#miles haunted hathaways | Explore Tumblr Posts and Blogs

whoiwanttoday · 2 months

Text

The world is often full of some inherent contradictions that make it hard to navigate. Experience is really the only compass we have, which is why in theory we should listen to our elders but in reality a lot of them have dementia and the truth is an experienced dipshit is still a dipshit, so if you are young you don't really have the experience to tell which else is wizened and which one is just old and bitter. Like drugs are a good example. I grew up in an era where we sure were told a lot about how bad drugs were. I remember this one PSA where it was a guy in profile and he started talking aobut trying pot and the top of his head turned to ash, then he did more drugs and more of him turned to ash and eventually he like died in a gutter and all ash and got blown away at the end. It's scary stuff but as you get older you see other people do drugs and they don't choke on their own vomit at all. Instead Jessica Miles makes out with them. It's not at all what the PSAs warned us about and you start to feel a little lied to when you realize drugs actually make you feel good and if you do them then people think that you're cool. Obviously, it takes time to know there are degrees to all of this. You can do all the lines of coke you want off of a computer desk at 7 AM while sitting in your underwear and writing about who you want to fuck today and pretty much no one will think that you're cool, so context still matters but it is one of those inherent things that meant I saw a lot of people swing too far one way and then the other in response to this sort of thing.

Anyway, I was thinking about this and how we can really vacillate too far one way or another and Anne Hathaway and Christopher Nolan. Nolan recently said he didn't know what the line meant, "You either die a hero or live long enough to become a villain" meant when he put it in the movie and I am with him there, like I kind of got it but it felt like a cumbersome line and no one had ever said that before so why did they act like it was a common saying. People say it now though and boy does it resonate as we as a culture turn on things and people. Anne Hathaway said in an interview about how hard it was when the internet turned on her. I remember that. I never quite got it but I was told it was because I wanted to fuck her so I was blinded to what a monster she is I guess. I'd love to counter this claim but my dating history makes it pretty clear that this is entirely possible. Anyway, I don't want to discount the possibility that Anne Hathaway is a monster but the truth is none of us know. She's certainly not our friend and I am willing to believe I would find most celebrities unbearable in person. This is just because they live in a world where they are surrounded by people who makes sure they know they are the center of the universe and I don't really know how that doesn't turn someone into an asshole. Like I have a ZZ Plant in my kitchen named Spencer. He's named Spencer because someone once told me plants are supposed to have names so I named him Spencer. Then they told me that's a stupid name and I said, "You're mom's stupid". We both laughed like it was a joke but I kept the name Spencer just to tweak her and I hope deep down my witty comeback still haunts her when she can't sleep. Anyway, my point is I don't particularly care about Spencer's feelings or if he even thinks Spencer is a good name. I water him when the notification comes up on my phone and otherwise kind of ignore him. What I am saying is lots of plants might think I am an asshole because I consider myself to be far above them and they might be right but Spencer is the only plant here so those other plants are just guessing. So Anne Hathaway might treat people like garbage or just sort of not think about them because she is supporting them and watering them but I don't know. So the idea that celebrities are someone to lionize or vilify is kind of weird but I think about my friends now who give their kids lectures on drugs when I fucking saw you rolling at foam parties and pretty much groping anyone who would let you. We aren't great at inbetweens. So like, sorry Anne Hathaway went through that but it's kind of just how people work. I had a point here but I lost it, I was too caught up laughing about how much it probably burns that I named my plant Spencer and got off a sick Mom joke on someone 4 years ago. I guess my core point is today I want to fuck Anne Hathaway.

#Anne Hathaway #brunette #Actress #whoiwanttofucktoday

38 notes · View notes

hathaway-hayes · 8 months

Text

The Veteran

The kids have come home, Winded, bloodied and filled spite, A putrid boiling from the left eye And admonition every dawn; This final gift, never waning, Given by and guaranteed his final victim.

I can taste the bitter born deserts, “Might as well,” millions Of both miles and tears away As I watch him limp to the counter – Two dollars short for the apple pie he’d been Promised mere seconds prior deployment;

Oaths and only to be broken now, busted, Nursing half-a-life and the half-eaten burger He couldn’t afford; ten bites and All he’d dreamt under Arabian skies, Savory, the home he’d always known, Or in the least, always assumed;

Home was to hold, not to hunt, Not to haunt, not to taunt, never to forget As a concrete cold replaces tax-payer steel When he still shakes from the night prior, Later hours with drink And even later, without her.

