here

#playlists

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rpgmgames · 7 years

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July’s Featured Game: SLARPG

DEVELOPER(S): Bobby "ponett" Schroeder ENGINE: RPGMaker VX Ace GENRE: RPG, Fantasy SUMMARY: SLARPG is a short, turn-based RPG following the story of Melody Amaranth, a kindhearted but meek transgender fox who’s decided to learn healing magic and become a paladin. She’s joined by her adventurous girlfriend Allison, as well as their friends Claire (a sarcastic, rule-bending witch)(she is also trans) and Jodie (a dependable, somewhat motherly knight). Over the course of the story, our inexperienced heroes will meddle with forces beyond their control and find themselves responsible for the fate of their quaint little hometown. They’ll also fight some spherical frogs, travel to a forgotten land in the sky, befriend a robot or two, and anger the local librarian. But that should go without saying.

Introduce yourself! Hi! My name's Bobby "ponett" Schroeder. I have a background mainly in visual art and writing, and I've been working in RPG Maker VX Ace since 2013 after being inspired to try making my own game by Splendidland's masterpiece Megaman Sprite Game. I'd always wanted to go into game development, but this was the first time it felt like it was actually feasible for me to make something fun on my own. By the end of that year I released a much rougher freeware version of SLARPG, originally known as Super Lesbian Horse RPG.

I do most of the work myself, but I have several people helping me with some NPC and enemy design work including my boyfriend Anthony Field (@exclamationpointman on Tumblr) and my friends Thomas Landon (@schloogywoog), Gee (@fattoads), and Thom (@sidewalkwitch). My lead composer is the incredibly talented BEATR!X @neutralnewt) with more music contributed by other friends such as internet pop icon blacksquares (@blacksquares).

What is your project about? What inspired you to create your game initially? *Bobby: Super Lesbian Animal RPG is primarily about a timid transgender fox named Melody. At age 22 she's sort of coasting along on autopilot with no clear idea of what she wants to do with her life. One day, she and her girlfriend Allison get roped into a new adventuring guild founded by their friends Claire and Jodie. Melody sees this as an opportunity to impress Allison and to make herself useful by becoming a paladin and learning healing magic.

At its heart, the game is about the relationships between four girls in their early 20s. They're all trying to define themselves as people, they all have their own personal baggage, and they all have their own motives for seeing this dinky little adventurer's guild as a life-changing opportunity. And now, thanks to the trouble they get themselves into, they also have to figure out how to be heroes. It's also a game where you can have an anthropomorphic rabbit with a mohawk kiss her girlfriend and then swing a sword made of zircon at a magic tumbleweed

As I said, the game was originally released in a much rougher form under the title Super Lesbian Horse RPG. It started out as a cute, goofy little game where Fluttershy and Rainbow Dash from My Little Pony: Friendship is Magic were dating (of course) and went on a bizarre adventure, but it soon turned into a genuine RPG with a more sincere story. It also got much, much more attention than I ever expected. My use of copyrighted characters made the game difficult to distribute, though, and in hindsight I was holding myself back by presenting it as a fangame. So in 2015, I decided to radically overhaul and flesh out the game with a new, expanded cast that I have full creative control over. And now here we are today, with a game that's probably got more new material in it than old, but still hopefully has the same charm if you enjoyed the original.

How long have you been working on your project? *Bobby: Work on the original project lasted the entirety of 2013, with me foolishly releasing the 1.0 version on Christmas 2013 (my 20th birthday—I spent most of the day frantically squashing bugs). I returned to the project in 2015 and have been working on the new version on and off for about two years now.

Did any other games or media influence aspects of your project? *Bobby: The humor is definitely inspired in part by Mother and Paper Mario, although my talkative protagonists might make it closer to something like a point-and-click adventure game. I've also always loved really casual comedy that skews towards normal conversation in stuff like Home Movies or Homestuck. Adventure Time has undoubtedly been a big influence, too, as one of my favorite shows, with its "anything goes" fantasy world and colorful cast of characters—but also because of its focus on grounded, introspective character moments in a surreal, fantastical setting

Gameplay-wise, early Final Fantasy titles are a big influence for sure, and I'm trying to take a page out of Zelda's book when it comes to exploration and level design. But tabletop RPGs like Dungeons and Dragons are also having an impact on the way I design encounters. I think tabletop games are still the gold standard for RPG battles, because they're often less about stats and repetition and doing what the designer wants you to do and more about improvising a fun story. Of course, an RPG Maker game can't compete with having an actual DM there to run an encounter, but I'm trying to give players lots of fun little "hey, what if I tried this?" moments with unexpected consequences.

Have you come across any challenges during development? How have you overcome or worked around them? *Bobby: Honestly, the big thing for me is always time management. As development continues and my skills improve, I often find myself polishing areas and assets I'd already worked on before. If I didn't force myself to work on new stuff too I'd probably spend three years just polishing Greenridge to a mirror shine.

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Bobby: Developing the protagonists further has really broadened my horizons writing-wise. I always wanted the game to have a nice emotional arc on top of all the jokes and surreal dungeons, but over time I've fleshed out Melody, Allison, Claire, and Jodie more and more, making everyone feel less like charicatures and more like real people with relatable motivations. The graphics have also gotten a lot better after several years of pixel art practice, and the level design has gotten less linear.

What was your team like at the beginning? How did people join the team? If you don't have a team, do you wish you had one or do you prefer working alone? *Bobby: It started out as just me. Friends on Tumblr quickly showed interest in contributing designs and music to the game just because they liked the project, and before long a lot of different people were putting their own little mark on the game. Some of my favorite characters in the game have been designed by friends, and I don't know where I'd be without the absolutely phenomenal soundtrack.

What was the best part of developing the game? *Bobby: I love designing characters, and writing in all these little details to make them feel real, and figuring out how they talk to each other, and seeing my audience pick out their favorites. It's a very rewarding process for me. The second best part is getting to listen to the soundtrack and realize "Wow... this is gonna be in a game that I'm making. And it's gonna be SICK."

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *Bobby: Without a doubt, Melody. She differs from myself in a lot of major ways, so I wouldn't call her a self-insert, but she was created to give myself the relatable fat bisexual trans girl protagonist with anxiety that no other piece media was ever going to give me. A lot of her insecurities in the game are even loosely inspired by stuff I've been through in real life.

I also have a ton of fun writing the villains, but they're spoilers.

Looking back now, is there anything that regret/wish you had done differently? *Bobby: I wish I'd been more consistent about my work ethic in the past. I worked EXTREMELY inconsistently on SLARPG throughout 2015, and I probably could've gotten a lot more done back then. But hey, live and learn.

Once you finish your project, do you plan to explore game's universe and characters further in subsequent projects, or leave it as-is? *Bobby: Oh, I'm absolutely hoping to revisit this world! Part of the reason I'm putting so much effort into revamping a game I already released is so that I can work with this new cast and setting again in the future. I'm not planning too far ahead right now, but I do have some vague ideas for more games I'd like to make in this world, possibly through the eyes of characters other than Melody.

What do you look most forward to upon/after release? *Bobby: I'm looking forward to being able to play some longer games in my backlog without feeling guilty about it, haha. I've been dying to play stuff like The Witcher 3, NieR: Automata, and Final Fantasy XV, but I'm always worried it'll just take time away from my work. It's a wonder I managed to finish Breath of the Wild this year.

Is there something you're afraid of concerning the development or the release of your game? *Bobby: This answer is gonna be a bummer, but I'm worried about is the harassment I'll have to deal with for putting out a game about LGBT characters. I've already dealt with this on several occasions, although thankfully it hasn't progressed past slur-filled anonymous messages. This toxic state of the gaming community is why I'm currently planning to release the game exclusively on itch.io, rather than exposing myself to Steam's hostile userbase. But it's a story that I think is worth telling, and for every piece of hate mail I get 20 messages from people telling me how excited they are, which is why I haven't given up.

Question from last month's featured dev: Is there any portion of your development that's gotten you outside your comfort zone? *Bobby: I think it's easy to say that most of it has been outside my comfort zone, actually. Working on SLARPG has really pushed the boundaries of what I previously thought I was capable of as an artist. When I first started I literally made a dungeon that was just a straight line with one 90 degree turn because I had no idea what else to do with the canvas. Now I can make dungeons that are actually slightly fun!

