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terramythos · 3 months

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Mort by Terry Pratchett Reading Notes

Full Review Here!

So this book also opens with a young person and their parents. As did Equal Rites which I need to restart

Ok so I didn't take notes as methodically as usual to start But as with Guards Guards it is very funny, with jokes that just keep coming back when you don't expect them. Lots of good bits and parallels

And the fucking MORPHOGENETIC FIELD fuck

-i like Mort but he's most certainly going to do some Dumb Shit. He is also very blank slate in terms of protagonists. His most consistent trait is reminding people about his name. Which I imagine will have some payoff

-I find some of the parallels funny like death clearly taking on Mort to maybe get together with his adopted daughter after his dad talked about that exact thing (in that context seemingly ridiculous). I hope there's more to it than that however.

-and I do wonder about how succession with Death would even work. As I'm pretty sure Death in this book is the same entity in the whole series

-not to make this elder scrolls but I guess they could do something like Sheogorath where you Become that person in every significant way after inheriting the role from them. I'm sure there's a better comparison/example lol

-but Mort could just be a. Friend or something. Which would also be fine

-I'm sure sexy witch won't be a Thing at all later

-Listeners hear every sound in Discworld?

-"light dawned on Mort, but very slowly" lmao

-ok Death showing up to someone who perpetually reincarnates is a little bit funny. What Is the point

-'cut the heir with a knife' what a pun. Insane

- interesting to frame Mort saving Keli from her perspective. So we don't know exactly what he thought as he did it. And this was presumably a Very Bad Thing since she was supposed to die and he killed the assassin instead?

-so many anachronistic similies and metaphors. I guess that is appropriate for this book specifically

-also idk if this is relevant at all. But Keli not dying has a big butterfly effect, obviously. But what about the assassin? Who were they? How would their death change things?

-i have to imagine no one really noticing you exist suddenly without being FULLY non existent would be pretty awful

-"there's no justice. There's just you" will this come around again to a "just us"

-ok Ysabelle kinda goth. Which like obviously, but nice

-oops! You made a split timeline

-theres something interesting about this? Border? Between realities an 'interface'. Cause that has a very specific meaning in 2024, but I bet it read different in 1987. At least a little

-i like the narrative dropping A Big Hint for the reader by noting how the character did not notice it

-the description of how Mort has changed might be The Quote

-a fan of something being so real it's uncanny. Especially in the realm of fiction. Gives me Inkheart thoughts

-ok the whole thing with Mort being able to walk through doors and walls was introduced EARLY and continues to be so. And Death seemed to consider it normal. But what causes it? Why does it only work sometimes?

-this is a fairly familiar plot where you change 1 thing in history and everything else changes as a butterfly effect. The main difference so far is it being a delayed reaction. I want to see if Pratchett does something different with it otherwise

-capital L Logic "taking the night off too"

-so a split timeline will heal itself but Mort is going to fuck it up again?

-a fucking island named KRULL? No way, no fucking way. Hold on I have to look something up

-2 thing I learned googling Krull: the MOVIE Krull came out in 1983, 4 years before this book. So it is very plausible Pratchett knew of it. Second thing is Liam Neeson was in it, which I was somehow unaware of or forgot

-"why did you save me?" "... for later" God damn why is Pratchett clever

-Mort suddenly scary! And here I think is the first bit where he doesn't say "Mort" when someone calls him boy. Instead he's scary about it. So. That's a fun play on what I expected.

-we have. Switched to present tense. I see

-im not sure what this revelation about Malich is supposed to be implying. Maybe I missed something. I think the only person we don't know anything about it Deaths butler? Guy?

-oh yeah. Albert is his name. And the famous wizard is Alberto Malich. So Death like. Adopted a famous wizard who's now like. A cook?

-my biggest area of criticism with this book is I just have zero investment in Mort's obsession with this random princess. Like it's an objectively stupid thing to cause so much trouble over. Doesn't even know her. Maybe that's the point but it's hard with no investment whatsoever in it

-A PET SWAMP DRAGON??? I UNDERSTAND THAT REFERENCE (read: the only other book I've read in this series)

-trying to imagine how shooting Mort would even work.

-it is difficult to convey how clever & funny Death's alternate typeface is when it shows up unexpectedly. Just an oh shit moment every time.

-'if you win, you will [do this] ' 'and if I lose?' 'You will wish you had won' what a fucking threat lmao

-update: shooting Mort did not work.

-i know this book predates "bucket list" as a term but that is nevertheless what Death seems to be doing

-god I thought the bit was gonna be that Death can't get drunk and then he DOES halfway through the scene. Then manually stops being drunk

-bartender: 'well at least this weird hooded figure seems to be harmless' (it's literally Death)

-no way can Albert be a wizard, he doesn't wear a wizard hat! So true bestie

-i know Ysabell is probably like The Actual Love Interest but it is a little cute that Mort got so angry at people not using his name but went back to just correcting when Ysabell did it

-theres a whole shelf! Aw fuck do we have a doctor who situation or some shit

-no he's just been alive that long ig. Wonder if this character shows up elsewhere

-Death at a job broker....

-Oh my GOD *THAT* was the payoff for the "Mort." bit! A fucking typeface wham line. Jesus christ that's good lmao

-"Death must be the loneliest creature in the universe" either sounds like a quote from some ancient philosopher or an 80s prog rock album. But nope, Pratchett.

-ysabell girlboss

-kinda feel bad for Death finding happiness and the implication being he can't keep it. Unless Mort does actually become Death

-and there's the idea of becoming real becoming more like death. All in a fictional story of course.

-ok I am Compelled, finally, by Morts transformation.

-i do really like how the "Mort." bit has extended throughout the book to convey his character arc and even got integrated into the storytelling in a meta way with the Death typeface.

-this presents the idea of a human becoming Death as Really Bad because if you apply human morality and emotion to it, Death becomes cruel. Which sounds philosophical as fuck and all, but it brings to mind all the terrible things humans have done when inflicting death on others. It is comforting to think of Death as neutral from the perspective of an uncaring universe-- all things die, no matter what, but likewise, its hard as a human to see Death that way within the context of lives and experiences.

-but there is some positivity to the overall story so I am interested to see the "good" side if there is one. I'm not sure there is

-Mort is a blank slate character, i think intentionally so, so that as he develops we see how his mistakes and the worst sides of his personality manifest as he matures and becomes more Real, like Death. The actual Death character isn't cruel but when Mort is given the opportunity he makes selfish decisions (rescuing Keli) and cruel (how he treats Albert in this scene). So then my question is where do his Best traits manifest? Is it impossible for then to, in this context and with this kind of power?

-man Mort is so mean to Ysabell.

-the fucking speech check war between the Emperor and Vizier was pretty funny

-oh hey, The Librarian cameo. And.. Albert called him a monkey. Oh dear. Also isn't Rincewind a protag in another series

-"THERE'S NO JUSTICE," said Mort. "THERE'S JUST US." --- Oh my god I fucking called it I CALLED IT I KNEW they were gonna use that line holy shit

-"You are whatever you think you are" hell yeah

-at least Ysabell punched Mort in the face. He kind of deserved it

-shout out to The Librarian killing Albert lmfao

-the elephant gets drunk and sees pink people

-i mean good for the elephant going home. Ok king

-i like the implication that the speed of night is faster than the speed of light

-oh so we do get to play a game with Death? At the end?

-"were all lives--from a personal viewpoint-- entirely the same length?" I mean okay damn

-i like Mort thinking "you'll never beat him... the best we can do is hold him off for a while" about Death, but in the context of like. A duel.

-i mean YEAH you CAN turn hourglasses over! Obviously! That's how they work!

-the weight of a pearl, huh

-I like closing the story with Mort reading his own book and that becoming the last of the narration

Hmm ok! So I liked it. But have some mixed thoughts. I'll need to gather them together

First off I loved the writing, Pratchett really was clever and had very unique and humorous ways of saying things. Stuff like "her voice could have kept milk fresh for a month" instead of "her voice was icy". And its not just wordplay but situations themselves. It is difficult to convey just how much clever stuff there is in the book because it would

overwhelm anything else. I think that this is probably true for most of the Discworld books and is at least in part why they're so beloved. I have a hard time thinking of other writers with quite this knack for clever humor in such a nonstop abundance. There's stuff like this book introducing the detail that every person has a book being written that narrates their life, then closing out the book with Mort reading from his, and then using that as the closing narration. Like that's cool and brilliant.

I like Morts character arc and how he goes from a blank slate to something more in order to convey how being Death's apprentice changes him. There is also fun worldbuilding and creativity on how Death's actual job works, with the tongue and cheek acknowledgement that even this is a personification and not really real.

Deaths typeface is used as an honest to God wham line which is probably the only example I've seen of... a font conveying a plot twist. I guess technically this also happens in other Discworld scenes where Death shows up unexpectedly. But in this particular story it's not Death saying it which is why its so shocking.

My main struggle with Mort is I had a hard time caring about or being invested in the main plot. For example, the inciting incident that kicks off the main plot is Mort making a selfish decision to save the life of a princess who is destined to die, purely because he has a shallow crush on her. I know it's intentional that their relationship doesn't really matter and is just surface level. But theres nothing to make me care about it at all, and when him doing this AND KEEPING IT SECRET FROM DEATH is the main source of narrative tension, it's a problem when I can't find any reason to care about it.

The plot itself is very... loose I guess. It's a collection of scenes and vignettes a lot of the time that are only tangentially related to the story. Which is fine, but this makes the problem of investment in the story even harder for me. I was suddenly very compelled when Mort started to transform into Death and the personal issues of identity, human behavior, etc that this introduces. It just felt like that's what the story should have been about the whole time.

Basically what carried me through the book was the clever prose and humorous scenes/situations. Which again, is fine! I definitely enjoyed reading Mort. It just didn't amaze me as a story.

Probably the funniest thing is you could remove Albert from the story entirely and it wouldn't change anything. Like slightly rework the scene at the University near the end and you're set. It felt like Pratchett realized we needed a villain in the third act and assigned that role to a random side character so Albert was evil, briefly, then not as soon as Death dealt with it. Just felt very oddly paced and structured

There are loose ends that did not get concluded and I'm not sure if this means they are explored in greater depth later. For example Mort bungles one Death collection and a witch's soul escapes mortality. Another is this persistent idea/theme of what's "real". We explore it a little but never to its conclusion. Mort gets a pearl which is supposedly a piece of reality he created. And there's the idea of one reality happening when it shouldn't and how the universe reacts to it. But it's very mechanical (literally turns into an artifact) and the thematic implications are still up in the air

Anyway I'm thinking 7/10 cause it was good and a fun read, just didn't floor me

#taylor reads #reading notes

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maxwell-grant · 3 years

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What are your thoughts on Jekyll/Hyde and his archetype of the human periodically changing into a monster ?

Jekyll & Hyde was the 2nd horror story I read following Frankenstein, I got it off the same library and it always stuck very strongly with me even before I got into horror in general. I even dressed up as Jekyll/Hyde as a kid for a school fair by shredding a lab coat on one side and asking my sister to make-up claw gashes on my exposed arm and paint half of my face, although in hindsight I think I ended up looking more like Doctor Two-Face than Jekyll/Hyde, but I was 12 and didn't have any Victorian clothing to use so I had to make do. The first film project I tried doing at film school was intended to be a modern take on Jekyll & Hyde, and I didn't get much farther than a couple of discarded scripts

Much like Frankenstein, Mr Hyde as a character and a story is something that's kind of baked into everything I do artistically. And it's not just me, as even in pop culture itself, none of us can escape Mr Hyde. I would go so far as to argue Mr Hyde may be the single most significant character created by victorian fiction, if only by the sheer impact and legacy the character's had.

(Fan-art by guilhermefranco)

Part of what makes Mr Hyde such a powerful and lasting icon of pop culture is that the very premise of the book invites a personal reading that's gonna vary from person to person. Because everyone's familiar with the basic twist of the story, that it's a conflict of duality, of the good and evil sides, but everyone has a more personal idea of what those entail. Some people make the story more about class. A lot of readings laser-focus on sex and lust as the driving force, and there's also a lot of readings of Mr Hyde that tackle it to explore a more gendered perspective, and so forth.

I don't particularly take much notice of the Jekyll & Hyde adaptations partially because the novel's premise and themes have become baked so throughly into pop culture and explored in so many different and interesting ways, that I'm not particularly starving for good Jekyll & Hyde adaptations the way I am for Dracula and Frankenstein. The Fredric March film in particular is one that orbits my head less because of the film itself (although I do recommend it), but because of one specific scene, and that's when Jekyll first transforms into Hyde on screen.

Out of all the things they could have shown him doing right that second, they instead took the time to show him enjoying the rain.

Just Hyde taking off his hat and letting it all cascade on his face with this sheer enthusiasm like he's never been to the rain before, never enjoyed it before, and now that he's free from being Jekyll, he gets to enjoy life like he never has before. It's such an oddly humanizing moment to put amidst a horror movie, in the scene where you're ostensibly introducing the monster to the audience, and it makes such a stark contrast to the rest of the film where Hyde is completely irredeemable, but I think it's that contrast that makes the film's take on Hyde work so well even with it's diverging from the source material, even if I don't particularly like in general interpretations of Hyde that are focused on a sexual aspect.

Because one, it understands that Jekyll was fundamentally a self-serving coward and not a paragon of goodness, and two, it also understands one of the things that makes Hyde scary: He wants what all of us want, to live and be happy. He's happy when he leaves the lab and dances around in the rain like a giddy child, he's happy when he goes to places Jekyll couldn't dream of showing up, he's happy as a showgirl-abusing sexual predator. Hyde is all wants, all the time, and there's not that much difference between his wants, his domineering possessiveness, and the likes exhibited by Muriel's father and Jekyll's own within the very same film, which also works to emphasize one of the other ideas of the original story, that Edward Hyde doesn't come from nowhere. That no monster is closer to humanity than Mr Hyde, because he is us. He is the thing that Jekyll refused to take responsability for until it was too late.

(Art by LorenzoMastroianni)

While many of the ideas that defined Mr Hyde had already been explored in pop culture beforehand, Hyde popularized and redefined many of them in particular by modernizing the idea. He was the werewolf, the doppelganger, The Player On The Other Side, except he came from within. He was not transformed by circumstance, he made himself that way, and the elixir merely brought out something already inside his soul. To acknowledge that he's there is to acknowledge that he is you, and to not do that is to either lose to him, or perish. Hyde was there to address both the rot settling in Victorian society as well as grappling concerns over Darwinian heritage, of the realization that man has always had the beast inside of him (it's no accident that Hyde's main method of murder is by clubbing people to death with his cane like a caveman).

I've already argued on my post about Tarzan that the Wild Man archetype, beginning with Enkidu of The Epic of Gilgamesh, is the in-between man and beast, between superhero and monster, and that Mr Hyde is an essential component of the superhero's trajectory, as the creature split in between. That stories about dual personalities, doppelgangers, the duality of the soul, the hero with a day job and an after dark career, you can pinpoint Hyde as a turning point in how all of these solidified gradually in pop culture. And I've argued otherwise that The Punisher, for all that his image and narrative points otherwise, is ultimately just as much of a superhero as the rest of them, even if no one wants to admit it, drawing a parallel between The Punisher and Mr Hyde. And he's far from the only modern character that can invite this kind of parallel.

