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#scene review
derpytoad · 27 days
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There are so many reasons why old Disney movies are much more memorable and funnier than the newer stuff producers today serve us, and this scene of the castle raid from the 1991 version of Beauty and the Beast is one of them.
Scene breakdown beneath the break. Spoilers in effect.
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LeFou grabs Lumière as a light source (candelabra) after the mob crashes the door in with a battering ram
Lumière signals to the other inhabitants to spring their ambush
Furniture begins attacking villagers
Coatrack lays down a rolling jab combo on Blonde Nail-Club-Wielding Guy
Older Sideburns Guy gets tackled by a mop
Bad-Toothed Redhead Guy gets double-teamed by two wardrobes whilst trying to swing at them with an axe, suffering bad dental damage
Balding Pitchfork Guy takes a cooking pot to the head, obscuring his vision while a spoon, tenderizer, and frying pan bang against the pot, potentially causing concussive damage and hearing problems from excessive ringing
Bald Red-Bearded Axe Guy gets knocked over by a chair and rolled up by a carpet which rolls straight into a storage chest… which burps. Shadows in the background show a guy holding a spikeless mace that fights back by knocking against his head
Gaston looks on flabbergasted to see one axe-wielding guy has his eyes covered by a pot only to have a wooden bucket fall on top of his face, whilst a Shovel-Wielding Cook gets struck repeatedly by a rolling pin until he falls over
Meanwhile, Chip uses Maurice’s steam-powered wood-chopping machine to cut through the cellar doors where Gaston kept Maurice and Belle locked away to keep them from alerting the Beast
Back to the castle violence, a Wilhelm scream happens as windows shatter, people go flying, a shadow of a guillotine dropping its blade can be seen, and Shovel-Wielding Cook from before gets pelted by tomatoes thrown by beer steins, where he then gets doused in hot tea by Mrs Potts and six other teacups
Panning out to general chaos, Madam Armoire jumps from the second floor while singing a high note and lands on Redhead Bearded Farmer who was busy chasing a coffee table
Cutaway briefly to Gaston hunting for Beast in the castle’s upper floors
Madam Armoire knocks out Bucktoothed Hammer Guy then Club-Wielding Short Guy in two swift motions while Redhead Bearded Farmer remains unconscious next to them
Older Pitchfork Tricorne Guy tries to ambush Madam Armoire while her back is turned, only to get parried with help from a brush and comb. He then gets pulled straight into the armoire, then thrown out wearing a completely different outfit, where he screams in fright as he realizes what he’s wearing
LeFou tries to burn Lumière with a torch, but Cogsworth- wearing a blue bicorne hat similar to the one Napoleon wore- brandishes a pair of scissors and a pistol before ditching said pistol to slide down the banister and painfully lance LeFou in the bum with his scissors
Cutaway to Stout Tricorne Guy yanking feathers out of Featherduster, where Lumière then burns his bum with candle fire and catches Featherduster mid-fall
LeFou, now flanked by Saber-Wielding Tricorne Guy and Big Bearded Axe-Wielding Guy, begin chasing Sultan through the foyer into the kitchen
Once in the unlit kitchen, Chef Bouche- a large stove- and a large collection of knives chase the three of them out of the castle with the rest of the still-conscious mob, leaving any unconscious casualties behind
The casualties? Several people left behind unconscious, but potentially many more unconscious offscreen if you saw the manpower of the mob as they marched to the castle. At least one thoroughly humiliated.
during the castle front flyover with the Wilhelm scream, the shadow showing a dropping guillotine could also suggest at least one death, although this is left uncertain for obvious reasons (though the use of shadows in older works has been used to considerably effective- and sometimes chilling- effect in other older works like the final fight scene in Tarzan). beyond this, the only known death in this part of the movie is Gaston, who falls off the roof and into the awaiting canyon where gravity does him in
TLDR? animated movies today- Disney or not- can’t recreate the silly cartoonish violence from these fight scenes back then, no matter how much CGI they use. and that doesn’t even mention the growing list of things producers are discouraged from adding to today’s movies that were commonplace in scenes and movies like these
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when a story has a predestined ending and you thought you already knew who the characters would become, but then you're hit with the fact that no, you actually didn't know these characters at all, they were unknowable to you until this very moment when a larger portion of their life has been revealed to you, and you realize, abruptly, that they had lives and losses and the aching desperation of a love they guarded with every piece of stubborn will they could muster, and the unknowable is suddenly rendered sublime for its opacity
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suiheisen · 9 months
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“So I went into the studio. And it was very awkward, as I made sounds like 'mmm' and 'ahh'. And then I kissed my hand a whole lot. So. You think about that. You mull that over as you run around, you little horny perverts, with your little perverted roleplays. You randy bastards. You think of me.”
also:
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stromblessed · 5 months
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Mizu was wrong to let Akemi be taken because they both deserve better
First, a confession. When I saw this for the first time:
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I was relieved. I knew that was what Mizu was going to say and I felt like it's what I would have said in that situation too.