Do you have any advice for upcoming devs? *Bobby: Study the games and stories you love, and find out what really makes them tick. Don't just mimic surface level things, but study the mechanical, structural, and thematic elements that make them so memorable. Oh, and don't put too much effort into a fangame if there's even the slightest chance it'll get taken down, haha. Make something original loosely inspired by the things you love instead.

We mods would like to thank Bobby for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out SLARPG if you haven’t already! See you next month!

- Mods Gold & Platinum

#rpg maker #rpgmaker #rpg #game dev #rpg maker games #game feature #games #gotm #game of the month #interview #dev interview #slarpg #super lesbian animal rpg #pixel games #pixel art

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cmbynreviews · 6 years

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Prepare to fall for Armie Hammer and Timothée Chalamet in "Call Me by Your Name"

In the small canon of queer literature, Call Me by Your Name is tantamount to a religious text. André Aciman’s 2007 novel has become known for many traits – its wistful recollection of first love, its sun-soaked Italian backdrop, a sensuality that crescendoes with furtive embraces and swift yearnings. These hallmarks coalesce in the story’s signature scene: a teenager fornicating with a peach.

The book’s disciples will wonder how this tantalizing moment unfolds in the big-screen adaptation, which premiered Sunday at the ongoing Sundance Film Festival. Let me be one of the first to confirm you will not be disappointed.

In fact, the entire piece feels like heaven, a near-perfect exploration of dual desires and youthful uncertainties. It is the finest movie at Sundance, and I expect it will be one of the year’s finest, as well.

Credit goes to director Luca Guadagnino, the Italian maven responsible for the sensual dreamscapes I Am Love and A Bigger Splash, both starring Tilda Swinton. With Call Me by Your Name, Guadagnino outdoes himself. The maestro found two impeccable leads to carry this delicate story, which he adapted with James Ivory and Walter Fasano. First is Timothée Chalamet (Homeland, Interstellar), who plays Elio, a bookish 17-year-old American summering in Italy with his academic parents. The other is Armie Hammer, portraying Oliver, an alluring 20-something graduate student who spends several weeks under the mentorship of Elio’s esteemed professor father (a thoughtful Michael Stuhlbarg) at the family’s lush villa.

Chalamet and Hammer showcase some of the richest chemistry I’ve ever witnessed in a movie. It escalates as Elio’s sexuality blossoms, at first uncertain and later unavoidably palpable.

This is all the more welcome knowing that Chalamet and Hammer exhibit a rich platonic chemistry off-screen. When I sat down with the actors the afternoon after the film’s rapturous premiere, it was like watching two admirers reminisce about a fateful season during which they, too, came of age.

Because the tale’s roots belong to a book cherished by so many queer readers, Chalamet and Hammer understood the weight of starring in Call Me by Your Name. That’s part of what bonded them during last summer’s shoot. From rehearsals in Guadagnino’s living room to the intimate demands of depicting sexual awakenings (Oliver may otherwise be straight, and Elio has been running around with a French girl played by Esther Garrel), Hammer and Chalamet fashioned their own sort of quixotic courtship. When the time came to capture their characters’ peachy foreplay, the actors’ off-screen affection doubled as the closest two heterosexual men could come to understanding the throes of burgeoning gay romance.

“We were there early enough in time to get a feel for the town, for each other and for Luca”, Hammer said after I praised the pair’s effortless magnetism. “We rehearsed all the time. I mean, I couldn’t appreciate the compliment about the chemistry more because, like, I fell in love with Timmy in the process of making the movie. He’s fucking terrific and he’s also an incredible actor, so I had all of that. It was just this great experience where I think we all, in the process of making this movie, got that experience of that one summer where we were there and everything was perfect”.

By that point, several minutes into the interview, it was as if two old flames were evoking a fond engagement, enjoyed once and then left to the recesses of their memories. They turned to each other on the couch where they were seated – Hammer’s right arm in a sling due to a torn pectoral muscle – and swooned over flashbacks.

“Like, do you remember that restaurant where we used to get the chocolate croissants and the espressos in the morning?” Hammer asked Chalamet, who simpered in response. “Do you remember that little place on the piazza where they had the pizza and the other stuff?”

“Ahhhh, yeah”, Chalamet gushed.

“You remember everything”, Hammer said. It’s a play on a line from the novel’s end, when Elio and Oliver recount their brief affair.

“Speranza!” Chalamet recalled, referring to an eatery.

“Yeah, Speranza”, Hammer said. “Where they had the fish. I mean, Timmy’s got some great memories, too. It was an experience that was so surreal and such a treat that honestly if nobody saw the movie, if nobody liked it, if it didn’t go anywhere, I’d still carry it with me as such a point of pride”.

And that’s where the story of Call Me by Your Name further brightens. This movie will go quite far. Reviews have already declared it a masterpiece, making special note of Sayombhu Mukdeeprom’s sumptuous cinematography and the melancholic Sufjan Stevens songs featured throughout. Sony Pictures Classics purchased the film for a reported $6 million ahead of Sundance, possibly eyeing a fitting late-summer release. Hammer and Chalamet will get ample opportunities to speak of their time together, even if there’s nothing like the rush of a charmed festival bow.

Peach action aside, one moment in the movie’s back half particularly struck me. Once they’ve finally embraced their attractions, Elio and Oliver spend all of their limited time together. One night, they sit on the balcony outside their conjoined bedrooms, cursing themselves for waiting so long to probe their desires. Oliver will return to America in a few days. They face each other, leaning against stone posts, their legs touching. Laughter ripples through Oliver and Elio’s flirtations. They lean in as they commune, grazing each other’s skin. It’s more romantic than any of the movie’s sex – which is, for the most part, fairly tame – and more poetic than any of its swank European liberation. It is a man and a boy whose mutual fondness has at last blossomed, who have unearthed new parts of themselves, who are relishing unbridled bliss. It’s something we all want for ourselves. It’s sublime. Most importantly, it’s faithful to the tone of Aciman’s bible.

“It’s so funny when you talk to people about the book because either they haven’t read it or they’re absolutely insane about it”, Chalamet said. “And it’s funny, the putting-it-together process happened so quickly and it was in Italy, so I wasn’t in the States. The conversations with people that had read the book were always in a post-production setting so that I could go, ‘Wow, that person really loves Call Me by Your Name. Good thing I already shot it, or I’d be 10 times more terrified for them to see it’. And then again, in Luca’s hands, it was just really safe. We were very confident he was going to do the story justice”.

MATTHEW JACOBS | THE HUFFINGTON POST | 25 Jan 2017

#Call Me by Your Name #Guadagnino #timothee chalamet #armie hammer #andre aciman #james ivory #reviews #CMBYN #Elio #Oliver #Perlman #Chiamami col tuo nome

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booksbakingandblogging · 4 years

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It’s time to step up and do the work to eradicate racism. That’s an abrupt start to a blog post, but it’s also the truth and one that we shouldn’t ignore any longer. Over the past week, protests have erupted all over the world in response to the murder of George Floyd, and it doesn’t look like they’re stopping any time soon – and with good reason. Black people have been faced with racism every day for centuries and they are tired of it. Of course they are. It’s a gross injustice and it’s taking human lives. This isn’t a political issue – it’s a human rights issue, and we need to stop looking away and face it. We live in a world with systemic racism, where Black people (and people of colour in general) face microaggressions every single day. Racism is a system created by white people, so it will need to be dismantled by white people as well. Let’s stand up, and get to work (follow this link to find out how you can help).

That was my little speech. Now, let’s get down to specifics of this post: we need to educate ourselves. A lot of people (myself included) have been too ignorant about racism for a long time, and in order to be able to help, we need to learn. Part of that is reading books by Black authors, both fiction and non-fiction. Fiction can teach us empathy and it can create understanding, which is extremely important. On the other hand, non-fiction faces us with our history and everything that’s going on in the world in concrete terms. Let’s educate ourselves and read books by Black authors. Not just the ones that tell us about pain and trauma, but also the ones about joy and happiness. We need to learn, and this is a good way to do it. Plus, by reading more Black authors, we’re giving off a sign to the publishing industry that books by Black authors are wanted and cherished.

10 books by Black authors to read right now

While putting together this list, I realised that I can do much better myself as well: I need to read more books by Black authors too. Luckily, there are tons of other people out there making lists of books by Black authors, so I’ve found many books to add to my TBR already. I recommend checking out these two lists by Chapters of May and Electric Lit, too. If you’re looking for more non-fiction resources, including articles, films and podcasts, you can check out this list!