The idea of a regular person periodically or permanently transforming into, or revealing itself to be, something extraordinary and fantastic and scary, grappling with the divide it causes in their soul, and questions whether it's a new development or merely the truest parts of themselves coming to light at last, and the effects this transformation has for good and bad alike. The idea of a potent, dangerous, unpredictable enemy who ultimately is you, or at least a facet of you and what you can do. That these are bound to destroy each other if not reconciled with or overcome.

You know what are my thoughts on the archetype of "human periodically changing into a monster" are? Look around you and you're gonna see the myriad ways The Strange Case of Dr Jekyll and Mr Hyde's themes have manifested in the century and a half since the story's release. Why it shouldn't be any surprise whatsoever that Mr Hyde has become such an integral part of pop culture, in it's heroes and monsters alike. Why we can never escape Mr Hyde, just as Jekyll never could.

It is Nixon himself who represents that dark, venal and incurably violent side of the American character that almost every country in the world has learned to fear and despise. Our Barbie-doll president, with his Barbie-doll wife and his boxful of Barbie-doll children is also America's answer to the monstrous Mr. Hyde.

He speaks for the Werewolf in us; the bully, the predatory shyster who turns into something unspeakable, full of claws and bleeding string-warts on nights when the moon comes too close… - Hunter S. Thompson

There is a scene in the movie Pulp Fiction that explains almost every terrible thing happening in the news today. And it's not the scene where Ving Rhames shoots that guy's dick off. It's the part where the hit man played by John Travolta is talking about how somebody vandalized his car, and says this:

"Boy, I wish I could've caught him doing it. I'd have given anything to catch that asshole doing it. It'd been worth him doing it, just so I could've caught him doing it."

That last sentence is something everyone should understand about mankind. After all, the statement is completely illogical -- revenge is supposed to be about righting a wrong. But he wants to be wronged, specifically so he'll have an excuse to get revenge. We all do.

Why else would we love a good revenge movie? We sit in a theater and watch Liam Neeson's daughter get kidnapped. We're not sad about it, because we know he's a badass and he finally has permission to be awesome. Not a single person in that theater was rooting for it to all be an innocent misunderstanding. We wanted Liam to be wronged, because we wanted to see him kick ass. It's why so many people walk around with vigilante fantasies in their heads.

Long, long ago, the people in charge figured out that the easiest and most reliable way to bind a society together was by controlling and channeling our hate addiction. That's the reason why seeing hurricane wreckage on the news makes us mumble "That's sad" and maybe donate a few bucks to the Red Cross hurricane fund, while 9/11 sends us into a decade-long trillion-dollar rage that leaves the Middle East in flames.

The former was caused by wind; the latter was caused by monsters. The former makes us kind of bummed out; the latter gets us high.

It's easy to blame the news media for pumping us full of stories of mass shootings and kidnapped children, but that's stopping one step short of the answer: The media just gives us what we want. And what we want is to think we're beset on all sides by monsters.

The really popular stories will always feature monsters that are as different from us as possible. Think about Star Wars -- what real shithead has ever referred to himself as being on "the dark side"? In Harry Potter and countless fantasy universes, you have wizards working in "black magic" and the "dark arts." Can you imagine a scientist developing some technology for chemical weapons or invasive advertising openly thinking of what he does as "dark science"? Can you imagine a real world leader naming his headquarters "The Death Star" or "Mount Doom"?

Of course not. But we need to believe that evil people know they're evil, or else that would open the door to the fact that we might be evil without knowing it. I mean, sure, maybe we've bought chocolate that was made using child slaves or driven cars that poisoned the air, but we didn't do it to be evil -- we were simply doing whatever we felt like and ignoring the consequences. Not like Hitler and the bankers who ruined the economy and those people who burned the kittens -- they wake up every day intentionally dreaming up new evils to create. It's not like Hitler actually thought he was saving the world.

So no matter how many times you vote to cut food stamps and then use the money to buy a boat, you could still be way worse. You could, after all, be one of those murdering / lazy / ignorant / greedy / oppressive monsters that you know the world is full of, and that only your awesome moral code prevents you from turning into at any moment. And those monsters are out there.

They have to be. Because otherwise, we're the monsters - 5 Reasons Humanity Desperately Wants Monsters To Be Real, by Jason Pargin

(Two-Face sequence comes from the end of Batman Annual #14: Eye of the Beholder)

For good or bad, Hyde has become omnipresent. He's a part of our superheroes, he's a part of our supervillains, he's in our monsters. He lives and prattles in our ears, sometimes we need him to survive, and sometimes we become Hyde even when we don't need to, because our survival instincts or base cruelties or desperation brings out the worst in us. Sometimes we can beat him, and sometimes he's not that bad. Sometimes we do need to appease him and listen to what he says, about us and the world around us. And sometimes we need to do so specifically to prove him wrong and beat him again.

But he never, ever goes away, as he so accurately declares in the musical

Do you really think That I would ever let you go...

Do you think I'd ever set you free?

If you do, I'm sad to say It simply isn't so

You will never get away FROM MEEEEEE

(Art by Akreon on Artstation)

#tw: injury #tw: blood #tw: disfigurement #replies tag #dr jekyll and mr hyde #the strange case of dr jekyll and mr hyde #robert louis stevenson #two-face #batman #monster tag #universal monsters #horror tag

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phantombandit-films · 3 years

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Why ‘War of the Worlds’ (2005) is a underrated masterpiece.

‘War of the Worlds’ was released in 2005, it is directed by the film god that is Steven Spielberg (Jaws, E.T.) and written by Josh Friedman (Terminator: Dark Fate, Avatar 2) and David Koepp (Jurassic Park, Mission: Impossible)

Cast: - Tom Cruise as Ray Farrier. - Justin Chatwin as Robbie Farrier. - Dakota Fanning as Rachel Farrier. - Miranda Otto as Mary Ann. -Tim Robbins as Harlan Ogilvy. - Ann Robinson as Grandmother. - Gene Barry as Grandfather.

First lets start with some history of ‘The War of the Worlds’ - The 2005 film is based off the novel of the same name which was written by H.G. Wells between 1895 and 1897, it then was then made into a series by Pearson’s Magazine in 1897 in the UK, Cosmopolitan in the US. Then becoming a hardback novel in 1898, it is one of the earliest written pieces to tell a story of conflict between Martians and man and so its one of the most commented on pieces of science fiction.

It has been adapted and developed several times over many decades in many medias, the ones that come to mind are the famous 1938 dramatic radio reading that was directed and starred Orson Welles that actually caused public panic to those who listened in and didn’t know that the Martian invasion was fiction, its said that up to a million people ran out of their homes in terror. (Source: https://en.wikipedia.org/wiki/The_War_of_the_Worlds_(1938_radio_drama) )

The 1953 ‘The War of the Worlds’ film adaptation, which was produced by George Pal and directed by Byron Haskin. It also starred Gene Barry (who played Dr. Clayton Forrester) and Ann Robinson (who played Sylvia Van Buren) who can also been seen at the end of the 2005 film, they play the grandparents of Robbie and Rachel which I think is a sweet little cameo to see for those who loved the 1953 film. Ann Robinson also revived her role as Sylvia Van Buren in two other films and three episodes of ‘The War of the Worlds’ tv series in 1988.

In 1978 the most well known musical album by Jeff Wayne was produced and based off the story of ‘War of the Worlds’ this album included the voices of Richard Burton and David Essex.

This was then turned into a concert musical which tours annually through out the UK and Europe, the concert includes live performers such as Carrie Hope Fletcher but also a 3D hologram of Liam Neeson. It also includes a mix of computer animation, pyrotechnics and a big mechanical tripod that comes out on stage and lights up and can fire its heat-ray.

(Source: Birmingham Mail.)

There have also been several Tv series, the two newest being the 2019 BBC version staring Poldark’s Eleanor Tomlinson and Full Monty’s Robert Carlyle, that has a Edwardian setting and follows closely to the novel.

The other being the FOX 2019 adaptation that is set in present day Europe but I found this version didn’t really go off the novel, and was frustrated with the lack of the famous Tripods. (Source: https://en.wikipedia.org/wiki/The_War_of_the_Worlds)

As a kid I would watch the 1953 film with my mum all the time as its one of her favourites and I do really like it, but then 2005 rolled around and in comes Steven Spielberg’s version. To be fair it was probably 2006 when I finally saw it, I was nine years old at the time and I remember my dad bringing home the DVD that someone at work had lent him. I don’t remember watching it but I do remember having nightmares for a month after, only for a month though. Many years later when I was half way through high school and getting more and more into film my dad then bought the DVD from Woolworth's before it shut down, the DVD didn’t have a case only a see through CD case so I think it only cost him something like 50p. So I re-watched and again I don’t really remember this but all of a sudden I was hooked, and it climbed to the second spot on my favourite movies list where it still sits today. Honestly if you asked anyone I was friends with at that time they will tell you just how obsessed I was with it.

I have many scenes that I love in this film the first being the rise of the first tripod, but there are two that I geek out over every time.

The first scene being the one in the basement at Robbie and Rachel’s house, the scene starts off with Ray asleep in a chair. He starts to stir when when a blue flash of light on his face, but then jolts up right at a load whooshing noise followed by closely by Robbie shooting up from just below the camera. I love the way that Robbie appears sort of fits with the sound that’s heard, also the whole mood of the scene which is pitch black with this blue flashing light every now and then. The fact that you’re just as clueless as the characters as well, you find out what’s happening when they find out. Also the way that Rachel appears behind the basement stairs, which will appear again near the end of the movie in a much more damaged basement which shows just how much their world has changed in just a short few days. The sound design in this movie as well is something that I love, I love when the sound in a film alone can creep you out. The tripod sound is one of my favourite sounds to exist, like if I heard that from outside I would be so creeped out and scared. At this moment in time Robbie and Rachel have no idea what is hunting them or what Ray has seen, Imagine running from something and seeing something completely destroy the whole of your neighbourhood yet not knowing what it looks like. This is what runs through my mind when I heart Rachel cry “Is it them, Is it them?!” Then the next morning when Ray goes upstairs and see’s that the house is just completely destroyed by an aeroplane that has crashed down in the middle of the the housing estate. This Boeing 747 was a out of use plane and the production crew bought it for $60,000 which then cost them $200,000 to transport, it was then broken into pieces and houses were built around it. Which just shows how far some movie productions will go to make a film look more legit. (We love practical effects in this house.) This scene is still set up at Universal Studios Hollywood and can be seen on the Studio tour.

(Basement and Plane crash scene.)

My second favourite scene, which is one of my all time top favourite scene ever with no surprise is the dock scene. The speeding train that’s on fire is absolute stunning in every sense but for me the scene starts when the music starts. ‘If I ruled the world, everyday would be the first day of spring.’ But i’m really glued to the screen when Rachel starts to follow the birds coming in from the river to in land, she follows them up to the hill where she notices the tree’s on the top are moving weirdly. “The tree’s are funny.” She then reaches out and grabs onto Rays hand who was talking to a friend. Robbie turns to the hill as the camera slowly comes back and shows Robbie also turning to look at where Ray is looking. (Just remembering that this is the first time Robbie and Rachel ever see the tripods.)

The camera then shows us what the family is looking at to reveal a tripod stood on the top of the hill, it then moves one of its legs which crushes a tree and makes everyone else look back. Obviously chaos ensues from this point on, everyone running trying to get onto the ferry to get away from the impending doom, unfortunately we learn that no where, not even on the water is safe. As a tripod comes up from out of the water and attacks the ferry, the family manage to escape and get to land on the other side of the ferry. They stop for a moment to catch their breath as people are being picked out of the water below them, they turn as a old air raid alarm is heard on the other side of the hill and we see tripods coming over another hill that was filled with people and using their head rays to wipe them all out, we also see in the distance a lighting storm indicating more Martions are still coming to earth. The scene is like a depiction of all the stages of the attack. (Dock attack scene.)

I mean all the action scenes in this movie are just so beautiful and amazing, but did we expect any less from Spielberg? And the CGI and practical are all done extremely well and fitted together to make a scene look as real as possible. One of the art directors that worked on this film, Doug J. Meerdink who has also worked on Jurassic Park: III, Cloverfield and Jurassic World.

I was looking up some trivia on IMDB for this movie and found that there was a deleted scene that is called the ‘Camelot’ scene. This scene is supposed to take place between the attack on the ferry and the battle on the hill, it involves Ray, Rachel and Robbie walking through an abandoned housing estate that’s named Camelot, when a pack of tripods start walking near by. One of the tripods breaks off and the family has to take cover behind a SUV, they watch helplessly from behind as the tripod reaches into the house and grabs people from the houses. This scene has never been released but apparently it was fully finished, VFX and all but then taken out a few weeks before post production was wrapped up. There is only one official video from this scene that was in the actual trailer for the film, and it’s only a shot of the family hiding behind the SUV.

The only other shot from the scene is this landscape shot of a CGI tripod.

There are also photos of the set designers setting up the miniature of the housing estate to shoot this scene, the rest are fan arts of how the scene maybe looked/ played out. (Source)

I really hope that one day Steven releases this scene, or for some anniversary adds it into an extended version of the film like we’ve seen for other films. Because I would love that so much! It seems like such an incredible scene, and to see the tripods up this close again would be so cool!

One of the trailers that was released for this film doesn’t have any of the film shots it in, It takes place in a normal neighbourhood where people are just going about their normal nightly routine when suddenly over the hill there are all these brilliant flashing lights, everyone's just coming out of their houses in their pj’s and standing in the street marvelling at this sight in front of them. Then we see explosions and suddenly heat rays are blowing up the tress on the street which then goes into the title. I just love this, a trailer that doesn’t give anything away from the movie but creeps you out enough to be invested. (Trailer.)

All in all it’s just an very visually pleasing film, it feels real enough to give you a sense of fear for the characters and for yourself. I also love that Steven stayed true to the source material,more truer than some of the other adaptations and also added in his own little Easter eggs. The sounds, the aesthetic, the colours just everything comes together so beautifully. I think its a very underrated movie that deserves so much more love.

#war of the worlds #war of the worlds 2005 #robbie farrier #ray farrier #rachel farrier #steven spielberg #movie #film #film talk #tom cruise #dakota fanning #justin chatwin #the war of the worlds #not really a film review #i just wanted to talk about my love for this film

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problematicwelshman · 4 years

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Michael Sheen on Good Omens, sex scenes, and why Brexit led to his break-up

28 NOVEMBER 2018 • 4:18PM

Michael Sheen may be 49, and sporting a grey beard these days, but mention Martians and the actor reverts to a breathless, giddy teenager.

It all stems back to one evening when Sheen was about 12 years old. “It was a significant moment in my life,” he tells me over coffee in a London hotel. “My cousin Hugh was babysitting, and he put on Jeff Wayne’s War of the Worlds.

“I remember us lying there, listening in bed in the dark. It absolutely terrified me, but I got obsessed with it. I’m worryingly into it. I know every single note, every word.”

Wayne’s 1978 rock opera has had a similar effect on countless fans, even if it prompts a bemused shrug from non-converts. Without ever topping the charts, it has slowly become one of the best-selling British albums of all time, and this Friday begins a stadium tour featuring a 35-foot fire-breathing Martian and a 3D hologram of Liam Neeson. It’s a geeky novelty, but one of epic proportions.