When Akemi does this:
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I cringed, because if we know anything about Mizu, it's that she (1) isn't quick to make friends (though to be fair, even though Akemi did try to kill Mizu, so did Taigen - multiple times! - and look how that turned out lol), and (2) doesn't take orders.
So when Akemi and Ringo and later Taigen get angry at Mizu, are they being unfair?
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Sure, Mizu isn't obligated to treat Akemi - or Taigen or Ringo or anybody else - nicely, or to serve them, or to be honorable, or be a hero to them, or whatever. No human being is obligated to any other human being. We all have the choice to do whatever we want to anybody else. But the point of flawed characters in storytelling is the tension between those characters and their potential. Their growth into someone who can choose the higher, harder path, who chooses to be obligated to others, who chooses kindness and compassion.
Because Mizu's problem isn't revenge. Nobody is preaching at Mizu that revenge isn't the answer. Her circumstances do suck, her life has been incredibly unfair, she is marginalized, and as far as we and Mizu know for most of the season, she is a child born of violence and no one is saying that that violence doesn't deserve to be repaid in kind.
Mizu's problem is isolation. And the fact that she thinks she has no responsibility toward her fellow human beings, because her hatred of her own circumstances and her having no life outside of her quest devours everything else. This is a problem because it turns Mizu into the worst version of herself. A version that hurts the people who like Mizu, the people who care about her.
Practically, Mizu has just taken on an entire army almost by herself. She's hurt. She's exhausted. If she were to defend Akemi now, it'd be yet ANOTHER fight, this time against horsed and armored samurai.
But that's not the reason Mizu gives Ringo. Mizu's ability or willingness to fight isn't even on her mind. All she says is, "She's better off."
"She's better off" is Mizu deciding what's best for Akemi. Akemi's entire story is about her being a caged bird longing to fly free.
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One after the other, every man and woman in Akemi's life makes her decisions for her. She has to grovel and smile prettily and lie through her teeth just for the chance to be heard. Mizu judges Akemi for being a rich princess who isn't being more grateful for what she has, all without understanding Akemi's situation, and without any curiosity for why Akemi feels the way she does. From Akemi's perspective, Mizu is just one more person (one more man!) in a long lineup who ignores Akemi's wishes and (casually!) makes a decision for her that impacts Akemi's life greatly.
In the end, even Seki concludes that Akemi should get to decide what's best for Akemi. What others think that Akemi SHOULD want does not matter compared to what Akemi wants for her own life. As Madame Kaji said - Madame Kaji, who despite calling out the weirdness of Akemi's situation as well as the childishness of her decision to run away - is the only person Akemi meets who doesn't try to make decisions for Akemi, but instead only challenges Akemi to work for and be worthy of what she wants - she needs to decide what she wants for her own fucking self, and then take it.
Mizu being born female does not make her automatically wiser for letting Akemi be taken, and it does not preclude her from having a hand in giving Akemi back to her jailers. A patriarchy that Mizu knows full well would stop Mizu from achieving her own goals if she didn't present as male.
Mizu is still understandable here. She just had to kill Kinuyo, a disabled girl sold by her father into prostitution, a girl in a situation so far beyond Akemi's worst imaginings that I can practically feel Mizu's world being rocked just by comparing them in her mind the way she most likely is. That still doesn't make it right for Mizu to let Akemi be carried off to be sold into marriage by her father against her wishes. Those "good options" Mizu thinks Akemi has don't exist, no more than they ever existed for Mizu. Akemi and Mizu both have to get creative, make the best of their circumstances, take dangerous risks, and break rules in order to have any control over their own lives.
Even on my first watch, when at first I thought that Mizu had made the right decision and that Akemi was being unreasonable, Akemi screaming Mizu's name while being dragged, LITERALLY DRAGGED, back to her father was haunting as hell.
Mizu had the power to help Akemi, and simply chose not to.
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Mizu lets Akemi be taken, Akemi who has just begun to trust Mizu. Mizu calls Ringo weak and quickly - seemingly easily - turns her back on him. Mizu values her quest over Taigen's life, after Taigen has endured days of torture to protect her, and she not only risks his life in the process, but doesn't tell him that Akemi is engaged to someone else, or that she came looking for Taigen, or that she is in danger.
Mizu's sword breaks because it is too brittle. Too pure. Too singleminded. Mizu only melts down the meteorite metal when she mixes the metal with objects from parts of her life that have nothing to do with her quest. Objects from the people she cares about, and who care about her.
All I'm saying is - Mizu doesn't have to be a hero. But she is the better version of herself when she reaches out to help and connect with others. When she's just a decent, kinder human being. And I think that's what this story is telling us that we should want for Mizu.
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deerfests · 13 days
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charmac · 9 months
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18 Years of Abysmal Service
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Paddy's Pub + shitty bar reviews 1/?