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1. The Hate U Give – Angie Thomas (2017)

Let’s start with the most obvious one first given the current situation. If you’re a fan of YA and haven’t read this yet: what are you doing? This novel tells the story of Starr, a Black girl who sees her best friend be murdered by the police right in front of her eyes. It deals with the aftermath of this traumatic and terrible event, as Starr struggles with what happened while having to see her friend be talked about all over the media. At the same time, it’s also a story about Starr as a teenage girl, and her loving family. This book was inspired by the Black Lives Matter movement and it’s extremely important. I’m happy to say that it’s a bestseller and has sold millions of copies.

2. Such a Fun Age – Kiley Reid (2019)

In Such a Fun Age, our 25-year-old Black protagonist Emira works as a babysitter for a white family, caring for three-year-old Briar. The story kicks off when Emira is apprehended by a security guard in a grocery store because he thinks she has kidnapped Briar. The book deals with racism and white privilege and it’s a very eye-opening read. I learned a lot from it in terms of unintentional racism (remember: impact is more important than intent). Plus, the writing is phenomenal. I can’t wait to read more by this debut author.

3. A Different Drummer – William Melvin Kelley (1962)

I read this book last month, and it’s the best book I’ve read in a long time (read my full review here). It is a literary masterpiece: stylistically brilliant and a story that takes on epic proportions. On a random day in 1957, in a fictional state in the deep south of the USA, the entire Black population decides to leave. They pack their things and leave the state, fed up with its racist history and the way they are being treated by the white population. The story is told through the perspective of this white population that is left behind and it is so incredibly powerful. William Melvin Kelley was described as ‘the lost giant of American literature’. Why was he forgotten? Let’s just say it: it was most likely because of racism. Go read this book!

4. Let’s Talk About Love – Claire Kann (2018)

June is also pride month, so I want to add at least one LGBTQIA+ book to this list. Alice is a Black, biromantic, asexual girl in college and she is done with dating after her girlfriend breaks up with her for being asexual. But then Takumi becomes her new co-worker at the library she works at, and she can’t stop thinking about him. This novel explores asexuality in such a wonderful way and I thoroughly enjoyed it and learned a lot from it. I’d highly recommend picking it up!

5. There Are More Beautiful Things Than Beyoncé – Morgan Parker (2017)

Let’s throw some poetry in the mix! In this collection, Morgan Parker explores what it’s like to be a Black American woman in the 21st century. She uses pop-culture and political references as her framework and doesn’t shy away from important and difficult topics such a depression, isolation, and exoticism. Thought-provoking and confronting, this is an essential collection for anyone who is into modern poetry.

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6. Dear Martin – Nic Stone (2017)

In Dear Martin, main character Justyce tries to do everything ‘right’: get good grades, dress appropriately, and be an all-around upstanding citizen. Nevertheless, when he tries to help out his drunk ex-girlfriend, he is arrested by a (racist) white cop, and he realises he cannot escape racial profiling from the institution that is meant to protect him. He feels a lot of frustration and anger at this realisation and decides to try and apply the teachings of Martin Luther King Jr. He begins to write letters to MLK as he tries to find his place in the world, dealing with white privileged, racist assholes (let’s just say it as it is) and police brutality. Another book that taught me so, so much.

7. Why I’m No Longer Talking To White People About Race – Reni Eddo-Lodge (2017)

This is the only book on this list that I haven’t read in its entirety – but I’m in the middle of it and I am learning an awful lot about racism and white privilege in Britain. For those of you who think that racism is only a big problem in the USA: think again, and read this. Reni Eddo-Lodge didn’t plan on writing this book; she wrote a blog post with the same title, explaining that whenever she talked to white people about racism, she encountered skeptical stares and people unwilling to learn. Wanting to protect herself from that in the future, she vowed to stop talking about racism to white people. The response to the blog post was so enormous, however, that she ended up writing this book. It’s been on my radar for a few years now, but I’m ashamed to admit that it apparently took an uprising for me to get up off my lazy ass and actually read this, and educate myself. I urge you to do the same!

8. Children of Blood and Bone – Tomi Adeyemi (2018)

More of a fantasy reader? No problem, I’ve got a recommendation for that as well, even though fantasy is a notoriously white genre. Children of Blood and Bone is a YA fantasy novel based on West African mythology. It tells the story of a land in which magic has disappeared. When that happened, the king ordered all maji to be murdered. The children of these maji remain alive, though, but they become outcasts. They have darker skin than the rest of the population and are judged and discriminated against because of it (sound familiar?). The novel tells the story of Zélie, who finds herself with a chance to bring magic back, but has to race against the clock to do so. This is a YA fantasy story that has an all-black cast of character and explores and condemns racism: such an important addition to the genre.

9. With the Fire on High – Elizabeth Acevedo (2019)

This book tells the story of Emoni, who lives with her grandmother and is still in high school – but also has a young daughter to take care of. Emoni loves to cook, and the novel is filled with delicious descriptions of food and some of the recipes Emoni creates from scratch, which I always love in a book. It also deals with all the prejudice Emoni encounters as a Black teenage mother, however, and how it differs from how her daughter’s white teenage father is treated. Sexism and racism are both explored, but this novel is also a wonderful coming of age story as Emoni tries to figure out what she wants to do with her life.

10. The Sun Is Also a Star – Nicola Yoon (2016)

Spanning one single day in New York, this YA novel deals with racism and immigration, but it’s also a story of two people falling in love. Natasha has one day before her family will be deported to Jamaica, and she is desperate to find a way to stay in the USA. In the meantime, Korean-American Daniel is on his way to his college admission interview. They meet by chance and they spend one day together, Daniel wanting to fall in love and Natasha feeling the absolute opposite. I learned a lot about both of these two characters’ cultures and about what it is like to be an immigrant in the USA. As far as learning about other perspectives goes, this is a very good book to pick up.

With everything that's going on in the world, I wanted to do my part to raise some awareness and hopefully help educate some people. Here are 10 great books by Black authors to pick up and read today! It's time to step up and do the work to eradicate racism. That's an abrupt start to a blog post, but it's also the truth and one that we shouldn't ignore any longer.

#Black Lives Matter #Books #List #Novels #Reading #Recommendations

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newstfionline · 6 years

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France’s epic Bayeux Tapestry is headed to Britain, in a loan for the ages

By William Booth and James McAuley, Washington Post, January 18, 2018

LONDON--It is probably the most famous piece of medieval embroidery in the world, a ribbon of scrolling tapestry 70 yards long that tells in pictures the story of the Norman Conquest of England in 1066, an epic tale of gore, glory and God.

There is nothing quite like the Bayeux Tapestry, a near-cinematic work of narrative genius. President Emmanuel Macron’s announcement Thursday evening that his government will allow the priceless treasure to leave France for the first time in almost 1,000 years to be exhibited in Britain is a sensational stroke of cultural diplomacy.

The statement came at the close of bilateral talks with British Prime Minister Theresa May at the Royal Military Academy at Sandhrst. Thanking Macron, May said, “I am honored at the loan of such a precious piece of our shared history which yet again underscores the closeness of our relationship.”

She said the work would come to Britain in 2022.

For the British, the Bayeux Tapestry holds a powerful allure, since the Norman Conquest represented not just a tragedy and a defeat but a pivot point that essentially transformed Anglo-Saxon society into the Great Britain of today (and gave us the language of Shakespeare).

The 20-inch-wide, intricately stitched work is a history and morality play--unfolding chronologically from left to right, with a couple of flashbacks--about how the heroic but flawed Harold, Earl of Wessex, briefly took the throne after the death of the heirless Edward the Confessor, only to be defeated a month into his reign by the righteous William, Duke of Normandy, at the climactic Battle of Hastings.

As William Faulkner wrote: “‘The past is never dead. It’s not even past.” A descendant of William the Conqueror sits on the British throne today, 91-year-old Queen Elizabeth II.

The last formal request by Britain to have the tapestry on loan came ahead of Elizabeth’s coronation in 1953. The Bayeux Museum declined. Another entreaty in 1966 for a loan to mark the 900th anniversary of the Battle of Hastings was also rebuffed.

The fragile tapestry is currently on display in its own specially designed conservatory at the Bayeux Museum, which is in northern France not far from the Normandy beaches of the D-Day invasion. British visitors make up the largest contingent of pilgrims wanting to see it.