When Wayne asked Sheen if he would star in a new radio drama-style version for the album’s 40th anniversary, alongside Taron Egerton and Ade Edmondson, the Welsh actor “bit his hand off”. It had always been his dream. For decades, whether doing serious political dramas such as Frost/Nixon or the great roles of classical theatre – Hamlet, Henry V – the one part Sheen really wanted involved Martians saying “ulla-ulla”.

“When I was doing Caligula at the Donmar [in 2003], I was filming The Deal during the day – which was the first time I’d played Tony Blair,” he says. “I’d be so tired, to wake myself up [before the play] I would do whole sections of War of the Worlds.” He can even beatbox the sound effects, he adds proudly. “The other guys in the dressing room would all be really pissed off with me - but I was playing Caligula, so they had to put up with it.”

Enthusing about an outtake on a collectors version of the album where you can hear Richard Burton coughing, Sheen briefly slips into an impression of the late actor. It’s eerily spot-on. Burton played the role he takes in the new version, which feels apt; growing up in Port Talbot, Sheen was aware of following in his footsteps.

“Coming from the same town as him really helped,” he says. “It’s place you wouldn’t necessarily think would be very sympathetic to acting – it’s an old steel town, very working class, quite a macho place – but because of Richard Burton, and then Anthony Hopkins, there’s the sense that it’s possible [to be an actor], and people have a respect for it.

“Ultimately, though, we’re very different actors - Burton was very much a charismatic leading man, and I’m probably more of a character actor. He wasn’t known for his versatility.” Sheen, by contrast, is a chameleon, as he proved with a remarkable run of biopics from 2006-9, playing Tony Blair, David Frost, Brian Clough, Kenneth Williams and the Roman emperor Nero on screen in the space of just four years.

He concedes that he may have made a “partly conscious” decision to avoid biopics since then. “I’ve been offered quite a few I didn’t do. I did feel, for a bit, it was probably good for me to move away from it – certainly from playing Blair at least, because that’s the one I became synonymous with. I’d quite happily play real people again, but it’s hard to find good scripts and it takes a lot of homework. With some parts I’ve been offered, you might only have a few weeks to prepare for it - and you can’t do that with Clough or Kenneth Williams.”

Despite his best intentions, Sheen is playing another Blair in his next film – The Voyage of Doctor Doolittle, where he’s the nemesis of Robert Downey Jr’s animal-loving hero. “I don’t know if they did that as a joke or not,” he says. “He’s Blair Müdfly – there’s an umlaut that he is very specific about. He was at college with Doolittle, and hates him, and becomes the antagonist because of his jealousy of Doolittle. Müdfly is employed to try and stop him from finding... what he wants to find.” As the film isn’t out for 13 months, Sheen is tight-lipped about further plot details – but he hints that Müdfly is “a villain in the tradition of Terry-Thomas villains.”

It’s the latest in a series of quirky, eyebrow-raising roles. After playing a vampire in the Twilight films and a werewolf in the Underworld franchise, Sheen says he would often be asked in interviews why a “serious classical actor” was wasting his time on fantasy films.

“There’s a lot of snobbishness about genre,” he says. “I think some of the greatest writing of the 20th and 21st centuries has happened in science fiction and fantasy.” While promoting the films, he would back up that point by citing his favourite authors – Stephen King, Philip K Dick, Neil Gaiman. “Time went on, and then one day my doorbell rang and there was a big box being delivered. I opened the box up and there was a card from Neil saying ‘From one fan to another’, and all these first editions of his books.”

It was the beginning an enduring friendship, which recently became a professional partnership: Sheen stars in Gaiman’s forthcoming TV series Good Omens, based on a 1990 novel he wrote with the late Terry Pratchett. Set in the days before a biblical apocalypse, its sprawling list of characters includes an angel called Aziraphale (Sheen) and a demon called Crowley (David Tennant) who have known each other since the days of Adam and Eve.

“I wanted to play Aziraphel being sort of in love with Crowley,” says Sheen. “They’re both very bonded and connected anyway, because of the two of them having this relationship through history - but also because angels are beings of love, so it’s inevitable that he would love Crowley. It helped that loving David is very easy to do.”

What kind of love - platonic, romantic, erotic? “Oh, those are human, mortal labels!” Sheen laughs. “But that was what I thought would be interesting to play with. There’s a lot of fan fiction where Aziraphale and Crowley get a bit hot and heavy towards each other, so it’ll be interesting to see how an audience reacts to what we’ve done in bringing that to the screen.”

Steamy fan fiction aside, it’s unlikely Good Omens will match the raunch levels of his last major TV series, Masters of Sex (2013-16), a drama about the pioneering sexologists Masters and Johnson. In the wake of the last year’s #MeToo revelations, HBO has introduced “intimacy co-ordinators” for its shows - but, Sheen tells me, Masters of Sex was ahead of the curve in handling sex scenes with caution.

“It was a lot easier for myself and Lizzy [Caplan, his co-star], as we were comfortable in that set-up, because we had status in it. But for people in the background, or doing just one scene, it’s different,” he says. “It became clear very quickly that there needed to be guidelines for people who didn’t have that kind of status, who would probably not speak up. We started talking about that, and decided there need to be clear rules.”

Sex scenes, he continues, “should absolutely be treated the same way as other things where there’s a danger. If you’re doing stage-fighting, or pyrotechnics, there are rules and everyone just sticks to them. Whether it’s physical danger, or emotional, or psychological, it’s just as important.”

Despite having several film and TV parts on the horizon, Sheen says he is still in semi-retirement from acting. In 2016 he hinted that he might be quit for good to campaign against populism. “In the same way as the Nazis had to be stopped in Germany in the Thirties, this thing that is on the rise has to be stopped," he said at the time. But now things are less cut. “I have two jobs now, essentially,” he says. "Acting takes second place."

While many celebrity activists limit their politics to save-the-dolphins posturing, Sheen has been working with a range of unfashionable grassroots groups aiming to combat inequality, support small communities and fight fake news. As well as supporting Welsh credit unions, and sponsoring a women’s football team in the tiny village of Goytre, he tells me that he's been “commissioning research into alternative funding models for local journalism”.

If he returns to the stage any time soon, he says it’s likely to be in a show about “political historical socio-economic stuff, a one-man show with very low production values”. It’s clear he’s not in it for the glamour.

Sheen was inspired to become more politically active by the Brexit referendum – which also indirectly led him to break up with his partner of four years, the comedian Sarah Silverman. At the time, they were living together in the US. “We both had very similar drives, and yet to act on those drives pulled us in different directions – because she is American and I’m Welsh,” he explains.

“After the Brexit vote, and the election where Trump became president, we both felt in different ways we wanted to get more involved. That led to her doing her show I Love You America [in which Silverman interviewed people from across the political spectrum], and it led to me wanting to address the issues that I thought led some people to vote the way they did about Brexit, in the area I come from and others like it.”

They still speak lovingly of each other, which makes their decision to end a happy relationship for the sake of politics look painfully quixotic. Talking about it, Sheen sounds a little wistful, but he’s utterly certain they made the right choice. “I felt a responsibility to do something, but it did mean coming back here – which was difficult for us, because we were very important to each other. But we both acknowledge that each of us had to do what we needed to do.”

#michael sheen #dolittle #the voyage of doctor dolittle #he got so irrationally mad at this article on twitter #but hey bringing it back because people wanted to read it #and it had info about dolittle #but it's locked behind a paywall #so here u go fam

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so-this-is-my-blog-i-guess · 4 years

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4,6,11, and 17, please and thank you!😽

4. What would your perfect room look like?

I tend to like rather gothic furnishings and color schemes. So one of those giant wood four poster canopy beds, the kind with velvet curtains. Purples and blacks. Loads of carved wood details, ceiling moldings, leaded glass/stained glass windows, some dragon accents, plush, basically like any of the bedrooms in the movie The Haunting https://www.imdb.com/title/tt0171363/

6. What fiction place would you love to go to?

The Isle of Avalon. 💜

11. What would be the most amazing adventure to go on?

Visiting some places in the UK like Stonehenge, Glastonbury Tor, the locations associated with the King Arthur legend.

17. What do you wish you knew more about?

I used to know a lot about a lot of things, but my memory has decided to lose things either through trauma or simply genetic disposition. So I used to be an ancient history buff, King Arthur fan, intrigued by mythology, and pretty well read when it came to comparative religions. So. I’d like to have my knowledge back.

Thank you, my friend!

#ramblings #55 questions #questions

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ljones41 · 5 years

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"MEN IN BLACK: INTERNATIONAL" (2019) Review

"MEN IN BLACK: INTERNATIONAL" (2019) Review Last year, Sony Pictures had announced its intentions to add a fourth entry to the MEN IN BLACK" movie franchise. I have to be honest. I did not receive the news with any real enthusiasm. And my feelings had failed to change when I learned the identities of the movie's two main stars.

"MEN IN BLACK: INTERNATIONAL" only shared a few similarities to the franchise's past three films. One of the co-stars proved to be Emma Thompson, who had returned for her second appearance in the franchise as Q, the MIB agency's director. The agency's Manhattan office also appeared in the film. And the MIB agents were up against another deadly alien trying to conquer Earth. Otherwise, there were major differences in this fourth film. Instead of Will Smith and Tommy Lee Jones, "MEN IN BLACK: INTERNATIONAL" starred Chris Hemsworth and Tessa Thompson, who had been co-stars in the 2017 Marvel film, "THOR: RAGNAROK". Most of the "MEN IN BLACK: INTERNATIONAL" locations were set outside of the U.S. in London, Marrakesh, Naples and Paris. The last difference featured the circumstances surrounding the recruitment of Tessa Thompson's character into the agency. Unlike Will Smith's Agent J, Thompson's character had become aware of the Men in Black agency years before she joined it. The biggest difference between this film and the previous three movies involved a potential threat within the internal affairs of the Men in Black. In 1996 Brooklyn, a young girl named Molly Wright witnesses her parents being neuralysed by Men in Black agents, while she helps an alien escape. Twenty years later, Agents H and High T of the MiB London office travel to Paris to stop an invasion of the Hive – a parasitic race who invade planets by merging with the DNA of the conquered species – at the Eiffel Tower using a wormhole included in the original migration to Earth. After being rejected from the F.B.I. and the C.I.A., due to her "delusions" regarding alien life, Molly tracks down an alien landing and follows MiB agents to their New York City headquarters. Caught entering the agency, Molly makes an impression on the agency's director, Agent O and becomes probationary agent status as "Agent M". She is eventually assigned to the London branch. Agent M's new supervisor is High T, who has become head of the London office. The latter assigns her to become Agent H's new partner, who has developed a God complex, unconcerned with his duties and only keeping his job due to High T covering for him. Both M and H are assigned to guard a royal alien named Vungus the Ugly, during the latter's visit to Earth. A pair of alien twins manage to fatally injure Vungus. The latter gives M a strange crystal before he dies. And the agents of the London office realizes that a MiB agent may have betrayed Vungus to the alien assassins. Due to his lackadaisical behavior, H has become the main suspect. However, this does not last long and M eventually becomes tagged as the agency's traitor. M and H take matters into their hands and decide to conduct their own investigation - an act that leads them to become fugitives from the Men in Black agency. Following the release of "MEN IN BLACK: INTERNATIONAL", many critics and fans of the franchise had rained criticism and scorn upon it. Needless to say, the movie proved to be a box office failure, despite making a small profit. It is considered to be the worst film in the franchise. While many blamed the movie's narrative; the majority of the film's negative press seemed to stem from the fact that the movie had not been directed by Barry Sonnenfeld, who was responsible for the franchise's first three films. And there were a handful of disgruntled fans who seemed to resent the presence of Tessa Thompson as one of the film's leads, due to her gender. How do I feel about all of this? I do have a few problems with "MEN IN BLACK: INTERNATIONAL". One, this movie is not funny. What I meant is . . . it lacked the twisted and sardonic humor of Barry Sonnenfeld. If I have to be more specific, the film's humor barely generated any real laughs from me. I merely found myself feeling amused by some of the more comic moments. My second problem with "MEN IN BLACK: INTERNATIONAL" was Agent H's fate near the end of the movie. I did not like it. Considering his age and recent mental condition, I thought he was unnecessarily rewarded for his actions in stopping the main villain. My final problem with the film is basically minor. "MEN IN BLACK: INTERNATIONAL" featured the character of Agent O from the 2012 film, "MEN IN BLACK 3". To me, this was an indication that "MEN IN BLACK: INTERNATIONAL" was a continuation of the previous three films. If so, I thought screenwriters Art Marcum and Matt Holloway could have hinted on the fates of Agents J and K from the first three movies. What happened to them? Despite my complaints about the film, I did not dislike "MEN IN BLACK: INTERNATIONAL". In fact, I enjoyed it very much. And this was due to certain aspects of the film. One, I found some of the movie's special effects rather impressive, thanks to the visual effects team, Stuart Dryburgh's cinematography and Thomas Brown's art direction team. I was especially impressed by those scenes featuring Vungus' death in London, H, M and Pawny's escape from Marrakesh and especially their final showdown against the Big Bad at the Eiffel Tower in Paris. Another aspect of "MEN IN BLACK: INTERNATIONAL" that I enjoyed was its cast. Personally, I thought it was first-rate. The movie benefitted from a solid supporting cast that included Laurent and Larry Nicolas Bourgeois (aka Les Twins), who did an excellent job of conveying the silent, yet physical menace of the shape-shifting aliens known as "the Twins"; Tim Blaney, who returned to voice Frank the Pug; Kayvan Novak, who voiced the royal alien Vungus the Ugly; and Spencer Wilding. I found Rafe Spall's portrayal of Agent C of the UK branch rather sardonic, yet entertaining. Emma Thompson was excellent as usual as the Men in Black director, Agent O. Rebecca Ferguson gave an eccentric, yet funny performance as an alien intergalactic arms dealer and H's ex-girlfriend Riza Stavros. Liam Neeson's portrayal of High T, the head of the MIB UK branch, struck as equally off-beat and funny. And I felt that Kumail Nanjiani gave the best voice performance of all as Pawny, the small alien warrior that Agents M and H befriend. And of course, we have the movie's two leads - Chris Hemsworth and Tessa Thompson. Many crtics had been impressed by their screen dynamic in the Marvel film, "THOR: RAGNAROK". This led the producers of this film to cast them together as Agents H and M. And they did not fail. Thompson did a wonderful job as the uber observant and clever Molly Wright, who becomes the agency's newest recruit, Agent M. Hemsworth did an equally fantastic job in portraying Agent H, one of the agency's best agents who seemed to be suffering from some kind of post traumatic stress disorder (PTSD), following his and Agent High T's defeat of the Hive, three years earlier. Not only did the two leads gave great performances, they also proved that their on-screen dynamic had not dimmed one bit. If I must be brutally honest, I was more impressed by their screen chemistry in this film than I was in "THOR: RAGNAROK". I realize that many people may not agree with me on this next topic. But if there is one thing that truly impressed me about "MEN IN BLACK: INTERNATIONAL", it was the screenplay written by Art Marcum and Matt Holloway. I found it very original for a movie from the MEN IN BLACK movie franchise. The previous three movies usually introduced the Big Bad either in the opening scene or not long after the opening. I cannot say the same for this film. Both Marcum and Holloway had not only created a mystery surrounding the Big Bad, they also included a possible traitor or mole within the Men in Black agency that might be assisting the main villain. Now this might be normal in a MISSION: IMPOSSIBLE movie or some other spy thriller. But in a MEN IN BLACK film? For the first time, this franchise had created a combination of a science-fiction movie and an espionage flick. It is a pity that many critics and film goers could not appreciate this. Perhaps it would have been easier if the film had followed the franchise's usual formula. In the end, I realized that I would not waste my time lamenting on the box office failure of "MEN IN BLACK: INTERNATIONAL". It was not the first box office bomb that I ended up enjoying. And I doubt that it will be the last. Although I found the film's humor rather lukewarm - worthy more of a small chuckle instead of a belly laugh - I cannot deny that I truly enjoyed the film's narrative, along with the exciting action sequences and the talented cast led by Chris Hemsworth and Tessa Thompson, thanks to director F. Gary Gray. Many others may have been disappointed by this film. But I was not.