So comes my smallest gesture When I spring the two bucks, Turn and walk away Wishing that I’d dropped a ten For the bottle he’d really wanted, But kept, for the coma I’d needed.

Truth be told, I’d felt a little victimized too; At the failure of, “god,” the failure of, “country,” The failure of, “me,” and entirely, the failure of, “we.”

- Hathaway Hayes (2014)

12 notes · View notes

incorrect-caps-etc · 2 years

Conversation

TJ Oshie: In an effort to avoid supporting megacorporations, I shall now be posing questions directly to the group chat that I would otherwise have googled.

TJ: If mayonnaise is just eggs and oil, why is it creamy?

Dmitry Orlov: Because it’s also evil.

TJ: Thanks! Have scientists figured out what dark matter is yet?

Tom Wilson: Yup! It’s anything that takes up space, has mass, and is goth.

TJ: Wow! What happens if you eat 23 packages of peeps?

Evgeny Kuznetsov: You meet god.

TJ: Thank goodness! What’s the correct way to eat a banana?

Alex Ovechkin: Whole, in one gulp.

TJ: Delicious! Who is the Muffin Man?

John Carlson: Father of the Muffin Boy

TJ: Makes sense! Why is my car making a ker-klunk noise?

Nicklas Backstrom: Car’s haunted

TJ: Uh Oh. How to fix a haunted car?

Garnet Hathaway: Slam into a priest in a crosswalk going at least forty miles an hour

TJ: It worked! Where does the wax in scented candles go?

Carl Hagelin: Into the sky, where it turns into stars

TJ: Cool! Why are weddings so damn expensive?

Nic Dowd: Priest has to pay for medical bills related to haunted car crashing into him.

TJ: . . . Ah

#source: tumblr user whynotfabulous et al #long post #washington capitals #incorrect quotes #incorrect hockey quotes #incorrect nhl quotes #tj oshie #dmitry orlov #tom wilson #Evgeny Kuznetsov #alexander ovechkin #John Carlson #Nicklas Backstrom #garnet hathaway #Carl Hagelin #nic dowd

50 notes · View notes

denimbex1986 · 10 months

Text

'Think about Sylvester Stallone training as Rocky while the empowering theme song building him up. The montage is an editing technique you have seen before, in many different ways, like Rocky reaching those museum steps. It might be emotional, the passage of time can be rapid, and there might be new reveals. You have probably seen this technique in the movies by director Christopher Nolan, which dive into the spectacle of the story and emotional cores of the characters. A dream thief struggles with fantasy and reality. A dark knight never loses his heroism. The thoughts of doomsday torture a physicist. Editors Lee Smith and Jennifer Lame worked on these titles to create an ending with a potent impact before the screen goes to black. While not all of Nolan’s movies end this way, he seems to love a good montage to bring everything full circle.

'Inception' and 'Interstellar' Expand Their Worlds in Different Ways

“Come back to reality,” Professor Miles (Michael Caine) says for an important line in Inception (2010), where not everyone knows what is real or fantasy. The professor tells this to Dom (Leonardo DiCaprio), an expert thief who can invade a target’s dreams. The loss of his wife Mal (Marion Cotillard) has turned him into a haunted man. He deeply regrets his part in her death, but one mission could allow him to return to his children. That is if Dom doesn't cause his own downfall. He constantly rushes to use his totem, waiting for the spinning top to topple over, which will assure him he’s out of a dream. Many of the memories Dom retreats to in his mind are of his late wife, but there is also the final moment he sees his kids. And after Dom successfully completes the central mission, Hans Zimmer’s score intensifies on the journey home.

There is hardly any dialogue in this montage ending. The pacing and transitions are smooth and quick, almost dream-like, as Dom gets closer. Then the music slows. Dom doesn’t look to his spinning top, instead he hurries to his family when he gets the chance. His memories and life have been seen throughout the movie, and this, his most personal experience, isn’t meant for us. The camera pans away to the spinning top, which is about to fall. Mal was “possessed by an idea,” Dom explained at one point, this last shot of the spinning top is just as captivating. Nolan clarified what the ending means, in his own way, “There is a nihilistic view of that ending, right? But also, he’s moved on and is with his kids. The ambiguity is not an emotional ambiguity. It’s an intellectual one for the audience.” Dom’s totem and his children are part of Inception’s conflict of fantasy and reality, and this is what the montage lingers on. In Nolan’s other sci-fi epic, he goes bigger than slipping into someone’s subconscious.