In a statement, the Bayeux Museum appeared a little reluctant to let the tapestry go, stressing that the needlework masterpiece may need to be stabilized before it is moved, would probably not be ready to travel until 2023 and should then be allowed to stay in England for no more than a year.

Either way, fans of the Bayeux embroidery were giddy at the prospect of its appearance in Britain, with various museums and their political patrons already competing to host the show.

“This is a work that can only be spoken of in superlatives,” said Andrew Bridgeford, a lawyer, a historian and author of “1066: The Hidden History of the Bayeux Tapestry.”

Bridgeford noted the work’s enormous scale, the richness and detail of the story it tells--”these simple drawings in yarn that seem very naive but are not”--and the lingering mysteries surrounding its creation. “There’s really nothing like it,” he said.

Not everyone in Britain was as thrilled about the second coming of the tapestry--not least because it chronicles a crushing defeat.

John Redwood, a Conservative Party lawmaker and a hard-line advocate of Britain’s exit from the European Union, blasted out a volley of tweets.

“While I’m sure the offer is well meant, I will pass over the unfortunate truth that it depicts an invading French army killing England’s King & many in his army before taking over,” he wrote.

He then alluded to Brexit, warning the French leader that the Battle of Hastings “was the last time England was defeated in war by a hostile continental invasion, though many more attempts were made at enforced political union with the continent.”

Philippe Plagnieux, a professor and specialist in medieval art history at the Sorbonne in Paris, said: “Without doubt, it has tremendous political significance, but I think for many it’s a fascinating object, a grand succession. The details alone--the elements of daily life, the concrete things it shows--that’s incredibly rare for the period, and it’s absolutely unique.”

Not only is the tapestry extraordinary, so is its mere survival: The wool yarn embroidered on linen has bested both moths and Nazis.

During the French Revolution, the panels were to be confiscated to cover military wagons, but they were rescued by a local lawyer.

Napoleon took the tapestry to Paris and paraded before it as he contemplated an invasion of England.

Because of its depiction of the Norman Conquest--by the descendants of Norsemen or Vikings--the Nazis coveted the tapestry as Aryan propaganda.

Before the Allied invasion of France in World War II, the Germans moved the tapestry to occupied Paris to safeguard it along with their other loot in the Louvre. The SS chief, Heinrich Himmler, wanted the Bayeux masterwork to decorate his medieval castle in Germany.

Just hours before the Allies swept into Paris, British code-breakers intercepted a signal from Himmler to his troops ordering them to snatch the tapestry--but they were repelled by French resistance fighters who took up positions at the Louvre.

The panels read as a kind of medieval page turner, a cartoon of treachery, revenge, honor, guts and glory. There are scenes of feasts (chickens on spits) and an ominous apparition (Halley’s comet). There are depictions of shipbuilding, dangerous voyages, falconry and funerals, quicksands, looting and pillaging, and sexual scandal (complete with an image of a naked man).

The battle that raged at Hastings is the centerpiece. It shows a field littered with headless torsos and strewn corpses, where a king falls not with an aristocratic sigh but an arrow through the eye.

The flat-bottomed vessels are built of overlapping planks. They resemble the Viking ships they were modeled upon.

The men--nobles, cavalry and foot soldiers--are dressed in knee-length tunics. The English are hairier than the Normans. Normans and Anglo-Saxons sport haircuts that resemble today’s mullet, long on top, short on the sides.

There are 626 human figures, 190 horses and 35 dogs, alongside 506 short inscriptions in Latin. Three women are shown. In one scene, they are fleeing a burning building.

Who sponsored the work? The consensus view, said Richard Gameson, professor of early medieval art and manuscripts at Durham University, is that the tapestry was most likely created not in France but in England, just a few years after the 1066 Battle of Hastings.

Most scholars suspect that William the Conqueror’s half brother, Bishop Odo of Bayeux, commissioned the piece, although no one knows and there are other intriguing possibilities. Indeed, William’s Norman lords, and the Anglo-Saxons who backed him, became landed millionaires, even billionaires, by today’s standards.

Alas, the designer’s identity is also lost to history. Although Gameson said it could have been a monk, as some argue, he suspects it was someone more worldly, who had traveled widely and was familiar with the look of contemporary ships, weapons, horse tack, architecture and court life.

Who stitched the nine panels? Many hands. But it is unknown whether the embroiderers were men or women or both. At the time, Gameson said, embroidery was “a high-status occupation” pursued by experts of both sexes.

One of the notable elements of the narrative of the Bayeux Tapestry is how evenhanded it is. It was clearly created by the victors to represent the Norman side of things. But it also portrays the vanquished Harold as a noble and brave king.

“The tapestry shows Harold as a worthy foe and the English as ferocious fighters,” Gameson said. “And so the victory is hard-won. It is earned.”

But the tapestry suggests, too, that William won by divine right. Harold was the usurper to the throne, it appears to argue, and William the rightful heir.

There is a literal hand of God shown here, a cross emblazoned on a Norman ship there. “The signs are subtle to us,” Gameson said. But to its audience in the 11th century, the message would have been clear: The right guy won.

#Bayeux Tapestry #Norman conquest #England #william the conqueror

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grigori77 · 4 years

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2019 in Movies - My Top 30 Fave Movies (Part 2)

20. FROZEN 2 – so, another year, then, and once again Disney doesn’t QUITE manage to net the animated feature top spot on my list, but it’s not for lack of trying – this long-awaited sequel to the studio’s runaway hit musical fantasy adventure is just what we’ve come to love from the House of Mouse, but more importantly it’s a most worthy sequel, easily on a par with the much beloved origin. Not much of a surprise given the welcome return of all the key people, from directors Chris Buck and Jennifer Lee (who also once again wrote the screenplay) to composer Christophe Beck and songwriters Kristen Anderson-Lopez and Robert Lopez, as well as all the key players in the cast. It’s business as usual in the kingdom of Arendelle, where all is seemingly peaceful and tranquil, but Queen Elsa (Idina Menzel) is restless, haunted by a distant voice that only she can hear, calling to her from a mysterious past she just can’t place … and then she accidentally awakens the four elemental spirits, sending her homeland into mystical turmoil, prompting her to embark on a desperate search for answers with her sister Princess Anna (Kristen Bell), ice harvester Kristoff (Jonathan Groff), his faithful reindeer companion Sven, and, of course, living snowman Olaf (Josh Gad). Their quest leads them into the Enchanted Forest of Northuldra, a neighbouring kingdom, ruled by simple, elemental magic, that has remained cut off from Arendelle for decades, where they discover dark, hidden truths about their own family’s past and must make peace with the spirits if they’re to save their home and their people. So, typical Disney family fantasy fare, then, right? Well, Frozen 2 certainly dots all the Is and crosses all the Ts, but, like the original, this is no jaded blockbuster money spinner, packed with the same kind of resonant power, skilful inventiveness and pure, show-stopping WOW-factor as its predecessor, but more importantly this is a sequel that effectively carves out a fresh identity for itself, brilliantly taking the world and characters in interesting new directions to create something fresh, rewarding and worthwhile on its own merit. The returning cast are all as strong as ever, Menzel and Bell in particular ably powering the story, while it’s nice to see both Groff and Gad getting something new to do with their own characters too, even nabbing their own major musical numbers; there’s also a welcome slew of fresh new faces to this world, particular Sterling K. Brown (This is Us, Black Panther, The Predator) as lost Anrendelle soldier Mattias and former Brat Pack star Martha Plimpton as Yelena, leader of the lost tribe of Northuldra. Once again this is Disney escapism at its very best, a heart-warming, soul-nourishing powerhouse of winning humour, emotional power and child-like wonder, but like the first film the biggest selling point is, of course, that KILLER soundtrack, with every song here a total hit, not one dud among them, and there are even ear-worms here to put Let It Go to shame – Into the Unknown was touted as the major hit, and it is impressive, but I was particularly affected by Groff’s unashamedly full-bore rendition of Lost in the Woods, a bona fide classic rock power ballad crafted in the fashion of REO Speedwagon, while the undeniable highlight for me is the unstoppable Show Yourself, with Menzel once again proving that her incredible voice is a natural force all in itself. Altogether, then, this is an absolute feast for the eyes, the ears AND the soul, every inch the winner that its predecessor was and also EASILY one of Disney’s premier animated features for the decade. So it’s quite the runner-up, then …