#men in black #men in black franchise #men in black international #f. gary gray #chris hemsworth #tessa thompson #liam neeson #rafe spall #emma thompson #rebecca ferguson #kumail nanjiani #laurent and larry bourgeois #les twins

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joshbentley-blog1 · 5 years

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2018, A Year in Film

Much like my love for music, I use the end of the year to compile a list of my favorite films, films that affected my life and altered my perspective and appreciation for the arts. Here are a list of motion pictures that I consider impactful in some shape or form, transformative to a degree, and worthy contributions to the medium. Enjoy.

Honorable mentions:

Roma

Alfonso Cuarón’s return to Earth since 2013′s Gravity finds itself in 1970s Mexico, backdropped by the political turmoil of the time and laced with the mundane yet subtly beautiful comings and goings of every day life. It is an intimate and sincere look into the struggles of surviving day by day, but also a gorgeously emotional ode to the resilience of those entrapped by the life’s unprejudiced judgement.

Director: Alfonso Cuarón

Distributor: Netflix

Genre: Historical drama

Isle of Dogs

Wes Anderson returned to the beloved medium of stop motion animation this year with Isle of Dogs. His previous work, Fantastic Mr. Fox, was a charming and quirky story of a fox father trying to provide for his den in the midst of a heated human versus animal dispute. But where Fantastic Mr. Fox lacked substantial depth (not a bad quality by any means), Isle of Dogs builds a narrative of love and hope, eloquently animating the unimpeachable love humans and dogs so equally share. The set design, animation quality and Wes Anderson quirks are all at their very best. A must-see for any Anderson fan, or appreciator of stop motion animation.

Director: Wes Anderon

Distributor: Fox Searchlight

Genre: Stop motion animation / sci-fi / dystopian

Sorry to Bother You

Directorial debuts were bountiful this year, and one such standout is Boots Riley’s Sorry to Bother You. An apt and absurd social commentary, with enough laughs to punch through the somewhat dark depths it veils. The film starts off vanilla enough, but you soon find yourself in the midst of a dark, fever dream that won’t end. The phenomenal writing and cast make this original an extremely hard film to forget.

Director: Boots Riley

Distributor: Annapurna Pictures

Genre: Absurdist / dark comedy

Top 10:

10. Disobedience

When New York-based photographer, Ronit (Weisz), learns of her father’s unexpected passing, her past life and all its troubles are brought to the forefront. Returning back to the Orthodox Jewish community in London in which she grew up, Ronit is faced with various extremes. From the turmoils of having to explain herself to the Jewish community, to the re-kindling of her relationship with Esti (McAdams), to facing her own faults and desires, Ronit’s life is crumpled and staggered. Disobedience is a heartfelt and organic story of love finding a way through all the dark and uncertainty.

Director: Sebastián Lelio

Distributor: Bleecker Street

Romance: Romantic drama

9. You Were Never Really Here

A heroic yet traumatizing narrative finds Joaquin Phoenix’s Joe in the midst of unfolding the inner workings of a crime ring that stretches further than anyone could have comprehended. Joe is a former military and FBI operative, now a hired gun whose job it is to rescue trafficked girls. Director Lynne Ramsay expertly maneuvers the chaos and violence of the film, often subverted our expectations in various means. Phoenix gives one of his best performances to date, and Jonny Greenwood’s original soundtrack is the icing atop the cacophonic cake.

Director: Lynne Ramsay

Distributor: Amazon Studios

Genre: Psychological thriller / crime drama

8. The Old Man & the Gun

If (500) Days of Summer were all grown up is how I would begin to describe this story. But The Old Man & the Gun is much, much more than a simple romantic comedy. Much like the director’s project from last year, one A Ghost Story, David Lowery once again explores the fabrics of time and how they shapes us as a species. The story is a contemplation on time’s inevitability and its relationship with our feelings of love and yearning. Beautifully backdropped by an America long passed, Lowery’s film finds two characters especially intertwined, strung together by the fickle hands of time itself. Robert Redford and Sissy Spacek have undeniable chemistry, and it is this chemistry that acts as the driving force of the film. Redford’s swan song is one to be seen and remembered dearly.

Director: David Lowery

Distributor: Fox Searchlight

Genre: Biography / romantic comedy

7. First Reformed

A deep meditation on faith and all the uncertainties it brings with, First Reformed is an imaginative and exhausting look into the vitriol we have brought upon ourselves, and how God and Man meet at such an abyss. Reverend Toller, once a chaplain in the Armed Forces, now resides and serves in an old Dutch Reformed church, serving a diminishing congregation and existing in the shadow of the neighboring megachurch, Abundant Life. Toller is forced to deal his own morals and understandings, while also supporting those in his congregation. As his service becomes increasingly darker and more difficult, Toller looks deep within himself and looks to God for an answer, any answer.

Director: Paul Schrader

Distributor: A24

Genre: Drama

6. Eighth Grade

Bo Burnham uses his directorial debut to discuss the Internet in its current context. From his discussions on the A24 podcast, Burnham wanted to find a proper medium for such a discussion, because many who try to judge the Internet and its culture do so miserably. It is understandably difficult to critique such culture without sounding tone deaf, but Burnham executes it to perfection. What better way to critique the Internet than by doing so from the perspective of an eighth grader, a person who has grown up in the shadow of the digital age? Elsie Fisher is a breakout star, nailing the timid courage of her character. Through excellent and organic performances and modern comedic writing, Eighth Grade is a coming-of-age story unlike any other.

Director: Bo Burnhma

Distributor: A24

Genre: Comedy-drama / coming-of-age

5. Annihilation

2018 was admittedly a weaker year for science fiction, but one project that rose above the rest was Alex Garland’s Annihilation. Garland’s no stranger to science fiction or horror, having tackled the genres in 28 Days Later, 28 Weeks Later, and Ex Machina. But with Annihilation Garland is able to capture horror rooted in science, incomparable to any other film. Based on the novel by the same name from author Jeff VanderMeer, the story follows a group of scientists venturing into a quarantined zone known as “The Shimmer.” Once inside, the scientists are faced with the supernatural horrors they studied from afar. Garland’s work is immense and vivid, deserving of so much more praise than it has received.

Director: Alex Garland

Distributor: Paramount Pictures & Netflix

Genre: Science fiction horror

4. The Ballad of Buster Scruggs

The Coen Brothers are no strangers to the subversions of classic film. Their tangled narratives, inconclusive conclusions and ponderings on the workings of humankind have made them standout directors, enemies of conventional filmmaking and pioneers of darkly comedic explorations of humanity.

"A song never ceases to ease my mind out here in the West. Where the distances are great, and the scenery monotonous."

The Ballad of Buster Scruggs, the Coen Brothers' first true western since 2010's True Grit, is anything but monotonous and certainly a welcome addition to the genre. Additionally, it is a triumphant return to form for the Coen Bros. Buster Scruggs is unlike most films, and again finds the Coen Brothers subverting the western genre, in its anthological form. Six vignettes tell the tales of settlers, outlaws, cowboys, and every sort of man and woman in between in the days of old, when the West was formed, and includes every bit of gruesome and grim detail.

It is not secret the Coen Brothers are adept at macabre storytelling, and are avid explorers of what makes man tick and humanity tremble. Their iconic dark, dry humor, their gritty and off-center storytelling, and their classic subversions of film are all present in Buster Scruggs. But while Coen films of past contained these elements (e.g. Hail, Caesar!), I have felt that their recent works have lacked that classic Coen charm. That snappy dialogue, the witty banter between characters, the intricate storytelling, all have been present in their works, but not since A Serious Man have I felt the Coen's magic this potently. That is now, not since Buster Scruggs.

The film's characters and stories do not overlap. But the themes and lessons certainly do. The opening ballad of one gun-slinging, guitar-strumming cowboy, Buster Scruggs (aka 'The San Saba Songbird'), is a gruesome musical. Full of shootouts and gore, it perfectly sets the tone for how the remainder of the film will play out. Tim Blake Nelson is charismatic, ruthless, and quick as a whip in this vignette. And I would have adored an entire film devoted solely to his character. But the Coen's first subversion comes when our hero is gunned down in the street by a faster gun.

Near Algodones, New Mexico, we find James Franco's outlaw. Robbing a bank, he is retaliated against by a surly old man covered in pans. This vignette feels shorter than its predecessor but is equally humorous and grim. The third story, Meal Ticket, gives us a glimpse into the harsh realities that faced early western settlers. And how making a living does not always coincide with morality and ethics. Liam Neeson and Harry Melling gel so well together but share few pieces of back-and-forth dialogue. I've seen some criticize this vignette for straying from the classic "western format," but to me it perfectly captures what it meant to live such a life.

All Gold Canyon is among my favorite of the stories. Its beautiful shots, wide takes of a beautiful canyon, and the juxtaposition of a man searching for riches in the mud while the true riches of nature are set behind him. It's a simple story, but it leaves the viewer wanting more from Tom Waits' prospector character. One of the view stories to end happily (in a sense), I found All Gold Canyon to be a masterful work of minimalist storytelling.

The Gal Who Got Rattled is my favorite of the six stories. Zoe Kazan, Bill Heck and Grainger Hines have excellent chemistry and play off each other so well. Straying from the deep west, we are drawn northwards, on the Oregon Trail. The simple yet dangerous treck is beautifully captured by the Coens here, and the story envelops you in its charm. And finally, The Mortal Remains ends our journey. A story laced with symbolism and metaphors, it's the Coen Brothers at their peak. The skeletal format of this vignette is much like the morals explored in No Country and A Serious Man, and I found myself wondering how the story could possibly end. And then it does. The final subversion of the film is this vignette's untimely end.

The Ballad of Buster Scruggs may lack continuity in terms of character arcs and storytelling. But what it certainly does not lack is character, masterful writing, expert characterization, and a deep understanding of what captivates us as viewers. The Coen Brothers understand that sometimes, simplicity is best. There is beauty in minimalism, and I believe Buster Scruggs is a excellent envisioning of such a statement.

Directors: Joel & Ethan Coen

Distributor: Netflix

Genre: Western / anthological film / dark comedy

3. Hereditary

They say the devil is in the details, and so such phrase would better describe Ari Aster’s debut, Hereditary. Perhaps the phrase shouldn’t be taken metaphorically though, instead literally; the film finds a family thrown into tragedy after a Satanic occult ritual, long in the works, begins to root itself in the foundations of the family.

Aster uses the story to burrow into our pysches, to strike fear and discomfort into the viewers. He does so not only expertly, but in such original fashion as well. Sure, Aster’s influences can be indentified and picked apart by an experienced viewer, but his crafting of a narrative and his fleshing out of the characters is so unique and a welcome take to the horror genre, Hereditary feels like an entirely new breed of horror.

The film begins with the funeral of the mother to Annie Graham (Toni Collette). As guests pour in to the congregation, it is clear that Annie is shocked with the occupancy. She states in her eulogy that her mother was a very private and secretive women, and that she is shocked to see so many unfamiliar faces here to pay respects to her estranged mother. Once home, Annie and the rest of the family unwind to a disturbing degree of comfort. Annie does not seem shaken by her mother’s passing, as she begins clearing out boxes that belonged to her mother. As she is exiting her studio however, a vision of her mother briefly appears in the dim and dark corner of the unlit room. Annie steps back, wondering if what she saw was real or a fabrication of her mind. Thus, begins the Grahams’ descent into darkness.

Following the funeral, Annie’s only daughter Charlie expresses her worry over the loss of her grandma. Stating, “Who’s going to take care of me?” Charlie is at a loss. Annie comforts her saying of course she will take care of her, but Charlie responds by asking what will happen when Annie is gone.

Later, Peter (Annie’s son) asks if he can go out and visit friends at a party. Annie lets him go but on one condition, that he takes Charlie with him. Charlie begins having visions of her own, and begins tinkering and creating absurd and deformed sculptures. An obvious introvert, she is reluctant to agree to go to the party with Peter, much to the chagrin of Annie. At the party, Peter finds a group of friends to smoke marijuana with, leaving Charlie by herself. Alone, Charlie gets into trouble and her and Peter rush home. An unfortunate incident occurs en route, which only propels the darkness further.

Annie becomes desperate for answers and substance to her mother’s reclusive and secretive life. She finds hints of the truth through old belongings and an old friend of her mother. Visions keep recurring and stranger forces begin to act on not only Annie but Peter as well.

Soon, the family is tumbling down a slope of despair. Séances, rituals, occult castings begin to mount and the demons and darkness begin to unleash. The film is a gripping and horrifying look at what is perhaps most universally frightening, family.

Director Ari Aster is unafraid to explore and highlight the grotesque and grim. He utilizes shocking imagery and beautiful lighting to display these horrors front and center, while still relying on subtle scares to keep the audience in suspense. Not only is the film adeptly disturbing, its characters are compelling and interesting. None are thrown by the wayside, and the spiraling story’s success is hinged on the characters we come to love. Toni Collette gives her greatest performance to date, and Alex Wolff proves he can handle a broad array of material. Milly Shapiro is excellent as Charlie, rivaling Elsie Fisher for young breakout star this year.

The magnificent blend of cinematography, acting, writing, and horror imagery Hereditary the best horror film I’ve seen all year, and certainly one of the most gripping stories I have ever experienced.

Director: Ari Aster

Distributor: A24

Genre: Supernatural horror / disturbing horror

2. The Favourite

It is often the case that period pieces take on a serious tone, dramatic takes on the facts and legends of old. Think Phantom Thread or Lincoln. Not too common are period pieces that extrapolate on the well-known, but also leave plenty of room for creative freedom from the production team. Even more rare are such projects that include elements of absurdity and dark comedy.

But it would not come to anyone’s surprise to find out that such a project exists at the hands of director Yorgos Lanthimos. Best known for his previous works, The Lobster and The Killing of a Sacred Deer, Lanthimos is almost Wes Anderson-esque or Tarantino-esque, in the marks he leaves in his films. His style is so distinct and his directions very much his own.

The Favourite follows suit, and Lanthimos’ quirks and trademarks are found throughout. From the monochromatic color palette to the dry, darkly comedic dialogue, the film is familiar in a way. But also true is that the film is nothing like Lanthimos has ever done before. It is grander, more gruesome, diabolical in a way, biblical in scope. His first film for a major production studio perhaps led to a grander scope, but I believe that this was a logical next step for the director. From The Lobster it was apparent that Lanthimos was willing and more than capable of tackling a monolithic project such as The Favourite, if given the right assets. It is inspiring to see such a film come to fruition.