The universe to Interstellar (2014) is endless. Cooper (Matthew McConaughey), Dr. Brand (Anne Hathaway), and the Endurance crew travel through a black hole to hostile planets in distant galaxies. They hope one will be the new home for the endangered human population. At various moments, there is cross-cutting, one method to limit how far Cooper is from his daughter Murph (Jessica Chastain). In a last ditch effort to save many lives, Cooper leaves Brand to travel to the next planet, allowing himself to be taken into the black hole. But it spits him out into a strange new setting where Cooper communicates with Murph across the previous years. Murph uses the data he sends over to save him and the world. For the existential crisis that erupts on Cooper’s space odyssey, the story narrows down to a child and parent finding each other again.

Cooper is finally reunited with Murph (Ellen Burstyn), now decades older than himself. She weeps, but takes comfort in seeing him, knowing it would happen. And why? “Because my dad promised me.” She doesn’t want him to see her imminent death, so she sends him to go find Brand. The ending closes in on both Cooper and Brand, separated by galaxies, but he’s been faced with greater obstacles. The montage has Cooper get into a spacecraft, while Brand sets up camp on a planet that will be suitable for life. It’s a new beginning, and Murph’s narration works as a closing statement: “Maybe, right now, she’s settling in for the long nap, by the light of our new sun, in our new home.” These final moments are hopeful. However, in Nolan’s superhero movies, it gets more complicated.

Gotham City Perseveres Because of the Batman

The Dark Knight (2008) challenges Bruce Wayne (Christian Bale) like never before with the chaos of the Joker (Heath Ledger). When it seems this villain is defeated, the Joker cackles, “You didn't think I'd risk losing the battle for Gotham's soul in a fistfight with you?” Another force of chaos is unleashed in the grieving, half-burned Harvey Dent (Aaron Eckhart), who has been manipulated terribly. Gotham’s white knight has sent crime lords and mobsters into prison, cleaning up the streets, but by the end, Dent wants revenge over who he blames for the murder of Rachel (Maggie Gyllenhaal), including a loved one of Commissioner Gordon (Gary Oldman). Dent is killed when Batman intervenes and the linear timeline is made flexible during the movie’s closing moments.

Batman isn’t a white knight, he can be blamed for Dent’s actions. In the montage sequence, Gordon gives a eulogy on Dent, then smashes the Bat Signal at a later time. For the greater good, the public will believe the cover-up. Can Batman die a hero, or will he live long enough to see himself become a villain? It seems Batman will be a villain to Gotham. But in The Dark Knight Rises (2012), the nocturnal crusader figures out how to avoid both of these scenarios. What helps is the emotional core to this trilogy in the relationship between Alfred (Michael Caine) and Bruce.

Alfred explains how he would take a trip to Florence, and visit a café where, “I had this fantasy that I would look across the tables and I’d see you there, with a wife, maybe a couple of kids. You wouldn’t say anything to me, nor me to you. But we’d both know that you made it. That you were happy.” That doesn’t seem to be the ending for Rises when Gotham is trapped under a nuclear bomb’s countdown. Batman is able to secure it to the Bat Wing, flying it safely out of the city, without any way he could survive the ensuing explosion. Bruce and Batman are soon memorialized, where Wayne Manor gets turned into an orphanage and a statue is built in honor of the dark knight. They die as heroes, or so it seems.

It’s in the title, the whole movie is about rising. There is the chant, “Deshi Basara!” that echoes in a prison pit, translated to, “Rise.” There is Bruce’s return into the bat armor, then his second return after his back is broken. Gordon delivers another eulogy, this time for Bruce, stating, “I see a beautiful city and a brilliant people rising from this abyss.” The ending makes good on all these motifs. Alfred goes to the café he mentioned and there he sees Bruce, alive and content. A booming score swells during the final scene, where Officer Blake (Joseph Gordon-Levitt) is lifted in the Bat Cave to become a new protector. For this brisk epilogue, Bruce gets his happy ending, while Gotham remains in safe hands. When Nolan makes movies based on real-life, the montage reflects on the horrors that have been seen.