19. ONCE UPON A TIME IN HOLLYWOOD – since his explosion onto the scene twenty-seven years ago with his runaway smash debut Reservoir Dogs, Quentin Tarantino has become one of the most important filmmakers of his generation, a true master of the cinematic art form who consistently delivers moving picture masterpieces that thrill, entertain, challenge and amuse audiences worldwide … at least those who can stomach his love of unswerving violence, naughty talk and morally bankrupt antiheroes and despicably brutal villains who are often little more than a shade different from one another. Time has moved on, though, and while he’s undoubtedly been one of the biggest influences on the way cinema has changed over the past quarter century, there are times now that it’s starting to feel like the scene is moving on in favour of younger, fresher blood with their own ideas. I think Tarantino can sense this himself, because he recently made a powerful statement – after he’s made his tenth film, he plans to retire. Given that OUATIH is his NINTH film, that deadline is already looming, and we unashamed FANS of his films are understandably aghast over this turn of events. Thankfully he remains as uncompromisingly awesome a writer-director as ever, delivering another gold standard five-star flick which is also most definitely his most PERSONAL work to date, quite simply down to the fact that it’s a film ABOUT film. Sure, it has a plot (of sorts, anyway), revolving around the slow decline of the career of former TV star Rick Dalton (Leonardo Dicaprio), who languishes in increasing anonymity in Hollywood circa 1969 as his former western hero image is being slowly eroded by an increasingly hacky workload guest-starring on various syndicated shows as a succession of punching-bag heavies for the hero to wale on, while his only real friend is his one-time stunt double, Cliff Booth (Brad Pitt), a former WW2 hero with a decidedly tarnished reputation of his own; meanwhile new neighbours have moved in next door to further distract him – hot-as-shit young director Roman Polanski (Rafal Zawierucha), riding high on the success of Rosemary’s Baby, and his new wife Sharon Tate (Margot Robbie). Certainly this all drives the film, along with real-life events involving one of the darkest crimes in modern American history, but a lot of the time the plot is largely coincidental – Quentin uses it as a springboard to wax lyrical about his very favourite subject and pay loving (if sometimes irreverently satirical) tribute to the very business he’s been indulging in with such great success since 1992. Sure, it’s also about “Helter Skelter” and the long shadow cast by Charles Manson and his band of murderous misfits, but this is largely incidental, as we’re treated to long, entertaining interludes as we follow Rick on a shoot as the bad guy in the pilot for the Lancer TV series, visit the notorious Spahn Ranch with Cliff as he’s unwittingly drawn into the lion’s den of the deadly Manson Family, join Robbie’s Tate as she watches “herself” in The Wrecking Crew, and enjoy a brilliant montage in which we follow Rick’s adventures in Spaghetti westerns (and Eurospy cinema) after he’s offered a chance to change his flagging fortunes, before the film finally builds to a seemingly inevitable, fateful conclusion that Tarantino then, in sneakily OTT Inglourious Basterds style, mischievously turns on its head with a devilish game of “What If”. The results are a thoroughly engrossing and endlessly entertaining romp through the seedier side of Hollywood and a brilliant warts-and-all examination of the craft’s inner workings that, interestingly, reveals as much about the Business today as it does about how it was way back in the Golden Age the film portrays, all while delivering bucket-loads of QT’s trademark cool, swagger, idiosyncratic genius and to-die-for dialogue and character-work, and, of course, a typically exceptional all-star cast firing on all cylinders. Dicaprio and Pitt are both spectacular (Brad is endearingly taciturn, playing it wonderfully close to the vest throughout, while Leo is simply ON FIRE, delivering a mercurial performance EASILY on a par with his work on Shutter Island and The Wolf of Wall Street – could this be good enough to snag him a second Oscar?), while Robbie consistently endears us to Tate as she EFFORTLESSLY brings the fallen star back to life, and there’s an incredible string of amazing supporting turns from established talent and up-and-comers alike, from Kurt Russell, Al Pacino and a very spiky Bruce Dern to Mike Moh (in a FLAWLESS take on Bruce Lee), Margaret Qualley, Austin Butler and in particular Julia Butters as precocious child star Trudi Fraser. Packed with winning references, homages, pastiches and ingenious little in-jokes, handled with UTMOST respect for the true life subjects at all times and shot all the way through with his characteristic flair and quirky, deliciously dark sense of humour, this is cinema very much of the Old School, and EVERY INCH a Tarantino flick. With only one more film to go the implied end of his career seems much too close, but if he delivers one more like this he’ll leave behind a legacy that ANY filmmaker would be proud of.

18. CRAWL – summer 2019’s runner-up horror offering marks a rousing return to form for a genre talent who’s FINALLY delivered on the impressive promise of his early work – Alexandre Aja made a startling debut with Switchblade Romance, which led to his big break helming the cracking remake of slasher stalwart The Hills Have Eyes, but then he went SPECTACULARLY off the rails when he made the truly abysmal Piranha 3D, which I wholeheartedly regard as one of THE VERY WORST FILMS EVER MADE IN ALL OF HUMAN HISTORY. He took a big step back in the right direction with the admittedly flawed but ultimately enjoyable and evocative Horns (based on the novel by Stephen King’s son Joe Hill), but it’s with this stripped back, super-tight man-against-nature survival horror that the Aja of old has TRULY returned to us. IN SPADES. Seriously, I personally think this is his best film to date – there’s no fat on it at all, going from a simple set-up STRAIGHT into a precision-crafted exercise in sustained tension that relentlessly grips right up to the end credits. The film is largely just a two-hander – Maze Runner star Kaya Scodelario plays Haley Keller, a Florida college student and star swimmer who ventures into the heart of a Category 5 hurricane to make sure her estranged father, Dave (Saving Private Ryan’s Barry Pepper), is okay after he drops off the grid. Finding their old family home in a state of disrepair and slowly flooding, she does a last minute check of the crawl-space underneath, only to discover her father badly wounded and a couple of hungry alligators stalking the dark, cramped, claustrophobic confines. With the flood waters rising and communications cut off, Haley and Dave must use every reserve of strength, ingenuity and survival instinct to keep each other alive in the face of increasingly daunting odds … even with a premise this simple, there was plenty of potential for this to become an overblown, clunky mess in the wrong hands (a la Snakes On a Plane), so it’s a genuinely great thing that Aja really is back at the height of his powers, milking every fraught and suspenseful set-piece to its last drop of exquisite piano-wire tension and putting his actors through hell without a reprieve in sight. Thankfully it’s not JUST about scares and atmosphere – there’s a genuinely strong family drama at the heart of the story that helps us invest in these two, Scodelario delivering a phenomenally complex performance as she peels back Haley’s layers, from stubborn pedant, through vulnerable child of divorce, to ironclad born survivor, while reconnecting with her emotionally raw, repentantly open father, played with genuine naked intensity in a career best turn from Pepper. Their chemistry is INCREDIBLY strong, making every scene a joy even as it works your nerves and tugs on your heartstrings, and as a result you DESPERATELY want to see them make it out in one piece. Not that Aja makes it easy for them – the gators are an impressively palpable threat, proper scary beasties even if they are largely (admittedly impressively executed) digital effects, while the storm is almost a third character in itself, becoming as much of an elemental nemesis as its scaly co-stars. Blessedly brief (just 87 minutes!) and with every second wrung out for maximum impact, this is survival horror at its most brutally, simplistically effective, a deliciously vicious, primal chill-ride that thoroughly rewards from start to finish. Welcome back, Mr Aja. We’ve missed you.