The film finds three women in the royal court of Queen Anne: Abigail Hill, Sarah Churchill, and Queen Anne herself. Churchill (known in the film commonly as Lady Marlborough) has serviced the Queen for quite some time, prior to Ms. Abigail Hill‘s arrival. Both as a political aid and as a lover, Churchill finds comfort and immense power in her role beside Queen Anne. Everything seems to be going well for the court; the Queen, while certainly inept, has the confidence of her subjects and the war with France is going better than expected.

But then Abigail Hill arrives. A cousin of Sarah Churchill’s, Abigail travels to the court in hopes of working under both the Queen and her senior, Lady Marlborough. Hill begins as a lowly servant, making meals and cleaning sections of the palace. But not soon after, she advances the ranks, eventually rivaling Churchill in terms of power and influence on the Queen and all of Britain. The two cousins turn on each other, a once subtle love quickly turns to angst and hate.

The relationship of the three women dips and ascends throughout the film; there are periods of immense joy and respect, but also grim and violent progressions of guilt, lust and jealousy.

All of these emotions are so vividly captured thanks to the unique cinematography and direction. Camera angles are unconventional, using low-lying cameras to peer upward towards the characters, or highly placed lenses creeping above the Queen and her court. All of these placements give the sense that the viewer is spying on the characters, that we are sneaking into their lives unbeknownst to them.

It is the performances of the three leads and the unique cinematography that gripped me so powerfully upon my initial viewing. Olivia Colman (Queen Anne), Rachel Weisz (Sarah Churchill) and Emma Stone (Abigail Hill) are all superb talents, free the stretch their acting chops and creative imaginations to bring such life to their characters. But the supporting cast is equally brilliant. In fact, no elements of the film come off as ill-planned or weak. The film is like a well-oiled machine, perfectly in sync and precise to a scary degree.

Director: Yorgos Lanthimos

Distributor: Fox Searchlight

Genre: Historical comedy-drama / period piece / romance

1. Burning (버닝)

It has been quite some time since I have felt this looming questioning of morality, this cutting sense of dread from a motion picture. Burning is a Korean psychological thriller by Lee Chang-dong, and tells the story of three individuals caught in the unforgiving hands of lust. An ineffable sense of desire lurks throughout the film, as the three characters find themselves and their relationships with each other engulfed in tragedy. Love and desire quickly transforms into decay and wrath.

Lee Jong-su (Yoo Ah-in) is a part-time delivery man, who one day finds an old schoolmate working outside a department store. Shin Hae-mi (Jun Jong-seo) asks Jong-su out to drinks and the two quickly become entranced by one another. Hae-mi asks Jong-su if he remembers her from their shared past. He does not. She informs him that they attended middle school together, lived in the same village, and that Jong-su once called her ugly leading to her receiving plastic surgery. Still, deeply infatuated and perhaps a tad remorseful, Jong-su helps Hae-mi by looking over her reclusive cat while she travels to Africa in the hopes of some soul searching.

Hae-mi eventually returns to Seoul, this time bringing back a friend she met while in the airport, Ben. Ben and Hae-mi bonded over their shared heritage and nationality, being the only two Koreans in the airport at the time. The trio goes out for hot pot and drinks, where Hae-mi states in a drunken stupor that she felt incredibly lonesome while in the Kalahari desert. She describes a bittersweet lonesomeness that only such a vast expanse of desolation could bring. Jong-su seems unphased, almost detached from such a stark statement from a normally bubbly individual. Ben, looks noticeably concerned but then says he has never understood why people cry, he has never shed a tear himself. The three leave shortly after.

Time moves on, and Jong-su eventually moves back to his hometown to take over his father’s farm, as his father has come into legal trouble. Hae-mi and Ben become ever closer and Jong-su appears to remain detached from Hae-mi from the exterior. Deep down, Jong-su feels heavily for Hae-mi, eventually expressing his love for her to Ben at his farm.

Darkness sets in when one day Hae-mi does not respond to Jong-su’s calls. From there on out the story becomes a mysterious and incredibly riveting tale of love and the dangers of desire and inaction.

Yoo Ah-in is incredible as Jong-su, and nails the detached and perplexed characterization. Steven Yeun steals every scene he is a part of, reminding me of Heath Ledger’s Joker or Anton Chigurh (Javier Bardem) in terms of menacing presence and subtle malice. But for me, the standout actor is Jun Jong-seo and her portrayal of Hae-mi. She embodies the character perfectly, and I felt for her character throughout the film. Hae-mi is clearly struggling to find her own way and desperately wants to find courage and power in some shape or form. I can relate to that struggle. Truly, this film is carried by its characters and the beautiful performances by their respective actors.

So many other elements come together to make this film a success though. The cinematography is masterclass. Using wide lenses to capture the claustrophobic chaos of downtown Seoul and the vast and desolate disconnect of the Korean countryside, cinematographer Hong Kyung-pyo is able to capture the diverse beauty of Korea. He uses intimate close ups and handheld camerawork to create cutting scenes of tension and discomfort, drawing the viewer into the experience, emboldening the story of Jung-su and Hae-mi. A wide variety of long takes and tracking shots are utilized as well, forcing the viewer to pay attention and highlighting the characters in an organic moment.

Perhaps my favorite scene of the year, and certainly my favorite scene of the movie comes about half way through the runtime. It involves Miles Davis’ song, “Générique,” and a particular character’s tribal, rhythmic dancing. It’s a beautiful moment of reflection in the film and still runs through my head.

I will refrain from discussing the film anymore, as I strongly believe this work is best experienced with as little knowledge as possible. Lee Chang-dong, Yoo Ah-in, Jun Jong-seo and Steven Yeun, and the rest of the production team have created something incredibly raw and thoughtful here. It is more than apparent that an immense amount of care went into making this story and adaptation of Haruki Murakami’s Barn Burning a triumphant success. What I love about this film is, in a way, it made me feel a connection to my home country in such a profound and unexplainable way. I haven’t seen many Korean films, but Burning was able to kindle a connection in me that I haven’t experienced with other Korean films before. For these reasons, I can decidedly say that Burning is my favorite film of 2018.

Director: Lee Chang-dong

Distributor: CGV Arthouse (Korea) & Well Go Entertainment (USA)

Genre: Psychological thriller / romantic drama

#film review #film #movie review #movies #movies of the year #films of the year #sorry to bother you #roma #isle of dogs #wes anderson #yorgos lanthimos #the favourite #burning #lee chang-dong #hereditary #a24

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shauhank · 5 years

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Christopher Nolan: A visionary director with beautiful combination of complexity and perception

· What is complexity?

The state of quality or being intricate or complicated.

· What is perception?

The way in which something is regarded, understood or interested.

Complexity and perception are the two different and simultaneous phenomena occurring at any instance of life i.e. complexity can be occur with anyone, in any form and up to any extent and how you relate, understand or take interest to go through that with your perception that’s what defines you.

So, basically these two objects are the strength of Hollywood’s London native director who is none other than Christopher Edward Nolan. He has directed some magnificent cinemas and gifted them to the world in which these two objects were his secret ingredients. He has revolutionized the concept of the cinema, film-making, character portrayal, filming techniques, story-telling and many other aspects revolving around a film.

His notable work in the cinema is as mentioned below:

1) Following (1998)

2) Memento (2000)

3) Insomnia (2002)

4) The Dark Knight Trilogy (2005-2012)

5) The Prestige (2006)

6) Inception (2010)

7) Interstellar (2014)

8) Dunkirk (2017)

Let us discuss his beautiful cinema work one-by-one:

1) Following (1998)

Well, this was the first break-through of its kind in the era of late 90’s and early 2000’s. It was the first major film directed by Christopher Nolan and in addition to that, it was a neo-noir crime thriller (like “No Country for Old Man”) in black & white picturization in which a person follows some strangers around the streets of London and ultimately it drawn him into a criminal underworld when he fails to keep the distance.

The important facts regarding to this movie are the film was decided to make in very limited budget. The unavailability of money was such that the scenes of the film were heavily rehearsed so that it requires only one or two takes to complete and this expense was bared by Nolan himself from his own salary. He mostly used available light as they were unable to afford professional lighting equipment. In addition to that, to reduce the manpower expense, Nolan contributed himself in writing, photographing, editing and production.

After that, when the film was released it was greatly praised by critics, reviewers and audiences.

2) Memento (2000)

Success of the film “Following” had driven Nolan to the great Hollywood where he directed his first Hollywood movie with big production company of Summit Entertainment.

This was also neo-noir thriller but in psychological genre. This film featured “perception” object of the Nolan’s strong-holds. In the movie, the black & white event series is shown in forward direction whereas the color event series is shown in reverse chronology and both the series met at the end of the film. Therefore, this results at a point where same scene is shown from three to four perceptions and the way it bends your mind is phenomenal.

Thus, this movie marked the first step forwarding into the Hollywood for Nolan.

3) Insomnia (2002)

It is the moment of success for Nolan that after making only two films, one of the biggest studios of Hollywood, the Warner Bros. collaborated with Nolan for the very first time and he directed his third film ‘Insomnia’.

Also, it was his first film in which great actors like Al Pacino and Robin Williams played lead roles and delivered their wonderful performances and made the film memorable. It follows the story of two homicide detectives who were investing a murder. Note that, this was also neo-noir thriller in mystery genre. This is the only film of Nolan in which he was not credited in story writing for the film.

It was the first commercial success of for the Nolan and critically it was well received also.

4) The Dark Knight Trilogy (2005-2012)

There was a time when superhero movies were heavily backlashed by critics, audiences and reviewers because they were lacking heavily in the areas of story, character portrayal, flamboyant costumes, proper cast and above all a pinpoint direction of the film.

It was the period where previous Batman movies were furiously rejected by public and reviewers because they have not portrayed the characters as they originally were and then Nolan helmed this very difficult task to direct superhero movie of Batman and his other characters. He nailed this job so much efficiently that this trilogy is now considered as the best superhero movies of all time.

It contained magnificent music work of Hans Zimmer and James Newton Howard with magnificent performances of all the actors like Christian Bale, Heath Ledger, Morgan Fox, Liam Neeson, Gary Oldman, Michale Caine, Cillain Murphy and many others. The movie ‘The Dark Knight’ so effortlessly pictured as it marks all-time, evergreen performance of Heath Ledger as the Joker and embarked him as the greatest super-villain performance of all time.

This trilogy has proved that superhero movies can be made in depth, they too have proper story, character portrayal, engaging music and sound. It was the first time that Nolan’s film has crossed the mark of 1 billion USD which shows that how well it was received by the public and this trilogy also grabbed many awards too including Academy Award for Heath Ledger (as the Joker) for his magnificent performance.

5) The Prestige (2006)

In the continuing flow of his work, he then directed his first science-fiction film in psychological thriller genre which followed the story of two rival magicians in the 19th century, who were obsessed with creating best stage illusion and engaging in competitive one-up man ship which ended in tragic results.

This film is perfect mixture of complexity and perception as how magicians and their tricks plays with our minds and how to unfold them, are some highlighting features of this film.

6) Inception (2010)

What happen when you come to know that a film can be made only on one part of your body and it can be linked with science with grand scale which leaves you in series of questions? If you want to know then watch ‘Inception’.

A great film about mind, dreams and its strength to whatever decisions we are taking in the life and how it affects them. The story follows about how an idea can be inserted into someone’s mind through complex events and paradox loops of the mind and how the idea can be implemented to anyone which defines his rest of the life.

This was the first film of Nolan who single-handedly won four Academy Awards and marked one of the finest creations of Nolan.

P.S.: If you watch this movie, you will have a series of questions in your mind which no one can answer.

7) Interstellar (2014)

As there was a journey inside our mind in the film ‘Inception’, similarly ‘Interstellar’ movie has shown a beautiful ride in the inter-galactic space, higher dimensions and above all a great bonding between father and daughter which was strong enough to survive thorough the toughest time.

It follows the story of a group of astronauts who travel through wormhole in search of a new home for humanity. After showing all the space concepts, mind-blowing visuals of black hole, higher dimensions which were not discovered till today and amazing cinematography at the ground level it was centered on the relation of a father with her daughter as he was in the quest for returning to his home and reuniting with his children in the entire film.

There is one dialogue in the movie itself which summarizes the film:

“Love can transcend space and time.”

Understand this sentence; you will understand the true message of the film automatically.

This was the second film of Nolan, in which he did not contribute in the writing of the film and it was entirely done by his equal genius brother Jonathan Nolan with the help of physicist Dr. Kip Thorne.

8) Dunkirk (2017)

After directing many films in the genre of science-fiction and neo-noir with mixture of psychological, murder mystery and non-linear cinema, Nolan finally got his hands on the actual history incident and marked his first film based on any true story or incident.

Dunkirk follows the story of the evacuation of the Allied forces from the beach of the Dunkirk town and how they faced difficult situations created by German Forces. Nolan successfully portrayed the entire scenario so flawlessly that even world war veterans got mesmerized after watching this film.

One of the few points, which I observed that in any cinema direction, cinematography, sound mixing and recording, music, editing, screenplay are the essential and crucial elements besides performances of the actors. This film marked all the elements of film-making and every element was clearly identified amazingly. Also, this movie follows the same story-line convergence pattern of the typical Nolan style which was an additional feature to this movie.

This movie grabbed three Academy Awards and many other awards with embarking itself as one of the most accurate world war movie with highest grossing world war movie achievement.

In the end, the world is mesmerized by his films and he created his own fan following by his unique film-making style.

(P.S.: We are eagerly waiting for “Tenet”.)

Interesting facts about Christopher Nolan:

1) He directed only 10 films (as of 2019) in his career.

2) He contributed in story-writing of the all films he directed except Insomnia and Interstellar.

3) He collaborated with musician Hans Zimmer in 6 of his films.

4) He also collaborated with Sir Michael Caine in every movie since Batman Begins.

(P.S.: He had given only voice-role for the first time in the Dunkirk.)

5) Though directing such wonderful films, Nolan has never received the Academy Award for Best Director category.

6) All the 10 films directed by him till now is featured into Top 250 movies of all-time by IMDb.

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liam-neesons-best-girl · 1 month

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Qui-Gon Jinn NSFW Alphabet

Smut below the cut!

Warning: F! reader, 18+

A = Aftercare (What they’re like after sex): Qui-Gon makes sure you have water on your bed side table and a towel to clean up. He usually offers to cuddle and plays with your hair until you fall asleep.

B = Body part (Their favorite body part of theirs and also their partner’s): His favorite part of himself is his hair. It took him a long time to achieve the length he has and considers it a sign of patience he learned in his Jedi training. He also loves when you wash and comb it for him.

His favorite part of you is your stomach or your hips. He loves the idea of holding onto you for dear life when you ride him or when he eats you out.

C = Cum (Anything to do with cum): Qui-Gon will only cum after he knows you have, such a gentleman. If he does accidently cum earlier into your sessions he is all for making it up to you however you deem fit. *wink wink*

D = Dirty Secret (Pretty self explanatory, a dirty secret of theirs): He likes it when you pull his hair. It excites him because of the switch in dominance and because it pulls his face up to look at yours.

E = Experience (How experienced are they? Do they know what they’re doing?): Qui-Gon is not overly experienced since he has dedicated most of his adult life to being a Jedi. However, he is a quick learner and wants to please you.

F = Favorite Position: cowgirl and missionary may be bland but he loves being able to look at you and watch your reactions to his movements.