Christopher Nolan’s Historical Thrillers Face the Future

Dunkirk (2017) pays off from previous scenes for a somber conclusion. On the civilian side of the story, George (Barry Keoghan) jumps onboard Mr. Dawson’s (Mark Rylance) boat, hoping to do something big with his life. The plan is to save the lives of stranded English soldiers. An accident from a traumatized soldier (Cillian Murphy) causes George to fall and suffer a severe head wound. Laying nearly motionless, he confides to Mr. Dawson’s son Peter (Tom Glynn-Carney) his hopes of being in the newspaper where his father and old teachers see him credited him as a hero. He ultimately dies, not surviving long enough for the rescue of soldiers from a disaster. George’s death doesn’t seem courageous in any way until the ending.

During the final scenes, Peter gets George’s picture and obituary into the paper, where he is hailed as the hero the young man wished to be. This cross-cuts with other scenes with active soldiers. Alex (Harry Styles) makes Tommy (Fionn Whitehead) read the paper, unable to meet the eyes of people outside their arriving train. They aren’t viewed as cowards like Alex fears, they are victors, having survived is enough. Out on the beach they were rescued from, infantry helmets lay out on the sand, although many were saved, many others died. Spitfire pilot Farrier (Tom Hardy) is taken captive, but after he burns his plane to destroy it from getting into the enemy’s hands. Out of all these moments, the strongest element goes to poor George. He is a hero for stepping onto Dawson’s boat and for having to deal with the consequences of war. In the case of Nolan’s other historical movie, a darker resolution is reached.

Oppenheimer (2023), at three hours long, is laced with doom. Cillian Murphy’s portrayal of J. Robert Oppenheimer is a man who can’t articulate his anxieties, or if he does, he’s ridiculed for it. At the start, he’s fascinated with the quantum world. Once he conquers the atomic bomb, these visions turn against him. The physicist soon fears that his creation will destroy everything one day. In a fantasy, he’s stuck in a fighter jet watching nuclear destruction. In another, he sees the world catch on fire when the atmosphere ignites. A major scene takes place between Oppenheimer and Albert Einstein (Tom Conti), but the audience can't hear what is being said at first, just like the lurking form of Lewis Strauss (Robert Downey Jr.). It’s this exchange that concludes the story.

“When I came to you with those calculations,” Oppenheimer tells Einstein, “we thought we might start a chain reaction that might destroy the entire world.” Einstein nods, recalling this, “I remember it well. What of it?” Murphy’s face is frozen, an expression that shifts depending on who might be watching, it could be of shock, horror, or a grim acceptance for what he’s done. “I believe we did,” Oppenheimer replies. In his head, nuclear missiles are fired into the sky and the atmosphere lights up, this time from global nuclear weaponry. The ending is no longer the physicist’s nightmares, but a plausible, current threat which the movie’s own audience will have to deal with.

Inception, Dunkirk, and the other movies have a runtime that is over two hours long. The ending needs to finish strong. Swift cuts keep the pacing from feeling lethargic. Repetition in visuals can bring a new meaning to what has been seen or said earlier. The energy to these montage endings can lift you up, or it can stick with you for a feeling that innocence has been lost. Either way in a Christopher Nolan movie, there is no going back.'

3 notes · View notes

madstreetz · 2 years

Text

[People Profile] All We Know About Curtis Harris Biography, Age, Girlfriend, Family, Career, Networth

Curtis Harris Biography, Age, Girlfriend, Family, Career, Networth. Curtis Harris is a well-known American actor who was the character Miles Preston on Nickelodeon’s ‘The Haunted Hathaways‘. He became successful with those movie roles and has since built on the momemtum. How Old is Curtis Harris? The birth date for the star of this television show was the 27th of June, 2001 Curtis Harris’ Birth…

View On WordPress

#Caleel Harris #Curtis Harris Biography #Grey&039;s Anatomy #NAACP

0 notes

overlordofships · 4 years

Text

Anyone who’s seen The Haunted Hathaways: But how did the Prestons die??????

Me, an intellectual: Obviously they were on their way to Ray’s second wedding but got in a car crash along the way, explaining the absence of a mother. This is why Ray is so close to them and so protective, because he was driving the car when they died and he feels responsible, so he tries to make up for it by continuing to be a good father. Miles has, subconsciously, yet to fully accept his death which is why he doesn’t want to scare people or be a ‘bad’ ghost, and why he wants to hang out with Taylor and her friends. Louie was like 1 or 2 when he died, which is why he wants nothing BUT to be a bad ghost - it’s all he knows and remembers.