17. SHAZAM! – there were actually THREE movies featuring Captain Marvel out in 2019, but this offering from the hit-and-miss DCEU cinematic franchise is a very different beast from his MCU-based namesake, and besides, THIS Cap long ago ditched said monicker for the far more catchy (albeit rather more oddball) title that graces Warner Bros’ last step back on the right track for their superhero Universe following the equally enjoyable Aquaman and franchise high-point Wonder Woman. Although he’s never actually referred to in the film by this name, Shazam (Chuck’s Eugene Levy) is the magically-powered alternate persona bestowed upon wayward fifteen year-old foster kid Billy Batson (Andi Mack’s Asher Angel) by an ancient wizard (Djimon Hounsou) seeking one pure soul to battle Dr. Thaddeus Sivana (Mark Strong), a morally corrupt physicist who turns into a monstrous supervillain after becoming the vessel for the spiritual essences of the Seven Deadly Sins (yup, that thoroughly batshit setup is just the tip of the iceberg of bonkersness on offer in this movie). Yes, this IS set in the DC Extended Universe, Shazam sharing his world with Superman, Batman, the Flash et al, and there are numerous references (both overt and sly) to this fact throughout (especially in the cheeky animated closing title sequence), but it’s never laboured, and the film largely exists in its own comfortably enclosed narrative bubble, allowing us to focus on Billy, his alter ego and in particular his clunky (but oh so much fun) bonding experiences with his new foster family, headed by former foster kid couple Victor and Rosa Vazquez (The Walking Dead’s Cooper Andrews and Marta Milans) – the most enjoyably portions of the film, however, are when Billy explores the mechanics and limits of his newfound superpowers with his new foster brother Freddy Freeman (It Chapter 1’s Jack Dylan Glazer), a consistently hilarious riot of bad behaviour, wanton (often accidental) destruction and perfectly-observed character development, the blissful culmination of a gleefully anarchic sense of humour that, until recently, has been rather lacking in the DCEU but which is writ large in bright, wacky primary colours right through this film. Sure, there are darker moments, particularly when Sivana sets loose his fantastic icky brood of semi-corporeal monsters, and these scenes are handled with seasoned skill by director David F. Sandberg, who cut his teeth on ingenious little horror gem Lights Out (following up with Annabelle: Creation, but we don’t have to dwell on that), but for the most part the film is played for laughs, thrills and pure, unadulterated FUN, almost never taking itself too seriously, essentially intended to do for the DCEU what Guardians of the Galaxy and Ant-Man did for the MCU, and a huge part of its resounding success must of course be attributed to the universally willing cast. Eugene Levy’s so ridiculously pumped-up he almost looks like a special effect all on his own, but he’s lost none of his razor-sharp comic ability, perfectly encapsulating a teenage boy in a grown man’s body, while his chemistry with genuine little comedic dynamo Glazer is simply exquisite, a flawless balance shared with Angel, who similarly excels at the humour but also delivers quality goods in some far more serious moments too, while the rest of Billy’s newfound family are all brilliant, particularly ridiculously adorable newcomer Faithe Herman as precocious little motor-mouth Darla; Djimon Hounsou, meanwhile, adds significant class and gravitas to what could have been a cartoonish Gandalf spoof, and Mark Strong, as usual, gives great bad guy as Sivana, providing just the right amount of malevolent swagger and self-important smirk to proceedings without ever losing sight of the deeper darkness within. All round, this is EXACTLY the kind of expertly crafted superhero package we’ve come to appreciate in the genre, another definite shot in the arm for the DCEU that holds great hope for the future of the franchise, and some of the biggest fun I had at the cinema this past year. Granted, it’s still not a patch on the MCU, but the quality gap finally seems to be closing …

16. ALITA: BATTLE ANGEL – y’know, there was a time when James Cameron was quite a prolific director, who could be counted upon to provide THE big event pic of the blockbuster season. These days, we’re lucky to hear from him once a decade, and now we don’t even seem to be getting that – the dream project Cameron’s been trying to make since the end of the 90s, a big live action adaptation of one of my favourite mangas of all time, Gunnm (or Battle Angel Alita to use its more well-known sobriquet) by Yukito Kishiro, has FINALLY arrived, but it isn’t the big man behind the camera here since he’s still messing around with his intended FIVE MOVIE Avatar arc. That said, he made a damn good choice of proxy to bring his vision to fruition – Robert Rodriguez is, of course, a fellow master of action cinema, albeit one with a much more quirky style, and this adap is child’s play to him, the creator of the El Mariachi trilogy and co-director of Frank Miller’s Sin City effortlessly capturing the dark, edgy life-and-death danger and brutal wonder of Kishiro’s world in moving pictures. 300 years after the Earth was decimated in a massive war with URM (the United Republics of Mars) known as “the Fall”, only one bastion of civilization remains – Iron City, a sprawling, makeshift community of scavengers that lies in the shadow of the floating city of Zalem, home of Earth’s remaining aristocracy. Dr. Dyson Ido (Christoph Waltz) runs a clinic in Iron City customising and repairing the bodies of its cyborg citizens, from the mercenary “hunter killers” to the fast-living players of Motorball (a kind of supercharged mixture of Rollerball and Death Race), one day discovering the wrecked remains of a female ‘borg in the junkyard of scrap accumulated beneath Zalem. Finding her human brain is still alive, he gives her a new chassis and christens her Alita, raising her as best he can as she attempts to piece together her mysterious, missing past, only for them both to discover that the truth of her origins has the potential to tear their fragile little world apart forever. The Maze Runner trilogy’s Rosa Salazar is the heart and soul of the film as Alita (originally Gally in the comics), perfectly bringing her (literal) wide-eyed innocence and irrepressible spirit to life, as well as proving every inch the diminutive badass fans have been expecting – while her overly anime-styled look might have seemed a potentially jarring distraction in the trailers, Salazar’s mocap performance is SO strong you’ve forgotten all about it within the first five minutes, convinced she’s a real, flesh-and-metal character – and she’s well supported by an exceptional ensemble cast both new and well-established. Waltz is the most kind and sympathetic he’s been since Django Unchained, instilling Ido with a worldly warmth and gentility that makes him a perfect mentor/father-figure, while Spooksville star Keean Johnson makes a VERY impressive big screen breakthrough as Hugo, the streetwise young dreamer with a dark secret that Alita falls for in a big way, Jennifer Connelly is icily classy as Ido’s ex-wife Chiren, Mahershala Ali is enjoyably suave and mysterious as the film’s nominal villain, Vector, an influential but seriously shady local entrepreneur with a major hidden agenda, and a selection of actors shine through the CGI in various strong mocap performances, such as Deadpool’s Ed Skrein, Derek Mears, From Dusk Til Dawn’s Eiza Gonzalez and a thoroughly unrecognisable but typically awesome Jackie Earle Haley. As you’d expect from Rodriguez, the film delivers BIG TIME on the action front, unleashing a series of spectacular set-pieces that peak with Alita’s pulse-pounding Motorball debut, but there’s a pleasingly robust story under all the thrills and wow-factor, riffing on BIG THEMES and providing plenty of emotional power, especially in the heartbreaking character-driven climax – Cameron, meanwhile, has clearly maintained strict control over the project throughout, his eye and voice writ large across every scene as we’re thrust headfirst into a fully-immersive post-apocalyptic, rusty cyberpunk world as thoroughly fleshed-out as Avatar’s Pandora, but most importantly he’s still done exactly what he set out to do, paying the utmost respect to a cracking character as he brings her to vital, vivid life on the big screen. Don’t believe the detractors – this is a MAGNIFICENT piece of work that deserves all the recognition it can muster, perfectly set up for a sequel that I fear we may never get to see. Oh well, at least it’s renewed my flagging hopes for a return to Pandora …

15. AD ASTRA – last century, making a space exploration movie after 2001: A Space Odyssey was a pretty tall order. THIS century, looks like it’s trying to follow Chris Nolan’s Interstellar – love it or hate it, you can’t deny that particular epic space opera for the IMAX crowd is a REALLY tough act to follow. At first glance, then, writer-director James Gray (The Yards, We Own the Night) is an interesting choice to try, at least until you consider his last feature – he may be best known for understated, gritty little crime thrillers, but I was most impressed by 2016’s ambitious period biopic The Lost City of Z, which focused on the groundbreaking career of pioneering explorer Percy Fawcett, and couldn’t have been MORE about the indomitable spirit of discovery if it tried. His latest shares much of the same DNA, albeit presented in a VERY different package, as we’re introduced to a more expansive Solar System of the near future, in which humanity has begun to colonize our neighbouring worlds and is now pushing its reach beyond our own star’s light in order to discover what truly lies beyond the void of OUTER space. Brad Pitt stars as Major Roy McBride, a career astronaut whose whole life has been defined by growing up in the shadow of his father, H. Clifford McBride (Tommy Lee Jones), a true pioneer who led an unprecedented expedition to the orbit of our furthest neighbour, Neptune, in order to search for signs of intelligent life beyond our solar system, only for the whole mission to go quiet for the past sixteen years. Then a mysterious, interplanetary power surge throws the Earth into chaos, and Roy must travel farther than he’s ever gone before in order to discover the truth behind the source of the pulse – his father’s own ill-fated Lima Project … this is a very different beast from Interstellar, a much more introspective, stately affair, revelling in its glacial pacing and emphasis on character motivation over plot, but it’s no less impressive from a visual, visceral standpoint – Gray and cinematographer Hoyt van Hoytema (who, interestingly, ALSO shot Interstellar, along with Nolan’s Dunkirk and his upcoming feature Tenet) certainly make space look truly EPIC, crafting astonishing visuals that deserve to be seen on the big screen (or at the very least on the best quality HDTV you can find). There’s also no denying the quality of the writing, Gray weaving an intricate story that reveals far greater depth and complexity than can be seen at first glance, while Roy’s palpable “thought-process” voiceover puts us right into the head of the character as we follow him across the endless void on a fateful journey into a cosmic Heart of Darkness. There is, indeed, a strong sense of Apocalypse Now to proceedings, with the younger McBride definitely following a similar path to Martin Sheen’s ill-fated captain as he travels “up-river” to find his Colonel Kurtz-esque father, and the performances certainly match the heft of the material – there’s an impressive collection of talent on offer in a series of top-quality supporting turns, Jones being just the icing on the cake in the company of Donald Sutherland, Liv Tyler, John Ortiz and Preacher’s Ruth Negga, but the undeniable driving force of the film is Pitt, his cool, laconic control hiding uncharted depths of emotional turmoil as he’s forced to call every choice into question. It’s EASILY one of the finest performances of his career to date, just one of the MANY great selling points in a film that definitely deserves to be remembered as one of the all-time sci-fi greats of the decade. An absolute masterpiece, then, but does it stand tall in comparison to Interstellar? I should say so …