G = Goofy (Are they more serious in the moment, or are they humorous, etc.): In the moment he is quite serious, but every now and then the foreplay leads to a lamp being knocked over or accidently turning on his comm link. In those moments you can't help but laugh.

H = Hair (How well groomed are they, does the carpet match the drapes, etc.): He always has his hair done, whether that be half up/half down, a bun, or sometimes if he lets you; braids. Below the belt he is groomed but not bare. He embraces the natural look bestowed upon him by mother nature.

I = Intimacy (How are they during the moment, romantic aspect…): Qui-Gon is so romantic it hurts. He will fill the room with candles, soft music, wine; the works. He also loves foreplay so he takes his time with you.

J = Jack Off (Masturbation headcanon): He prefers you of course, but when he is off on long missions he uses it as a distraction or a reminder of you.

K = Kink (One or more of their kinks): breeding, spanking, role playing

L = Location (Favorite places to do the do): Ever the traditionalist, he likes to do it on a bed or some soft surface so he doesn't hurt his pillow princess. However, on the rare occasion when you say your farewells on his ship, y'all used the cockpit so whenever he navigates on that mission, he could picture you right there with him.

N = NO (Something they wouldn’t do, turn offs): Anything that would overtly hurt you or threesomes. He doesn't want to share you.

M = Motivation (What turns them on, gets them going): hair pulling, dirty talk, light saber foreplay

O = Oral (Preference in giving or receiving, skill, etc): Loves to give, loves to receive. He loves the taste of you after a long mission. His tongue methodically swipes between your folds to elicit the most beautiful moan he has ever heard.

Giving him head is an out of body experience. Only about half of his member can fit in you at once. He is so encouraging and loves the velvety movement of your tongue.

P = Pace (Are they fast and rough? Slow and sensual? etc.): Romantic and slow mostly. There will be times when you want to be railed and he will indulge that fantasy but he much rather savor the moment.

Q = Quickie (Their opinions on quickies rather than proper sex, how often, etc.): Not a big fan. He likes to spoil you and cherish the time you have together since he's sent off on missions frequently.

R = Risk (Are they game to experiment, do they take risks, etc.): The only risk you face is someone catching you both, since Jedis are not supposed to take a lover. You have become quite stealthy when you sneak out to meet in botanical gardens or behind a row of speeders.

S = Stamina (How many rounds can they go for, how long do they last…): He can go all night. Not one orgasm right after the other, but he can easily feel himself getting hard again when he sees you reach over him for a glass of water, pull your hair back, or begin kissing his chest.

T = Toy (Do they own toys? Do they use them? On a partner or themselves?): Qui-Gon doesn't like the idea. He is a too proud in some ways and likes to know he is the only one (or only thing) getting you off.

U = Unfair (how much they like to tease): Qui-Gon has great patience, but you, not so much. He'll tease you with kisses all over your face but not on your lips. Or he'll kiss down your neck to your breasts, stomach and hip but halt at your pussy. He wants to see you squirm and beg him before he obliges.

V = Volume (How loud they are, what sounds they make): He's not a screamer per se, but he is vocal. He loves to be close to you and groan in your ear, letting you know just how crazy you make him.

W = Wild Card (Get a random headcanon for the character of your choice): Qui-Gon loves dirty talk. Whether that is him telling you how good you make him feel or in saying things like, "do you want to kiss my cock, little star? Agggh, you can fit so much of me like the good little girl you are." He knows how wet it makes you and that only makes him do it more.

X = X-Ray (Let’s see what’s going on in those pants): He is a modest man but boy is he packing. Qui-Gon is 6'4'' and completely proportional if you catch my drift.

Y = Yearning (How high is their sex drive?): His sex drive is quite high but is patient. However, the first moment you two get to yourselves, he jumps your bones.

Z = ZZZ (… how quickly they fall asleep afterwards): He doesn't instantly go to sleep but rather dozes off with you.

#qui-gon #qui gon #qui-gon jinn #qui gon jinn #qui-gon x reader #qui gon x reader #qui gon jinn x reader #qui-gon jinn x reader #qui gon smut #qui gon jinn smut #star wars smut #liam neeson #liam neeson fan fiction #liam neeson x reader #liam neeson fan fic #star wars fanfiction

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darkfoxartstudio · 6 years

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The Sequel Trilogy and a Fairy Tale Heroine's Journey.

(I posted this right after TLJ, and I thought it would be worth reposting today)

The Reylo community is a beautiful place let me start by saying that. I have been a part-time meta writer/fanfic writer/silent observer of discourse/and an okay “artist.” It has been a pleasant experience for me over the last two years. I have learned quite a bit about literature, storytelling, cinematography just by being a fan of a fictional couple who I thought had a spark of something. We all invested a lot of time into theory and art of all mediums. I have made friends that I wouldn't have otherwise. The ride has at times been bumpy.

As I sit and try to take in everything in The Last Jedi I admit I am overwhelmed and rightfully so. Rian Johnson has given us so much in this movie to pick through, and over analyze for the next two years. I admit like some of you, I was confused after my first viewing and very conflicted. I wanted Ben and Rey together so badly that when they didn't end up together, I was a bit upset. I was mad at Ben for rejecting Rey, but then I was mad at Rey for rejecting Ben. My emotions were all over the map.

A lot of us felt the same way, some of us freaked out left the fandom, cried in a corner, and some took a minute to really start sifting through the wreckage.

What I have found in that wreckage (as well as many others) is a beautiful treasure. We got way more story than we could have hoped for. It is complex, it is layered and no doubt we will find tidbits of something new while rewatching it until Episode 9.

In this meta, I am going to attempt to shed light on the Heroine's Journey using a fairy tale template if you will. This will hopefully help decipher where we are in this cycle, even though it can at times skip around. I am going to give my full disclosure that I am an amateur. I don’t pretend to be the end all be all super meta writer who knows all of this as fact. I am simply using the Heroine's Journey as a guide and placing my own wet of views on what we’ve been given thus far. I highly recommend at the end of this analysis that you buy a copy of The Heroine’s Journey: Woman’s Quest for Wholeness by Maureen Murdock. I also suggest you read this blog by Theodora Gross. This is where I get the “template” for the breakdown of a Heroine's Journey as it is usually told in a fairy tale.

*Remember- This analysis is based on the fairy tale stories thus the template I am using provided by Theodora Gross.

The basic break down of a Heroine's Journey in a fairytale setting according to Theodora Gross is this

1. The heroine lives in the initial home.

2. The heroine receives gifts.

3. The heroine leaves her initial home.

4. The heroine enters the dark forest.

5. The heroine finds a temporary home.

6. The heroine finds friends and helpers.

7. The heroine is tested.

8. The heroine dies.

9. The heroine finds her true partner.

10. The heroine finds her true home.

Firstly, I am using this example for a few reasons.

JJ Abrams stated that Star Wars is more like a fairy tale or a western. Here is the actual quote from The Force Awakens Bluray commentary.

“This whole location of Maz’s, of course, mirrors the cantina from A New Hope, as this Starkiller Base mirrors the Death Star. These were the kind of locations that felt like a given in Star Wars. For example, we looked at it like a Western or a fairy tale. What are the elements that you’re going to see that makes it this genre, this specific genre? And clearly, in a Western, you’re going to have the dusty main street, the saloon. You’re going to have cowboys. You’re going to have the bad guy, who’s probably dressed in black. You’re probably going to have a castle, and a prince and a princess, if you’re looking at a fairy tale. We wanted to give these sort of, fundamental, not cosmetic, but, sort of, prerequisite elements. These locations in which we can set our new story and our new characters.”

2. George Lucas has stated Star Wars is for children and it is a fairy tale.

So if we apply Theodora’s template for the Fairytale version of the Heroine's Journey to Star Wars more particularly to the Sequel Trilogy and Rey, we get this breakdown.

The heroine lives in the initial home

The Force Awakens introduces us to our heroine, Rey. We get a glimpse into her harsh everyday life by following her through a Star Destroyer in the barren desert of Jakku- a junk planet on the outer rim. She lives alone in an overturned AT-AT working all day just to feed herself. Like most adventures or fairy tales the main character longs for a different life. Rey longs for her family and even watches a ship leave the planet. We see this in Beauty and the Beast, Sleeping Beauty, Snow White, and Cinderella. Another more similar example is how Luke wanted to leave Tatooine and looked longingly at the twin suns wishing for adventure-- this is part of Joseph Campbell's Hero’s Journey and yes there are similarities, but they are not the same at all. But for the sake of Star Wars and this discussion, I’ll throw in these comparisons.

The point of this setup is to show the audience how bad the conditions are for our heroine or how they are longing for something - a change, a person, adventure, etc.

“And this idea that she won’t share with him here is, of course, because she feels like the only belonging she’s ever going to have is her family and if she leaves she’ll never get a chance to see them. So there was a very powerful idea that what she desperately wanted was belonging, which she’ll get, but just not how she expects.” JJ Abrams TFA

The heroine receives gifts.

Unexpectedly Rey receives a gift in the form of a bright round orange droid- BB-8. This is not the only gift Rey receives. She acquires a blaster from Han Solo, and eventually the Skywalker Legacy lightsaber. I would like to take this moment to note these steps do occur in order. However, storytelling is fluid and just because the heroine receives a gift later in the steps does not void the order of the heroine's journey or take it back a step.

Another example of gifts would be Luke acquiring R2D2 and C-3PO. But he also gets the lightsaber later on. It's important to point out here as well, that in a lot of adventure type stories, we have a Call to Adventure, Refusal of the Call, The Mentor, etc. That is part of myth which is a part of every story in existence essentially in some form. Please watch these videos for reference (they are a bit long and old), but it goes over the themes and myth integrated into Star Wars. And please remember that George Lucas focused on Joseph Campbell's model of the Hero’s Journey when he first wrote A New Hope. Also yes as George has stated these stories are meant to rhyme. That does not mean they are a play by play of the plot. However, themes are similar, because the message of Star Wars is the same. “It is about love.”

The heroine leaves her initial home.

The First Order is hunting BB-8 and forces Finn and Rey to flee the planet for safety. According to Theodora sometimes the heroine is given away, runs away, or she chooses to leave. If the heroine decides to stay her home is destroyed in some way. An example of this is Cinderella. Her happy home is destroyed when her stepmother makes her work as a servant after the father dies.

In Star Wars Luke chose to leave after the death of his aunt and uncle. Anakin was taken by Qui Gon Jinn (Haaa, Liam Neeson - “Taken” get it- get it? I know I’m lame) and Obi-Wan Kenobi.

The heroine enters the dark forest.

Rey runs from the safety of Maz’s castle into a dense dimly lit forest after she Refuses the Call. In other fairy tales like The Lassie, the girl enters the dark forest after losing her temporary home. Sleeping beauty grows up in the forest, and Rapunzel enters the dark forest after leaving her tower.

The refusal of the call in Star Wars (hero’s journey) Luke initially tells Obi-Wan he can’t leave Tatooine because of his family. Anakin does not want to leave his mother. Since Rey is a heroine her journey is slightly different but similar at the same time. She doesn't want to go on this adventure because she is holding out hope that someone will come for her on Jakku. Looking back in hindsight after viewing The Last Jedi Maz is forcing Rey to face the truth. “I see it in your eyes, you already know the truth. Whoever you are waiting for on Jakku, they’re never coming back.”

Rey is not ready to face this reality yet. It is this belief that her parents were coming back is what kept her alive for so long. It was a survival coping mechanism that eventually she started to believe. However, deep down she’s always known.

“She’s telling Rey what she needs to hear, which is, “Stop trying to go home, it’s not right, it’s a waste. And that the belonging you seek is not behind you, it’s ahead.” And this is the thing that she can’t accept right now. The idea that she has anything to do with this man that she thought was a myth just this morning, and now here she is being told that his destiny is somehow tied into her choices and her actions. So, when Maz asks her to close her eyes and to feel it and to let it in, she’s not just setting up the moment at the end, when Rey is battling Kylo Ren, but she’s also telling her to stop looking and stop trying to understand and just feel and it is that great lesson of the Force. But she can’t do it. She’s not ready. She can’t take it in.”

The heroine finds a temporary home

Now we jump ahead a bit here because stories are fluid and there is no one formula or beat for beat plot that matches a heroine's journey even though they do follow a direct path. Rey’s temporary home in the entire arc of this story is physically Ahch-To and metaphorically the Resistance. If the story ended completely with The Force Awakens, then her temporary home would have been the Falcon and even her friends Han, Chewie, and Finn. But we know this is a trilogy, and the pace of this journey will be slower. Think back to the Hero’s Journey which is integrated into this framework and note that Rey didn't even Accept the Call to Adventure until the end of The Force Awakens.

Theodora notes that the heroine may think she can stay in this temporary home, but she will eventually have to leave again. Snow White's home was with the dwarves who helped care for her. Sometimes in the temporary home, she finds her true partner, but not in the right form or at the right time. Examples Beauty finds Beast in her temporary home, but he is still the Beast, selfish cruel and unkind. Rapunzel meets her prince but loses him again. Cinderella enters the castle to go to the ball, meets her Prince, but it isn't the right time. She has to leave this temporary “home.”

Rey takes up residence on Ahch-To until she can convince Luke to return. Rey knows this is a temporary home because once she succeeds, they will leave. But what is more interesting than anything else and more telling is that Rey meets her true partner, but he is not in the right form nor is it at the right time.

Ultimately Rey loses Ben again. And I want to stress this again the metaphorical home she has with the Resistance still stands. We are in the middle chapter of the story. Rey left the temporary physical home only to still hold onto the Resistance as the temporary home. And before you try to come at me with pitchforks-- when I say the Resistance, I mean it as an organization, not Leia and Finn or Poe. Those people are her friends, but she is seeking shelter in this metaphorical temporary home because Rey does not know fully who she is yet. Yes, she's a Jedi, but what is her place in all this? Wage war on the FO as the mascot Jedi for the Resistance? Or is it to find the true meaning of the Force, and try to establish some sort of balance with Ben Solo. Remember Luke played this role of legendary Mascot and embraced it-- it led to failure, hubris and the creation of Kylo Ren. Rey’s story is so much bigger than your standard Jedi or weapon of the Resistance... sorry got a tiny bit sidetracked here but you get my point.

The heroine finds friends and helpers.

Luke fills this role to a T albeit begrudgingly. The heroine finds them and enlists their aid by being kind to them and giving them what they need. Later on, they help her when she is forced to leave her temporary home.

Rey finds Luke and tries to enlists his help by telling him she won't fail he like Kylo Ren. Rey attempts to reassure Luke that she can do what Ben could not and at the same time pleads with him to help his sister, Leia. Luke does indeed help Rey after she flees Ahch-To by facing Ben on Crait. Giving her a chance to save her other friends (who have also helped her along the way Finn, Poe, Leia etc.) and what was left of the Resistance.

The heroine is tested.

Heroines can go through agonizing periods of testing. Rey is tested in The Force Awakens when she fights Kylo Ren. She is tested on Han’s freighter when she has to figure out how to help Han escape the gangs. She is tested when she goes up against Kylo in the interrogation room. Make no mistake about it, Rey will still run through the test and trials all the way up to the end of Episode 9. So what were her trials or test in The Last Jedi? If you thought The Force Awakens was tough on her, The Last Jedi was downright brutal and with good reason.