#update from pairing hell #the haunted hathaways #haunted hathaways #Headcanon #headcanons #you're welcome :)

63 notes · View notes

tabloidtoc · 5 years

Text

Globe, February 25

Cover: 93-lb. Angelina Jolie Sick and Alone

Page 2: Up Front & Personal -- Brooke Shields, Josh Brolin, Helena Bonham Carter

Page 3: Bethenny Frankel, Jerry O’Connell, Keanu Reeves

Page 4: George Clooney’s cousins are crooks

Page 6: Haunted Kristoff St. John drank himself to death because he never recovered from son’s suicide, Christie Brinkley’s biggest regret is turning down Saturday Night Live, Liam Neeson has triggered outrage after he went on a kill-crazy-racist hunt after a member of his family said she’d been raped by a black man

Page 8: Cover Story -- Anorexia fears for 93-lb. Angelina Jolie

Page 10: Rattled Ellen DeGeneres may quit showbiz after being slammed for backing controversial comic Kevin Hart as Oscars host, Jerry Seinfeld being sued be a furious buyer who claims Jerry sold him a bogus 1958 Porsche Carrera Speedster for $1.54 million and knew it

Page 12: Jennifer Lopez’s crazy diets are upsetting Alex Rodriguez who loves sweets and doesn’t have to be in peak physical condition anymore, Joanna Gaines seems to have her hectic life under control but she’s faking it, having year-old twins has aged George Clooney so he looks like an old man, Val Kilmer

Page 13: Beyonce regrets turning down Lady Gaga’s part in A Star Is Born because her biggest goal in life is to win an Oscar and this could have been her chance, Tori Spelling, John Lithgow, Sally Kellerman, Hook-Ups, Babies & More

Page 14: Fitness freak Tom Cruise is working his Top Gun castmates Glen Powell and Miles Teller, Lindsey Vonn is retiring at age 34, Fashion Verdict -- Kate Bosworth, Tiffany Haddish, Penelope Cruz, Busy Philipps, Jennifer Connelly

Page 16: Prince Charles comes out of the closet, confesses his taste for men dates back to his bachelor days

Page 17: Prince Philip selling his Range Rover after a scandalous car wreck but the selling price is twice as much as it should be

Page 18: 10 Things You Don’t Know About Alyson Hannigan, Robert De Niro’s estranged wife Grace Hightower is determined to punish the publicity-shy star by publicly dragging him through the mud in their ugly divorce, Victoria Beckham’s expensive clothing line only pays $2.10 an hour for workers to churn them out in China

Page 20: True Crime

Page 24: Robert Conrad, 83, takes terrible fall

Page 28: Brad Pitt and Charlize Theron having a baby

Page 30: Real Life -- SLA leader Bill Harris reveals what really happened with Patty Hearst

Page 32: Charlie Sheen and Denise Richards chasing a TV deal to revive careers, Darius McCrary’s ex Tammy Brawner has been awarded full custody of their daughter, 97-year-old Iris Apfel landed a sweet deal with modeling agency IMG

Page 34: Straight Talk -- Rob Lowe blasts Santa Barbara City College’s ban on the Pledge of Allegiance, Spot the Evil Twin -- Hilary Duff and Leslie Mann

Page 36: Funny Photo Quiz -- Anne Hathaway and Matthew McConaughey

Page 41: Bizarre behavior at child molestation deposition is a giveaway that Michael Jackson was guilty

#tabloid #angelina jolie #brad pitt #charlize theron #keanu reeves #keanu #jerry o'connell #pet adoption #american rescue dog show #adoptdontshop

3 notes · View notes

zenryverse · 3 years

Text

ALSO, I watched the Haunted Hathaways last week and Felix and Miles are so alike, they’d literally be besties

#also. Zack can canonically see ghosts so it’d be kinda cute if he and Felix (and Izzy cause superpowers) had The Gift~#like they can all see this dude Henry can’t #I’m not making another crossover I’m just saying #just having fun #nondod #felix hartin #felix hartin hcs #kinda #mine

0 notes

kwebtv · 6 years

Photo

The Haunted Hathaways - Nickelodeon - 7/13/203 - 3/5/2015

Sitcom (45 episodes)

Running Time: 30 minutes

Stars:

Amber Montana as Taylor Hathaway

Curtis Harris as Miles Preston

Benjamin "Lil' P-Nut" Flores Jr. as Louie Preston

Breanna Yde as Francesca “Frankie” Hathaway

Ginifer King as Michelle Hathaway

Chico Benymon as Ray Preston

Brec Bassinger as Emma

Juliette Angelo as Meadow

JT Neal as Scott Tomlinson

Kayla Maisonet as Lilly

Artie O'Daly as Clay Bannister

Ava Cantrell as Penelope Pritchard

Kim Yarbrough as Madame Lebeuf

Fred Stoller as Mr. Dobson

#The Haunted Hathaways #TV #Nickelodeon #2000's #Sitcom #Amber Montana #Curtis Harris #Benjamin Lil' P-Nut Flores Jr #Breanna Yde #Ginifer King #Chico Benymon

7 notes · View notes

zackmartin · 2 years

Photo

13 NIGHTS OF HALLOWEEN 👻 night one

the haunted hathaways | 1x11 - haunted halloween (2013)

#*nightsofhalloween #the haunted hathaways #haunted halloween #gifs #frankie hathaway #michelle hathaway #taylor hathaway #miles preston #ray preston #nickelodeon #nick #nickelodeonedit #nickedit #made by me #*#just me and queue know what to do

17 notes · View notes

sharjeelzia · 4 years

Text

MOVIE REVIEW

MAR LOCKDOWN SPECIAL ACTIVITY #FILMREVIEW #MAR #MAKAUT NAME: Sharjeel Zia FILM NAME : INTERSTELLAR Christopher Nolan’s "Interstellar," about astronauts traveling to the other end of the galaxy to find a new home to replace humanity’s despoiled home-world, is frantically busy and earsplittingly loud. It uses booming music to jack up the excitement level of scenes that might not otherwise excite. It features characters shoveling exposition at each other for almost three hours, and a few of those characters have no character to speak of: they’re mouthpieces for techno-babble and philosophical debate.

Interstellar is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away. Whether you find it things endearing or irritating will depend on your affinity for Nolan's style.

In any case, there’s something pure and powerful about this movie. Matthew McConaughey’s widowed astronaut Cooper and his colleague Amelia Brand (Anne Hathaway) pour on the waterworks in multiple scenes, with justification: like everyone on the crew of the Endurance, the starship sent to a black hole near Jupiter that will slingshot the heroes towards colonize-able worlds, they’re separated from everything that defines them: their loved ones, their personal histories, their culture, the planet itself. Other characters—including Amelia's father, an astrophysicist played by Michael Caine, and a space explorer (played by an un-billed guest actor) who’s holed up on a forbidding arctic world—express a vulnerability to loneliness and doubt that’s quite raw for this director. The film’s central family (headed by Cooper, grounded after the dismantling of NASA) lives on a corn farm, for goodness’ sake, like the gentle Iowans in "Field of Dreams" (a film whose daddy-issues-laden story syncs up nicely with the narrative of "Interstellar"). Granted, they're growing the crop to feed the human race, which is whiling away its twilight hours on a planet so ecologically devastated that at first you mistake it for the American Dust Bowl circa 1930 or so; but there's still something amusingly cheeky about the notion of corn as sustenance, especially in a survival story in which the future of humanity is at stake. (Ellen Burstyn plays one of many witnesses in a documentary first glimpsed in the movie's opening scene—and which, in classic Nolan style, is a setup for at least two twists.)

The state-of-the-art sci-fi landscapes are deployed in service of Hallmark card homilies about how people should live, and what’s really important. ("We love people who have died—what's the social utility in that?" "Accident is the first step in evolution.") After a certain point it sinks in, or should sink in, that Nolan and his co-screenwriter, brother Jonathan Nolan, aren’t trying to one-up the spectacular rationalism of “2001." The movie's science fiction trappings are just a wrapping for a spiritual/emotional dream about basic human desires (for home, for family, for continuity of bloodline and culture), as well as for a horror film of sorts—one that treats the star voyagers’ and their earthbound loved ones’ separation as spectacular metaphors for what happens when the people we value are taken from us by death, illness, or unbridgeable distance. (“Pray you never learn just how good it can be to see another face,” another astronaut says, after years alone in an interstellar wilderness.)

While "Interstellar" never entirely commits to the idea of a non-rational, uncanny world, it nevertheless has a mystical strain, one that's unusually pronounced for a director whose storytelling has the right-brained sensibility of an engineer, logician, or accountant. There's a ghost in this film, writing out messages to the living in dust. Characters strain to interpret distant radio messages as if they were ancient texts written in a dead language, and stare through red-rimmed eyes at video messages sent years ago, by people on the other side of the cosmos. "Interstellar" features a family haunted by the memory of a dead mother and then an absent father; a woman haunted by the memory of a missing father, and another woman who's separated from her own dad (and mentor), and driven to reunite with a lover separated from her by so many millions of miles that he might as well be dead.