14. BRIGHTBURN – torpedoing Crawl right out of the water in the summer, this refreshing, revisionist superhero movie takes one of the most classic mythologies in the genre and turns it on its head in true horror style. The basic premise is an absolute blinder – what if, when he crashed in small-town America as a baby, Superman had turned out to be a bad seed? Unsurprising, then, that it came from James Gunn, who here produces a screenplay by his brother and cousin Brian and Mark Gunn (best known for penning the likes of Journey 2: the Mysterious Island, but nobody’s perfect) and the directorial big break of his old mate David Yarovesky (whose only previous feature is obscure sci-fi horror The Hive) – Gunn is, of course, an old pro at taking classic comic book tropes and creating something completely new with them, having previously done so with HUGE success on cult indie black comedy Super and, in particular, Marvel’s Guardians of the Galaxy movies, and his fingerprints are ALL OVER this one too. The Hunger Games’ Elizabeth Banks (who starred in Gunn’s own directorial debut Slither) and David Denman (The Office) are Tori and Kyle Breyer, a farming couple living in Brightburn, Kansas, who are trying for a baby when a mysterious pod falls from the sky onto their land, containing an infant boy. As you’d expect, they adopt him, determined to keep his origin a secret, and for the first twelve years of his life all seems perfectly fine – Brandon’s growing up into an intelligent, artistic child who loves his family. Then his powers manifest and he starts to change – not just physically (he’s impervious to harm, incredibly strong, has laser eyes and the ability to disrupt electronic devices … oh, and he can fly, too), but also in personality, as he becomes cold, distant, even cruel as he begins to demonstrate some seriously sociopathic tendencies. As his parents begin to fear what he’s becoming, things begin to spiral out of control and people start to disappear or turn up brutally murdered, and it becomes clear that Brandon might actually be something out of a nightmare … needless to say this is superhero cinema as full-on horror, Brandon’s proclivities leading to some proper nasty moments once he really starts to cut loose, and there’s no mistaking this future super for one of the good guys – he pulverises bones, shatters faces and melts skulls with nary a twitch, just the tiniest hint of a smile. It’s an astonishing performance from newcomer Jackson A. Dunn, who perfectly captures the nuanced subtleties as Brandon goes from happy child to lethal psychopath, clearly demonstrating that he’s gonna be an incredible talent in future; the two grown leads, meanwhile, are both excellent, Denman growing increasingly haunted and exasperated as he tries to prove his own son is a wrong ‘un, while Banks has rarely been better, perfectly embodying a mother desperately wanting to belief the best of her son no matter how compelling the evidence becomes, and there’s quality support from Breaking Bad’s Matt Jones and Search Party’s Meredith Hagner as Brandon’s aunt and uncle, Noah and Meredith, and Becky Wahlstrom as the mother of one of his school-friends, who seems to see him for what he really is right from the start. Dark, suspenseful and genuinely nasty, this is definitely not your typical superhero movie, often playing like Kick-Ass’ deeply twisted cousin, and there are times when it displays some of the same edgy, black-hearted sense of humour, too. In other words, it’s all very James Gunn. It’s one sweet piece of work, everyone involved showing real skill and devotion, and Yarovesky in particular proves he’ll definitely be one-to-watch in the future. There are already plans for a potential sequel, and given where this particular little superhero universe seems to be heading I think it could be something pretty special, so fair to say I can’t wait.

13. STAR WARS EPISODE IX: THE RISE OF SKYWALKER – wow, this one’s proven particularly divisive, hasn’t it? And I thought The Last Jedi caused a stir … say what you will about Rian Johnson’s previous entry in the juggernaut science fiction saga, while it certainly riled up the hardcore fanbase it was at least well-received by the critics, not to mention myself, who found it refreshing and absolutely ingenious after the crowd-pleasing simplicity of JJ Abrams’ admittedly still thoroughly brilliant The Force Awakens. After such radical experimentation, Abrams’ return to the director’s chair can’t help feeling a bit like desperate backpedalling in order to sooth a whole lot of seriously ruffled feathers, and I’ll admit that, on initial viewing, I couldn’t help feeling just a touch cheated given what might have been if similarly offbeat, experimentally-minded filmmaker Colin Trevorrow (Safety Not Guaranteed, Jurassic World) had stayed on board to helm the picture. Then I got home, thought about it for a bit and it started to grow on me, before a second viewing helped me to reconcile all everything that bugged me first time around, seemingly the same things that have, perversely, ruffled so many more feathers THIS TIME. This doesn’t feel like a retcon job, no matter what some might think – new developments in the story that might feel like whitewash actually do make sense once you think about them, and the major twists actually work when viewed within the larger, overarching storyline. Not that I’m willing to go into any kind of detail here, mind you – this is a spoiler-free zone, thank you very much. Suffice to say, the honour of the saga has in no way been besmirched by Abrams and his co-writer Chris Terrio (sure, he worked on Batman V Superman and Justice League, but he also wrote Argo), the final film ultimately standing up very well indeed alongside its trilogy contemporaries, and still MILES ABOVE anything we got in George Lucas’ decidedly second-rate prequels. The dangling plot strands from The Last Jedi certainly get tied up with great satisfaction, particularly the decidedly loaded drama of new Jedi Rey (Daisy Ridley) and troubled First Order Supreme Leader Kylo Ren/Ben Solo (Adam Driver), while the seemingly controversial choice of reintroducing Ian McDiarmid’s fantastically monstrous Emperor Palpatine as the ultimate big bad ultimately works out spectacularly well, a far cry from any perceived botched fan-service. Everyone involved was clearly working at the height of their powers – Ridley and Driver are EXCEPTIONAL, both up-and-coming young leads truly growing into the their roles, while co-stars John Boyega and Oscar Isaac land a pleasingly meaty chunk of the story to finally get to really explore that fantastic chemistry they teased on The Last Jedi, and Carrie Fisher gets a truly MAGNIFICENT send off in the role that defined her as the incomparable General Leia Organa (one which it’s still heartbreaking she never quite got to complete); other old faces, meanwhile, return in fun ways, from Anthony Daniels’ C-3PO FINALLY getting to play a PROPER role in the action again to a brilliant supporting flourish from the mighty Billy Dee Williams as the Galaxy-Far-Far-Away’s own King of Cool, Lando Calrissian, while there’s a wealth of strong new faces here too, such as Lady Macbeth’s Naomie Ackie as rookie rebel Jannah, Richard E. Grant as suitably slimy former-Imperial First Order bigshot Allegiant General Pryde, The Americans’ Keri Russell as tough smuggler Zorii Bliss and Lord of the Rings star Dominic Monaghan as Resistance tech Beaumont Kin. As fans have come to expect, Abrams certainly doesn’t skim on the spectacle, delivering bombastic thrill-ride set-pieces that yet again set the benchmark for the year’s action stakes (particularly in the blistering mid-picture showdown between Rey and Kylo among the wave-lashed remains of Return of the Jedi’s blasted Death Star) and awe-inspiring visuals that truly boggle the mind with their sheer beauty and complexity, but he also injects plenty of the raw emotion, inspired character work, knowing humour and pure, unadulterated geeky FUN he’s so well known for. In conclusion, then, this is MILES AWAY from the clunky, compromised mess it’s been labelled as in some quarters, ultimately still very much in keeping with the high standards set by its trilogy predecessors and EVERY INCH a proper, full-blooded Star Wars movie. Ultimately, Rogue One remains THE BEST of the big screen run since Lucas’ Original Trilogy, but this one still emerges as a Force to be reckoned with …