Most of Rey’s tests are not physical in The Last Jedi like they were in The Force Awakens.

The first test is to convince Luke Skywalker to return- she fails.

She fails at her Force training (according to Luke) when she goes straight to the dark and doesn't even try to stop herself.

In the cave when she asks the mirror to see her parents. The cave reveals Rey's deepest fear- she is alone, her parents are gone. But this test in the cave does have its positives even though it devastates her. It is forcing her to confront the truth she already knows - They are dead, and they were nobody.

Rey faces her biggest test in The Last Jedi when she refuses Ben's hand. At this point, Rey has already seen a vision of Ben’s future. It moved her to tears and prompted her to seek him out against all odds. When Rey realizes, Ben isn't in his true form she has to reject him. She begs him to not go down the path. But again it's not the right time yet. This is the part of the fairy tale/heroines journey where she loses the Prince/Partner again.

Although this is heartbreaking for both her and Ben the test does have its positives. Rey finally accepts the truth about her past with Bens help albeit he was a little harsh. But he also makes Rey say it. He doesn't lead the conversation by saying they sold you for drinking money, then forces her to admit it to herself. He prompts her to say it FIRST, then he confirms what they did/or his interpretation of the events. Notice Rey does not correct him. Rey learns to let go, even if it does means she has to let him go too.

The heroine dies.

Attached to the test and trials (again according to Theodora Gross) is a journey into death. Persephone's journey into the Underworld, Snow White’s temporary death/ deep sleep in the glass coffin. Sleeping Beauty and her hundred year sleep.

Rian does an excellent job showing us visually Rey’s death, during a time of testing. Rey ships herself into essentially Hell (Snoke represents the Devil) in an escape pod that looks like a coffin. Again visually this is stunning, it ties in Snow White’s death and Persephone’s journey into Hell. Also one could tie in Psyche’s descent into Hades. It all represents death.

In Star Wars we see literal death and metaphorical death. Han Solo went under a Sleeping Beauty type death. The trope was subverted, and the Princess woke the sleeping “Prince” giving him a kiss at the time of his awakening. There are other “clues” that give a nod to Han Solo’s slumber and Reys metaphorical death. The escape pod also says Property of Han Solo. Rian specifically asked for it to be written on the coffin-shaped escape pod. You have to stop and ask yourself why? General Audience viewers are not going to know it says that or even see that anything is written on it so why bother? Because Rian is telling a more in-depth story here. Nothing he has done throughout this entire movie is without thought and purpose.

What is the purpose of the death of the heroine? Well, let's think about what happened to cause Rey to run to the other side of the Galaxy-- and descend into the metaphorical underworld, to begin with. What was happening? Luke wasn't teaching her the way she thought he would. It was proving to be difficult especially once she learned the truth behind his self-imposed exile. Luke refused to get involved, his way was not working for her. Rey wanted to act.

According to because the Heroines Journey Project in this step, the new way of life is too limited. Success in this new way of life is either temporary, illusory, shallow, or requires a betrayal of self over time.

Wouldnt be Rey be betraying everything she stands for (Hope) if she just stayed away like Luke wanted her to? To give in, to let Ben Solo’s fate remain on its current destructive course? That is not Rey, it isn't what she represents in Star Wars at all. The purpose of this metaphorical death is to shed away this ideology Luke had about himself and about the Jedi.

The heroine finds her true partner.

We have not reached this point in the story. The Last Jedi ends with the heroines death (step 8). But we will get here in episode 9 and since there are only two steps left I say that is fitting for Rey’s overall arc.

In this step the partner is in his true form, the beast has transformed into the Prince. Theadora notes that in fairytales it may not seem like much of a love story because most tales are told shorthand (the prince dances with the princess three times) But lucky for us Star Wars although forced to tell such a story shorthand has and can do it. The core to this step in the journey is that the heroine and the partner recognize each other.

For Ben and Rey this could mean that they finally see each other clearly. Recognizing that the balance is not all Light or all Darkness. Or that both light and dark live in both of them. Perhaps they realize that both sides of the war are wrong and the only real way forward is through love and acceptance.

The heroine finds her true home

Rey had to leave her initial home to find her place in the world. This could be with Ben, Finn, and the rest of the Resistance which she has coveted as a second family or perhaps will occur in Episode 9. In fairy tales, Belle can finally live with the Beast, and Cinderella can live in the castle with her Prince.

There is usually a partner in these situations although it is possible to end the story without one. However, considering the heroine's journey, and the theme of Star Wars I believe we will get a happy ending for both Rey and Ben.

I’ll leave this quote from Theadora’s blog here.

“If you’re uncomfortable with the idea of the heroine finding her true partner (does she really need a man to be her partner?), you can think of it as a metaphor. The true partner is also the other side of herself, so the story shows us the integration of the feminine and masculine, human and animal, sides of the personality. I don’t know, really: I just know that the partner is usually there, that the heroine is eventually united to a prince. Perhaps it means that a union with the right other is one of the highest things we can achieve in this life, perhaps it’s about unity within the self. Either way, it seems to be part of the story.”

If you have read other meta on the Anima and Animus, you’ll understand that reference that I bolded above. Rey and Ben fit the Anima and Animus profile, I can’t express that enough. The theme of The Last Jedi throughout marketing was Balance. We have been given very blatant clues about the balance of the Prime Jedi First Order. The symbol on the floor of the temple was pretty close to a Yin and Yang symbol. We know that The Art of The Last Jedi had concepts of Rey seeing Kylo on the other side of the mirror in the Dark Side cave. Rey and Ben have been mirrors of each other since The Force Awakens. (I go into depth on Kylo/Ben’s mirror cave here). You can see it in their choreographed fighting at the end. They emotionally mirror each other (both are lonely, and were isolated). They are coded in dark and light clothing. Even when Ben speaks to Rey its as if he could be talking to himself in a mirror. This happens in both Episode 7 and 8.

The merging of the Anima and Animus is paramount to the end of a Heroine's Journey. Only then can they be complete. Rian has repeatedly stated (paraphrasing) They are both two sides of the same coin two halves of the protagonist. For Rey and Ben to not come together in balance at the end of Episode 9 would be odd, to say the least.

I've seen arguments that Ben has to die or endure some type of harm to be redeemed. But to that, I throw this line at them. “It isn't about fighting what we hate, it is saving what we love.” - Rose Tico

Sure, Ben will continue to suffer, as Rey will continue to go through trials but only until they recognize each other. I don’t think Ben has to be mortally wounded or die to gain redemption. Star Wars is about Love.

From a storytelling perspective, we’ve had a tragedy and redemption in death. Ending the Sequel trilogy (a heroine's journey) with redemption in death is repetitive and doesn't fit the structure. It is my own personal opinion that we will get happy ending with redemption in life.

#reylo #reylo and mythology #rey #rey of jakku #star wars #star wars meta #reylo meta #ben solo #rey x kylo #rey x kylo ren #kylo ren #ben x rey

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rebelsofshield · 5 years

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Star Wars: Master and Apprentice- Review

There are few Star Wars writers that have the sort of following that Claudia Gray has built in just a couple years. Any new release by the writer of Lost Stars, Bloodline, and Leia: Princess of Alderaan would be sure to be met with excitement and anticipation, but a novel following the early days of one of the most iconic duos of the prequel trilogy looked to be something special. Luckily, Master and Apprentice meets those expectations and then some.

(Review contains minor spoilers)

Qui-Gon Jinn and Obi-Wan Kenobi appear to be a mismatched pair. While Obi-Wan follows the Jedi Code and protocol to the letter, Qui-Gon’s behavior is infamously iconoclastic. Fascinated with ancient Jedi mystics and their prophecies and more than willing to bend methodology to fit the situation at hands, Qui-Gon has frequently butted heads with the Jedi Council. Despite their differences, both master and apprentice are eager to learn from one another, but their partnership may just be destined for failure. When the Council makes a surprise move and offers Qui-Gon a seat among their members, a solution appears to offer itself. Qui-Gon may finally have the chance to speak to other Jedi on the matters he sees as important and Obi-Wan may be reassigned to a more appropriate master. However, a surprise mission with connections to Qui-Gon’s past forces the two Jedi into the roles of student and teacher once more and may offer hard lessons for both men.

One of the first Star Wars books series I ever read was Jude Watson’s (aka Judy Blundell) series of middle grade books, Jedi Apprentice, that followed the training of Obi-Wan Kenobi by Qui-Gon Jinn. While now part of the Legends continuity, Jedi Apprentice offered a better understanding of the relationship between teacher and student in The Phantom Menace and also offered tantalizing glimpses into the world of the Jedi Temple. For this reason there is a certain personal thrill to stepping into the reimagining of this pairing. Even as our understanding of both characters has changed and evolved since 1999 or 2002, a lot of the core details remain. Qui-Gon is still a rule breaking, kindhearted man with a penchant for prophecy and Obi-Wan is still an approval seeking, procedure abiding boy with a tendency to get ahead of himself.

From his stoic but commanding performance by Liam Neeson to his newly found significance in the larger mythology of the Force, Qui-Gon Jinn has slowly become one of the most essential characters in the Star Wars saga. That being said, his life story has still remained mostly a mystery. Even without the larger questions regarding his place in the Force we knew preciously little about this man with key connections to some of the major players in the franchise. While Claudia Gray does still leave some of the most significant details under wraps, she does offer a deep dive into how Qui-Gon thinks and to an Order in the last days of peacetime.

Gray’s writing has always been intensely personal and readable. Gray is a writer whose plotting almost always emphasizes character over plot and the most fascinating story beats are dependably driven by the psychology of her cast. While Gray may be over reliant on dialogue, which is a fault that she herself recognizes, it gives her novels, Master and Apprentice in particular, a flair for the cinematic and emotional. The result is that the novel moves along with an energy to it that carries you throughout an impressively extensive ensemble and twisting plot with apparent ease. Quite simply put, Master and Apprentice is a joy to read.

Thematically, Gray mines the title of this piece for all its worth. Like how the famous finale to Star Wars Rebels’ second season carried multiple meanings for different characters, Master and Apprentice takes that same approach to its cast. While the main focus of the novel is on Qui-Gon and his tutelage of Obi-Wan, Gray explores in a deeper way the meaning of this sort of educational relationship. The dynamic of teacher and pupil works itself into the narrative and Gray posits how a healthy version of one of these relationships can form and grow and what dangers may result from when they fail.

Master and Apprentice in particular explores these themes in the symbolic family tree that spins out of from Dooku. While glimpses into the Count turned Sith are brief and heavy on the foreshadowing, Gray proves more interested in the legacy he leaves behind. In the process, this leads to what is easily her most fascinating original creation in Rael Aveross. Essentially Qui-Gon’s Jedi big brother, Aveross is painted as an atypical Jedi with a complicated emotional and personal history. On a surface level, Aveross is a kind of swashbuckling, devil-may-care Jedi that challenges our perception of a famously rigid and stuffy Order, but his actions carry with them a pattern of self-destruction and trauma that Gray slowly seeds throughout the narrative. Aveross proves to be only a cog in the larger plot that Gray spins Master and Apprentice, but his arc and characterization, particularly in how he interacts with Qui-Gon, is the most intriguing and thematically illuminating.

In terms of its larger plot structure, Master and Apprentice unfolds as a mixture of political thriller and science-fiction mystery. Not unlike Attack of the Clones, the action centers around the attempted assassination of a young political figure on the eve of an important vote with galactic implications. It makes for a fun plot structure with different unfolding pieces, various agendas and factions, and unexpected swerves in direction. As a whole, it offers an interesting peak into a galaxy before it was plunged into the chaos of the next century or so and fans of classic Legends material will be pleased to see numerous hints and call backs to old lore. However, those familiar with Claudia Gray’s work may find themselves with a sense of déjà vu as the larger scheme at play in Master and Apprentice becomes apparent. Structurally, the whole thing displays more than a passing resemblance to the larger conspiracy in her rather stellar Leia novel, Bloodline. It never makes the book less of an enjoyable read, but it can’t help but feel familiar and unfortunately formulaic. Luckily, Gray’s snappy prose and strong sense of character prevents Master and Apprentice from feeling like a retread, particularly when its sense of theme is so strong and pervasive.

Overall, it’s a great time to be a prequel fan. Between this year’s stellar young adult novel Queen’s Shadow and Gray’s latest release, the controversial but now cult classic era of Star Wars is having a new boom in content. If it means we continue to get books of this quality, I am all on board.

Score: B+

#Star Wars #Master and Apprentice #review #reviews #Qui-Gon Jinn #Obi-Wan Kenobi #Claudia Gray #Star Wars novels #Star Wars books

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douxreviews · 5 years

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Krull (1983) Review

"In the fortress you will need more than men and swords. You will need the power of the Glaive."

Krull is a work of pure cinematic cheddar. I used to adore Krull when I was younger. It was one of those films that made those rainy Sunday afternoons stuck inside just that little bit more bearable. I still have some leftover childhood affection for it, despite all its flaws.

Everything kicks off with the most disastrous wedding since Amanda Carrington wed Prince Michael of Moldavia. The beautiful (but bland) princess Lysa is about to marry the handsome (but bland) prince Colwyn when the wedding is crashed by the Slayers, a group of wannabe Stormtroopers with equally dire marksman skills. In next to no time the guests are mascaraed, the bride abducted, the groom is mortally wounded and the band they booked for the reception is still late.

The Slayers take her back to the Black Fortress, a massive, err, fortress that changes location every morning (which must make ordering stuff off Amazon tricky). You see, their master, the unimaginatively named 'The Beast', has decided to marry this beautiful (but bland) princess. Why? I'm not sure. Best I could come up with is because she's played by Lysette Anthony. I don't know about anyone else but that's a good enough reason for me. Even if she has been dubbed by another actress.

Luckily for Lysa, her handsome (but bland) husband to be is nursed back to health by a wise old sage, who eventually sacrifices himself so that the hero can complete his quest (as you do). Soon enough they are setting off on said episodic quest to rescue the beautiful (but bland) princess from the Black Fortress. Assuming, that is, they can find it. Neither of them thinks of checking Google Maps before they leave. First stop, pick up cool super weapon. All questing heroes need a cool super weapons. Since Lightsabers are copyrighted, he'll have to settle for the Glaive. A really fancy shooting star that, for some foolish reason, will only be used once and then discarded.

Next, they need to get themselves a gang together. Questing is no fun if it is just you and some old bloke. People will assume you're a delightful gay couple on holiday for the summer. So along the way they teams up with a comedy wizard, a Cyclops (who, also, eventually sacrifices himself) and a ragtag team of bandits including Thénardier, Osker Schindler, Hagrid, Tucker Jenkins and additional canon fodder. As badass fantasy teams go, the Fellowship of the Ring have got nothing to worry about. Most of this lot will be dead by the end.

Krull suffers from the same problem as all 80s fantasy films; predictable plotting, bland characters, cheesy monsters, corny dialogue, cheap special effects, and acting that just screams 'I really fancy getting a new conservatory'. It's a film that aims big, regardless of how small its budget is. It wants to do for sword and sorcery what Star Wars did for science fiction. Obviously the filmmakers thought the best way to go about this was blatantly copying that film’s plot (Lucas can't exactly complain, he'd already swiped it off Kurasowa).