0 notes

glenngaylord · 4 years

Text

BARELY LIVING THROUGH CHEMISTRY - My Review of DARK WATERS (3 1/2 Stars)

[Excerpted from: https://thequeerreview.com/2019/12/01/barely-living-through-chemistry-film-review-dark-waters/ ]

I’ve often wondered if Wes Anderson were to drop his dioramas and deadpan style, could he make a good, straight up drama? What does a Christopher Nolan musical look like? Does Quentin Tarantino have a Tiffany Haddish comedy in him? Can auteurs put their stamp on made-for-hire movies? These questions keep me up at night. Well, finally when it comes to Todd Haynes, as idiosyncratic as they come, we now know what he brings to a procedural drama. The answer? Hmmmmm. Be careful what you wish for?

That doesn’t mean Dark Waters, the true story of a corporate attorney who sues his own client doesn’t have merit. I actually think the movie works really well, but I can’t identify the filmmaker who brought us Velvet Goldmine, Carol or Far From Heaven here. Written by Mario Correa and Matthew Michael Carnahan, the story spans decades, promisingly opening with an eerie Jaws-like sequence in which some 1970s teens swim naked in a polluted West Virginia lake. You can feel Haynes in this scene more than anywhere else in the film, considering its haunting, dreamlike imagery.

Flashing forward to the late 1990s, the story properly starts when a farmer named Wilbur Tennant (a magnificent Bill Camp) barges in on Cincinnati Corporate Attorney Robert Bilott (Mark Ruffalo) to demand he return to his home town in West Virginia to investigate why his cattle have all started dying. At first dismissing him as a crazy rube, Bilott decides to make the 120 mile drive to see for himself. It doesn’t hurt that his biggest client, DuPont, has a plant there which just may be poisoning the water supply. Spoiler alert: They are!

One night at a fancy dinner, Bilott confronts a DuPont executive (a perfectly insidious Victor Garber) and gets such an obvious brush-off that he can’t help but go down that rabbit hole. Risking his standing at his law firm, presided over by Tom Terp (an unpredictable and passionate performance by Tim Robbins), to launch an investigation which takes over 20 years to complete. It nearly kills him and deeply affects his marriage to his wife, a former attorney played by Anne Hathaway, and relationship with his son. Think Erin Brockovich without the humor and you’ll get a good sense of the tone of this dreary, dark, nihilistic film.

In 1995, Todd Haynes made the film, Safe, starring Julianne Moore as a woman with severe environmental allergies. It was weird, experimental, and abstractly haunting. Dark Waters feels like the straightforward cousin to that film as it explores corporate greed and cover-ups and the lives left in the balance. Yes, the great cinematographer Ed Lachman has a wonderful way of making you feel every bitter cold early sunset with his black, grey and dark blue color schemes. Yes, the very talented and versatile production designer Hannah Beachler knows her way around working class homes. It all comes together as a consistently bleak presentation, tailor made to make you feel the sheer hopelessness of taking on “the man”.

Ruffalo does incredible work as a defeated, hunched over workaholic who never gives up the fight. We see nothing showy in his performance. He carries the weight of the world on his shoulders when he realizes that DuPont has exposed almost the entire population on earth to harmful chemicals. Hathaway also does excellent work as someone in the typical “wife” role who refuses to be identified as such. She very slyly walks that fine line to give us something heartfelt and strong. Bill Camp, however, walks away with the film with his almost indecipherable drawl and righteous anger at a system which ignores the safety and well being of the hard working citizens of the world. Often specializing in low key characterizations, he switches gears and goes unforgettably big and loud. In what amounts to a compelling yet quite ordinary telling of an important story, it’s Camp who cuts through. Todd Haynes may not have made a “Todd Haynes Movie” with Dark Waters, but at least he has given us Great Camp.

0 notes

machinamase-blog · 7 years

Text

a hundred miles an hour.