12. JOKER – no-one was more wary than me when it was first announced that DC and Warner Bros. were going to make a standalone, live-action movie centred entirely around Batman’s ultimate nemesis, the Joker, especially with it coming hot on the heels of Jared Leto’s thoroughly polarizing portrayal in Suicide Squad. More so once it was made clear that this WOULD NOT be part of the studio’s overarching DC Extended Universe cinematic franchise, which was FINALLY starting to find its feet – then what’s the point? I found myself asking. I should have just sat back and gone with it, especially since the finished product would have made me eat a big slice of humble pie had I not already been won over once the trailers started making the rounds. This is something new, different and completely original in the DC cinematic pantheon, even if it does draw major inspiration from Alan Moore’s game-changing DC comics mini-series The Killing Joke – a complete standalone origin story for one of our most enduring villains, re-imagined as a blistering, bruising psychological thriller examining what can happen to a man when he’s pushed far beyond the brink by terrible circumstance, societal neglect and crippling mental illness. Joaquin Phoenix delivers the performance of his career as Arthur Fleck, a down-at-heel clown-for-hire struggling to launch a career as a stand-up-comic (badly hampered by the fact that he’s just not funny) while suffering from an acute dissociative condition and terrible attacks of pathological laughter at moments of heightened stress – the actor lost 52 pounds of weight to become a horrifically emaciated scarecrow painfully reminiscent of Christian Bale’s similar preparation for his acclaimed turn in The Machinist, and frequently contorts himself into seemingly impossible positions that prominently accentuate the fact. Fleck is a truly pathetic creature, thoroughly put-upon by a pitiless society that couldn’t care less about him, driven by inner demons and increasingly compelling dark thoughts to act out in increasingly desperate, destructive ways that ultimately lead him to cross lines he just can’t come back from, and Phoenix gives his all in every scene, utterly mesmerising even when his character commits some truly heinous acts. Certainly he dominates the film, but then there are plenty of winning supporting turns from a universally excellent cast to bolster him along, from Zazie Beetz as an impoverished young mother Arthur bonds with and Frances Conroy (Six Feet Under, American Horror Story) as Arthur’s decidedly fragile mother Penny to Brett Cullen (The Thorn Birds, Lost) as a surprisingly unsympathetic Thomas Wayne (the philanthropic father of future Batman Bruce Wayne), while Robert De Niro himself casts a very long shadow indeed as Murray Franklin, a successful comedian and talk show host that Arthur idolizes, a character intentionally referential to his role in The King of Comedy. Indeed, Martin Scorsese’s influence is writ large throughout the entire film, reinforced by the choice to set the film in a 1981-set Gotham City which feels very much like the crumbling New York of Mean Streets or Taxi Driver. This is a dark, edgy, grim and unflinchingly BRUTAL film, frequently difficult to watch as Arthur is driven further into a blazing psychological hell by his increasingly stricken life, but addictively, devastatingly compelling all the same, impossible to turn away from even in the truly DEVASTATING final act. Initially director Todd Phillips seemed like a decidedly odd choice for the project, hailing as he does from a predominantly comedy-based filmmaking background (most notably Due Date and The Hangover trilogy), but he’s actually a perfect fit here, finding a strangely twisted beauty in many of his compositions and a kind of almost uplifting transcendence in his subject’s darkest moments, while his screenwriting collaboration with Scott Silver (8 Mile, The Fighter) means that the script is as rich as it can be, almost overflowing with brilliant ideas and rife with biting social commentary which is even more relevant today than in the period in which it’s set. Intense, gripping, powerful and utterly devastating, this truly is one of the best films of 2019. If this was a purely critical Top 30 this would have placed in the Top 5, guaranteed …

11. FAST & FURIOUS PRESENTS HOBBS & SHAW – summer 2019’s most OTT movie was some of THE MOST FUN I had at the cinema all year, a genuinely batshit crazy, pure bonkers rollercoaster ride of a film I just couldn’t get enough of, the perfect sum of all its baffling parts. The Fast & Furious franchise has always revelled in its extremes, subtle as a brick and very much playing to the blockbuster, popcorn movie crowd right from the start, but it wasn’t until Fate of the Furious (yup, the ridiculous title says it all) that it really started to play to the inherent ridiculousness of its overall setup, paving the way for this first crack at a new spin-off series sans-Vin Diesel. Needless to say this one fully embraces the ludicrousness, with director David Leitch the perfect choice to shepherd it into the future, having previously mastered OTT action through John Wick and Atomic Blonde before helming manic screwball comedy Deadpool 2, which certainly is the strongest comparison point here – Hobbs & Shaw is every bit as loud, violent, chaotic and thoroughly irreverent, definitely playing up the inherent comic potential at the core of the material as he cranks up the humour. Dwayne Johnson and Jason Statham take centre stage as, respectively, DSS agent Luke Hobbs and former SAS black operative Deckard Shaw, the ultimate action movie odd couple once again forced to work together to foil the bad guy and save the world from a potentially cataclysmic disaster. Specifically Brixton Lore (Idris Elba), a self-proclaimed “black superman” enhanced with cybernetic implants and genetic manipulation to turn him into the ultimate warrior, who plans to use a lethal designer supervirus to eradicate half of humanity (as supervillains tend to do), but there’s one small flaw in his plan – the virus has been stolen by Hattie Shaw (Mission: Impossible – Fallout’s Vanessa Kirby), a rogue MI6 agent who also happens to be Deckard’s sister. Got all that? Yup, the movie really is as mad as it sounds, but that’s part of the charm – there’s an enormous amount of fun to be had in just giving in and going along with the madness as Hobbs and the two Shaws bounce from one overblown, ludicrously destructive set-piece to the next, kicking plenty of arse along the way when they’re not jumping out of tall buildings or driving fast cars at ludicrous speeds in heavy traffic, and when they’re not doing that they’re bickering with enthusiasm, each exchange crackling with exquisite hate-hate chemistry and liberally laced with hilarious dialogue delivered with gleeful, fervent venom (turns out there’s few things so enjoyable as watching Johnson and Statham verbally rip each other a new one), and the two action cinema heavyweights have never been better than they are here, each bringing the very best performances of their respective careers out of each other as they vacillate, while Kirby holds her own with consummate skill that goes to show she’s got a bright future of her own. As for Idris Elba, the one-time potential future Bond deserves to be remembered as one of the all-time great screen villains ever, investing Brixton with the perfect combination of arrogant swagger and lethal menace to steal every scene he’s in while simultaneously proving he can be just as big a badass in the action stakes; Leitch also scatters a selection of familiar faces from his previous movies throughout a solid supporting cast which also includes the likes of Fear the Walking Dead’s Cliff Curtis, From Dusk Till Dawn’s Eiza Gonzalez and Helen Mirren (who returns as Deckard and Hattie’s mum Queenie Shaw), while there’s more than one genuinely brilliant surprise cameo to enjoy. As we’ve come to expect, the action sequences are MASSIVE, powered by nitrous oxide and high octane as property is demolished and vehicles are driven with reckless abandon when our protagonists aren’t engaged in bruising, bone-crunching fights choreographed with all the flawless skill you’d expect from a director who used to be a professional stuntman, but this time round the biggest fun comes from the downtime, as the aforementioned banter becomes king. It’s an interesting makeover for the franchise, going from heavyweight action stalwart to comedy gold, and it’s a direction I hope they’ll maintain for the inevitable follow-up – barring Fast Five, this is THE BEST Fast & Furious to date, and a strong indicator of how it should go to keep conquering multiplexes in future. Sign me up for more, please.

#frozen 2 #Once Upon A Time In Hollywood #crawl #crawl movie #Shazam!#Alita Battle Angel #ad astra #Brightburn #star wars the rise of skywalker #joker #joker movie #hobbs and shaw #2019 in movies

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