Nevertheless, there is much to enjoy in Krull. For starters, there's the sequence with Francesca Annis and the giant spider that still gives me the creeps, despite the dated effects. James Horner provides a robust, swashbuckling score. Just try and ignore how much it recycles his work on Wrath of Khan. The Glaive is an awesome weapon that the film doesn't make enough use of. And I just can't help but love any that casts someone like Alun Armstrong as its Han Solo figure. Wonderful actor through he is, Harrison Ford he ain't.

Notes and Quotes

--Lysette Anthony wasn't the only one to have their vocals replaced. Robbie Coltrane was dubbed by actor Michael Elphick.

--If I were in Colwyn's shoes, I'd just tell Liam Neeson that the Slayers took his daughter too and send him to the Black Fortress alone. The poor bastards wouldn't stand a chance.

-- Going by the surrealist interiors of the Black Fortress, the Beast must be something of a Dali fan. Could do with some comfy chairs, though.

Colwyn: "The forest is not safe. You best travel with us." Ergo: "Me travel with you? Do you know who I am?" Colwyn: "No." Ergo: "I am Ergo the magnificent. Short in stature, tall in power, narrow of purpose and wide of vision. And I do not travel with peasants and beggars. Goodbye!"

Ynyr: "There are kingly virtues other than bravery. Courtesy is one of them."

Colwyn: "The reward is freedom... and fame!" Torquil: "Freedom? We have it! And fame? Nah. It's an empty purse. Count it, go broke. Eat it, go hungry. Seek it, go mad!"

Colwyn: "Would you follow a king to the black fortress?" Torquil: "Now I know you're a lunatic. I wouldn't follow me own father to the black fortress."

Two and a half out of four Downton Abbey dvds the Beast ordered off Amazon.

Mark Greig has been writing for Doux Reviews since 2011.

#Krull #Doux Reviews #Movie Reviews #something from the archive

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wazafam · 3 years

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Zack Snyder's Justice League boasts a highly-acclaimed star-studded ensemble, many of whom have established a fanbase beyond their pursuits with DC Extended Universe. While actors like Ray Fisher (Cyborg), Jason Momoa (Aquaman), and Ciaran Hinds (Steppenwolf) might be more popular with their TV roles, leads, like Gal Gadot (Wonder Woman), and supporting actors, like JK Simmons (Jim Gordon), have tasted cinematic success before.

RELATED: DCEU: The 10 Best Performances In The Franchise, Ranked

A few cast members, like Ben Affleck (Batman) and Willem Dafoe (Nuidis Vulko), have even been associated with other non-DC superhero films, like Daredevil and Spider-Man respectively. The aforementioned Simmons and Joe Manganiello (Deathstroke) have also had side roles in the latter.

10 Braven (2018) - 5.9

Braven unites Stephen Lang and Jason Momoa as a father-son duo who must fight off drug traffickers while being trapped in a cabin amidst a snowy landscape. The setting and the storyline might seem simplistic, but the action easily makes up for everything.

RELATED: Jason Momoa’s 10 Most Badass Roles, Ranked

Even though it doesn't offer anything new in terms of Momoa's acting, action-thriller flicks like Braven do suit his persona and physique. Further, for fans of his historical period drama, Frontier, the film will make for another opportunity to see Momoa brave the North American wilderness.

9 Cinema Verite (2011) - 6.5

Cinema Verite is a fictional account of the origin of one of America's earliest reality TV shows. Diane Lane leads the HBO film's ensemble, while Tim Robbins plays her husband. They seem to have an ordinary suburban life in the 1970s as the former's character handles the home, while the latter is mostly out on professional trips.

RELATED: The Sopranos: James Gandolfini's 10 Best Movies, According To Rotten Tomatoes

Witnessing the family's drama unfold in front of him, an ambitious director plans to capitalize on their real-life trials and tribulations by shooting a reality series on the family. A nine-time Emmy nominee, Cinema Verite is a must-watch for fans of family-centric reality television.

8 Enola Holmes (2020) - 6.6

Without a doubt, Millie Bobby Brown is the star of the Netflix comedy-drama Enola Holmes. However, Henry Cavill too succeeded at his unconventional (and slightly literature-accurate) portrayal of the detective Sherlock Holmes.

As Enola heads out on a trail of mysteries to find her missing mother, Cavill's Sherlock serves as a passive observer. He's introduced as a highly-skilled detective and yet he chooses to stay away from the limelight, allowing his equally-skilled sister to take charge. The role is a fresh take on the iconic character and offers Cavill some versatility, as viewers have gotten used to seeing him as usually a lead actor in action films.

7 Big Eyes (2014) - 7.2

While films like Arrival and Nocturnal Animals make for essential viewing, a lesser-known gem in Amy Adams' filmography is Big Eyes, Tim Burton's biopic on Margaret Keane.

RELATED: 10 Best Movies About Famous Artists, According To IMDb

Featuring standout performances from both Adams and Christoph Waltz, Big Eyes uses a comedic-dramatic approach into the life of artist Margaret Keane, her unique style of painting big-eyed characters and her struggles to get recognized for her work, as her abusive husband often took credit for it through unlawful means. Adams' performance earned her a Golden Globe win, along with a BAFTA nomination.

6 Reversal Of Fortune (1989) - 7.2

While Jeremy Irons' mainstream roles include antagonist turns in The Lion King and Die Hard: With A Vengeance, the British actor earned an Oscar win for his portrayal of the socialite and murder accused Claus von Bulow in the legal drama Reversal of Fortune.

Inspired by a true story, the film finds a wealthy man (Irons) convicted of the death of his wife (Glenn Close) as he desperately tries to clear his name. Rather than relying on any cheap genre tropes, Reversal of Fortune goes down the path of slow-burning thrills to flesh out suspense that leaves morally grey areas.

5 Silence (2016) - 7.2

Arguably the most underrated entry in Martin Scorsese's recent filmography, Silence finds two Jesuit priests (Andrew Garfield and Adam Driver) embarking on a journey to 17th century Japan to find their long-lost mentor (Liam Neeson). Meanwhile, the country is in turmoil as adherents of Christianity are increasingly prosecuted. What ensues is a complex tale that tests the faith and survival of all its characters.

Steppenwolf actor Ciarán Hinds has a major role in the start as the real-life Italian missionary Alessandro Valignano, who goes on to send the two protagonists on their travels.

4 Fast Five (2011) - 7.3

The film that introduced Gal Gadot's Gisele Yashar also turned out to be a watershed entry in the Fast and Furious franchise. Even though Fast Five's predecessors chiefly focused on street racing as an overlying theme, the 2011 film raised the stakes adding an international heist angle to the mix. The franchise has only increased in scope and scale ever since.

Gadot's character was an ex-Mossad agent, her first major American film role. She also performed her own stunts and in fact, director Justin Lin took her on board for her past experience in the military.

3 We Need To Talk About Kevin (2011) - 7.5

Based on the novel of the same name, We Need To Talk About Kevin serves as a psychological thriller and a realistic horror as it documents the coming-of-age of Kevin (Ezra Miller), a socially awkward boy with violent tendencies.

While the film unleashed a much younger Miller's dramatic prowess, Tilda Swinton also delivered one of her career-best performances as Kevin's troubled mother who desperately seeks a solution to parent her child. Hauntingly beautiful frames coupled with unsettling imagery make this Lynne Ramsey-directorial feature disturbing and yet highly relevant.

2 The Town (2010) - 7.5

A massive modern update on the otherwise-oversaturated heist genre, The Town finds director/star Ben Affleck heading back to his hometown of Boston to weave a tight-knit, adrenaline-fueled thriller. The premise involves a bank robber falling for a bank assistant, a move that jeopardizes his entire team's operations.

The Town's impact can be felt on Affleck's career as following Gone Baby Gone, The Town established his status as a noteworthy director, especially in the thriller genre. This was further strengthened after the release of Argo, a few years later.

1 Lord Of War (2005) - 7.6

Jared Leto has had a diverse filmography that includes both blockbuster films and experimental projects. While films like Blade Runner 2049 and Requiem For A Dream are common picks to appreciate his acting skills, a comparatively under-the-radar pick is Lord of War, in which he had a supporting role alongside Nicolas Cage.

The film works as a faux-biopic as it documents the rise of a global illegal arms dealer who finances his daily life through violence and terrorism. Leto brings his influences from Requiem as he appears as the protagonist's morally unstable and drug-addicted brother. It's a quintessential Jared Leto role, allowing him to channel his energetic self.

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theantisocialcritic · 4 years

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Archive Project - September 11, 2014 - Upcoming Fall 2014 Films

Yay! Its fall movie season! Blockbuster season is over and its time for Oscar Bait to rise! There is a lot of stuff coming out in the next 4 months, a lot of which I won't get around to reviewing. Lets take a look at what we're in for! September A Walk Among the Tombstones: Everybody loves Liam Neeson! The fall's first interesting movie stars him in something of a film noir murder mystery. The latter part of September tends to be when a lot of really underrated movies come out like Dredd, Looper, Prisoners and Rush. I have a good feeling about this one! Maze Runner: Hollywood will, for the fiftieth time this year, attempt to make the Hunger Games lighting strike again with another book adaption… This looks terrible… Tusk: If your a fan of the works of Kevin Smith your probably already dying for this one! Human Centipede with a Walrus! If your not familiar with the works of Kevin Smith… Go out and watch Clerks right now!! The Equalizer: Despite some early low reviews, film geeks are all clamming to see this movie! Hopes are high that Denzel Washington can create his own action series. Will it…? Probably not but hope so! October Annabelle: Fans of The Conjuring have been ranting about this too me for months now and i;ll take their word for it! I'm not a horror fan but this should be interesting! Gone Girl: The director of Fight Club, Seven, The Social Network and The Girl with the Dragon Tattoo brings us a Ben Affleck film! Theres a lot of hype around this! Should be a good movie! Alexander and the No Good, etc: This looks lame… Automata: Some critics in high places have been mentioning this a lot. I haven't seen much promotional material for it but its supposed to be a decent Sci-Fi movie! We'll see! The Judge: Robert Downey Jr. plays a Judge that must defend his estranged father in court. Sounds good to me! Crimson Peak: Guillermo Del Toro fans have been collectively flipping out about this new horror movie. Del Toro is one of the best directs of horror in Hollywood and has a strong grasp of subtlety and a morbid sense of creativity. Might be something brilliant here! Dracula Untold: This movie reminds me of I, Frankenstein… thats a baaaaaad sign…. Book of Life: Topping the list of my most anticipated movies right now is Book of Life! A Disney movie filtered through the cultural sensibilities of El Tigre with all the racism beaten out of it by Guillermo Del Toro! This movie is visually gorgeous and looks fiercely creative! I'm super excited! BoxTrolls: Have you seen Coraline and ParaNorman? YOU NEED TO SEE CORALINE AND PARANORMAN!! Also see this! A fun, creative stop motion movie by an incredibly talented team! ParaNorman flopped in theaters and BoxTrolls needs to succeed! KingsMan: The Secret Service: Matthew Vaughn's newest pick starts British SS agents in training that have to stop some sort of plot from happening! Vaughn brought us Kick-A** and X-Men: First Class! Both excellent action movies! KingsMan should be interesting! Rifftrax LIVE Anaconda: The last two live shows by Rifftrax have been amazing! The live roasts of Sharknado and Godzilla (98) were absolutely hilarious! Their next roast should be really great! November Big Hero 6: Disney is on a freakin roll!! Frozen, Wreck it Ralph and Tangled were all great animated films that managed to go beyond just being cynically made animated films. They were all genuinely great pieces of film and now they look to be about to make light night strike again! Adapting the barely known Marvel comic series the same way they approach classic fairy tales might be a stroke of genius and seeing it play out with the same energy and style of Wreck it Ralph and Guardians of the Galaxy. This is my most anticipated movie of the fall! Intersteller: Someone once said that if Nolan ever made a forth Batman movie it would have to goto space to be bigger than the Dark Knight Rises. At least part of that was true. In his first movie since the completion of the Dark Knight Trilogy, Nolan presents a high caliper Science Fiction movie about man's last attempt to stave off extinction, looking beyond into the stars for a new home. This movie might be great! Dumb and Dumber Too: sooo… This is a thing…. Theory of Everything: I haven't heard much on this but its an art house romance movie about Steven Hawking. Should be fascinating if nothing else. Fox catcher: Why am I imagining Channing Tatum as Cinderella Man here..? Fury: Brad Pit plays a WWII tank driver, fighting on the front lines with a rookie crew member after the loss of his best soldier. These men must survive the war. Should be fascinating. MockingJay Part 1: I'm not sure how to feel about Hunger Games now that Catching Fire has passed. The first movie was extremely boring but the followup was a vast improvement I rather enjoyed. From here though I don't know where the series is going to go and how well the characters work within the formula of the first two movies is beyond me.. well see.. The Penguins of Madagascar: I generally hate spinoff animated movies. They aren't always bad but they feel terribly cynical and i'd rather they don't exist. Penguins feels like a rather good idea though, simply because there is proof of concept that has me thinking this might be well thought through. The animated cartoon on Nick Penguins of Madagascar has been an intermitedly interesting exercise in cynicism but managed a few really great episodes that I enjoyed as a teenager. It helps of course that the Penguins were the best part of the Madagascar movies. This might be something great! December Paddington: A wacky British bear goes on wacky misadventures! I… don't know how to feel... Exodus: With the rampant success of movies like Son of God and Noah, Biblical epics are becoming popular again in Hollywood. Now Ridley Scott (Alien, Gladiator, Blade Runner) is throwing his hat into the ring with a retelling of the story of Moses. Despite the weird casting and crappy promotional materials, Exodus has a lot of potential and might be one of the year's cinematic highlights! Hobbit: The Battle of Five Armies: What is the Hobbit Trilogy? A cynical, forced production? A party to celebrate the Lord of the Rings? Whatever it is, these movies have been fun if nothing else. Finally the newest run through Middle-Earth will come to a conclusion. Can John Wattson defeat the voice of Khan…? Well clearly, he survives because he is in Fellowship… It'll still be cool though! Annie: I hate Annie… No amount of gimmicks and stunt casting will make me like it… Night at the Museum 3: I actually liked the first movie. It came out when I was young enough to find some enjoyment in it. The second one sucked… Now we have a long awaited by nobody third one which is anybody's guess. At this point the most interesting thing about it is that it is Robin William's last post-mortem performance so that will be fascinating. Into the Woods: This might be quietly brilliant. With Disney currently in the works on producing a full line of live action adaptions like Maleficient and Cinderella, a big production of the famed musical Into the Woods seems.. interesting… I'm not a huge fan to the musical but this might be what it takes for me to really get into it, depending on how they pull it off. The stage production is in my opinion a very disjointed story that only really gets by on its more anachronistic and surprisingly dark comedic moments. Seeing Disney try to pull it off however might be what it takes to elevate the story if they take it somewhere interesting! In any case, the cast is interesting and interested to see it. Unbroken: Angelina Jolie's directorial debut tells the story of an Olympic runner that is drafted to WWII, captured and forced into a prison camp. I don't know how good this is going to be, but at the very least it will be a strange, different sort of movie. The Interview: And to finish off the year, whats likely the thing that will finally spark WW3 with the North Koreans! Seth Rogen and James Franco are spies that infiltrate N. Korea and attempt to kill Kim Jong Un. Given Rogen's incredible recent filmography of This is the End and Neighbors, I think we are in for something special! This will be an interesting season! Thank you for reading! Live long and prosper!

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