There was something that happened at a hundred miles an hour on the freeway– reality seemed to become simpler, cleaner, stripped of the nitty-gritty like an onion being peeled, removing the shell diligently until nothing but the white inner works were left, tears be damned. (She had a long time ago learned to see with tears in her eyes more clearly than others did with glasses. A girl’s gotta do what a girl’s gotta do.) Speed tended to do that for Maisie, push layer after layer off reality until the core of it remained, until all her problems were simplified in her head, until nothing seemed important other than the next few moments, other than changing lanes and shifting gears if the situation called for it– her mind would clear up, her arms and legs move out of instinct more than anything else. You’re an adrenaline junkie, Mase, Madison would say when she came home from yet another race, a smile curling her lips as she threw rolls of money on her sisters bed with no words and even less care. The contrary was the case, though– Maisie didn’t feel her heartbeat at all during a race. It calmed her, centered her– some people woke up at five am and pretended to meditate, others folded their bodies into impossible positions in advanced yoga classes; Maisie drove. She had tried to explain it to Maddie often times enough, stumbling over the words since none of them seemed to quite grasp the emotions that squeezed at her heart when she hit the hundred– Freedom, she would sometimes settle on, because it was the closest approximation to what she thought she felt. I feel free.

Maisie Hathaway knew nothing of silver spoons and golden cages– born with nothing but misery to her name she had never felt like there was much she could be afraid of; Nothing could rattle her, nothing could get beneath that sweet smile and those wide eyes of a small-town Kansas girl– but she was far from being the lead character in a country song. Porcelain skin and a porcelain heart, that’s what people saw– they didn’t know the steel hiding underneath, unbent, unbroken, forged in the constant disappointment of her parents, the gatekeepers to Maisie’s own personal hell. Strength, Maisie had always found, was nothing but a matter of circumstance. I do what I have to, she would tell herself when she cleaned up her mother’s vomit. I do what I have to, she muttered when her father was screaming at the top of his lungs, angry about the money he lost, money that could have fed her and her sister for a few weeks easily. I do what I have to. Maisie wanted to run a long time ago– wanted to steal that beat up old Fiat that her father drove around until he drove himself out of their lives, wanted to hit a hundred miles an hour and never look back at Salina, Kansas. But Madison bound her to that household as surely as a pair of titanium chains would, looking up at her older sister with wide eyes dipped in unconditional love; Maisie had never stood a chance, not when she was twelve explaining to her sister just why Dad hadn’t come home in three weeks and not when Maddie explained that she had been recruited by a criminal and had decided to go hack– well, whatever, it hadn’t mattered to Maisie then and it still didn’t matter now. Self-preservation wasn’t her finest skill, she didn’t think, because when Madison Hathaway set her mind to something, all Maisie could do was drive the fucking getaway car. (And she would, she would do so with a lot of questions and a lot of doubt, but she would always drive the damn getaway car.) The grass on the other side of the road was always greener, but at a hundred miles an hour color was nothing but an illusion, it all eventually became black and white and grey, pavement and streetlights– details became irrelevant, too small for the naked eye to see, all that mattered was the big picture.

Murderer, thief, criminal.

There was blood on her hands and sometimes Maisie liked to believe that it didn’t matter, that it didn’t make a difference, that the guilt she felt at 3 am with a glass of something so strong it was banned in the US in her hands was nothing but melodramatic short-lived melancholy. She didn’t want for redemption, for forgiveness– life had put her and Madison in the middle of hell and she had managed to find a door and open it, escaping a life sentence of Salina, Kansas by the skin of their teeth. If her knees got a bit dirty in the process it made no difference, because Maddie was still clean, pristine, haunted by her own demons but so brilliant, so brilliant; Maisie hadn’t been left with much of a choice, not when she remembered hazel eyes looking up at her and asking when Dad was coming home.

She hadn’t meant to, that was what she told herself. I do what I have to– the cocaine was planted and it hadn’t been on purpose, she was sixteen and knew nothing of drugs, how could she? Her mother popped pills like candy, but Maisie didn’t know of these things, didn’t know what would be too little, what would be enough, what would be too much. All she knew was that the check in her hand felt impossibly heavy when EMTs rolled her mother’s unmoving body out of the house. She had lied that day, spun a lie so simple and so perfect, it had casted no doubt on her presumed innocence. Her mother played herself, Maisie thought– if she hadn’t been a known drunk, nobody would’ve given up on her so easily.

Alas, matricide was a horrible thing– wasn’t it? The guilt sat in her stomach, it sat at the very core of all her problems, even when all the details fall away, even when they were peeled back like the layers of an onion; the guilt was always there.

Murderer, thief. criminal.

Murderer.

There was blood on her hands and even a hundred miles an hour couldn’t blur out that much red.

#self para #self: a hundred miles an hour #I figured I'd just post my app sample why the hell not #xD

3 notes · View notes