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cuddleswinchester · 8 months
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Margaret please the gay doctor wants you to KNOW he’s a DRAMA KID
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korixae · 1 year
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i want an episode of doctor who where someone important to the doctor dies and all the pain and heartbreak of all their lives piles up and they get so broken and so full of hate that this keeps happening and why can’t they just be happy and why is the universe so cruel that they turn evil and then while out and about being evil and not giving a fuck about saving people they run into the master and the master is shook that the doctor has changed bc how? that’s impossible the doctor and the master are opposing forces! it’s their whole dynamic now everything’s out of balance! and so they make it their mission to show the doctor how much good there is in the universe and the doctor is cold and harsh and vulnerable and heartbroken but the master whisks the both of them off on an adventure to demonstrate all the brilliant wonderful extraordinary happy parts of the universe but what finally gets through to the doctor is that it’s the master showing them all this. they’re so far gone that the master is trying to fix them. and they realise that the both of them have more in common than they think and that they can see it from each other’s perspectives. and then they kiss
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for-a-longlongtime · 7 months
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A whole ass mood.
Nerdy Pedro with glasses, whispy curls under his headphones, focussing intently while editing a text, and wearing a Paris Review shirt (of all things. I wish this one would reappear)...
I love this so much.
It's is a whole ass mood for this week, I've decided.
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duahauuoplanh · 9 months
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Scenes and camera angles in King the Land that didn't make to the final cut.
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aethersea · 2 months
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devastating to go into the tag for an obscure vampire movie I've been quietly obsessed with for years to find mostly gifsets of minor characters (played by big-name actors) and review blogs saying they didn't like it :(
@ everyone who made a post saying "I liked it :)" I am blowing you a kiss. everyone who made a lovely gifset or photoset of the cinematography I am tipping my hat. that one poster that said "bro did y'all just miss the Entire Message about class and race or???" I am shaking your hand with enthusiasm there was SUCH a message about class and race
anyway everybody should watch Night Teeth and revel in glitzy flashy modern vampires in LA with me
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black-and-yellow · 8 months
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Working on something
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pigeon--lord · 3 months
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Leverage- Family Dynamics
Ugh, I'll most definitely write a bigger post about this, but don't you just love the character dynamic in Leverage and Leverage: Redemption? I'm rewatching the whole franchise and notice how over the course of the series the team just get so comfortable with Elliot, that they are absolutely not afraid of him. They know that he will never hurt them and that his gruff persona just hides a giant teddy bear inside.
Like The French Connection Job in season 5:
Elliot is like "I will stabb you in the neck" and Hardison just like "Yeah, yeah okay, but look at this cool laser and levitating food!" There is no way he would be like that in the first season LOL.
And in Leverage Redemption (I believe in The Date Night Job) when Breanna asked Eliot to cook for her and her significant other (he also made a meal for Hardison and you-know-who-because-no-major-spoilers for their date, thats just so cute) and gives him a lot of requirements, he casually throws the cooking knife into a pillar next to her. She doesn't even flinch and cassually walks off LMAO. I find it so sweet, because the team's trust in him is so absolute and they know that he will never hurt one of them and he will never endanger them, so Breanna is not even worried that the knife was flying anywhere but the pillar and that it would ever fly anywhere near her with an intent to hurt her.... And that is only just the trust that they have after working together for a bit, and her listening to Hardiso discussing his friendship with Elliot.
THEY LET ELLIOT COOK FOR THEM, BECAUSE THEY KNOW IT'S HIS PASSION AND THEY LOVE HIS COOKING!!!!!
I can't, this show always makes me fell warm and fuzzy inside. This is a team of lone wolves which becomes a found family over the course of the 5 seasons of Leverage and you are there for the ride all the way!
THEY ARE A FAMILY YOUR HONOUR!!!!!
(BTW if you havent watched these two shows, I highly recommend you to! It has everything you need for a good show- comedy, drama, action, suspense, found family, and superb characters with character developmen)
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lanadel-heyyy · 3 months
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this movie was legitimately terrible for multiple real reasons, but i will suffer anything for this man
letterboxd reviews of 57 seconds
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laflamejpeg · 7 months
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Photo Stills From One of My Favorite Movies of All Time “Waves” (2019).
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cressthebest · 2 months
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Art Heist, Baby! Thoughts pt. 8
chapter 22:
1. sirius is fully committing to the heist, and the hole in my heart is slowly patching itself
2. sirius being challenged with the heist again after going so long with the poor substitute of catching art heists- this does something to me
3. regulus is proud that sirius got to grow his hair out like he wanted. sobbing still
4. Oh. it’s the museum again. with THAT painting. this. this is *the* ahb painting AGAIN
5. OH REG IS SHARING THE NIGHT SIRIUS GOT SHOT STORY TO JAMES GODDAMN
6. regulus will try to be good, just for james. he wants to be enough for james, and will never stop trying, but james always knows that reg is enough
chapter 23:
1. james tbinks that getting to know regulus is a privilege. holy shit hold up.
2. they’re so soft, wait
3. atp it’s a necessity to hear reg’s voice
4. james teasing regulus while reg is driving is 😳. ALSO reg is not good at driving to begin with. lord help them 😭😭😭
5. 😳😳😳 they’re getting spicy. but also, like, so me fr
6. okay, the way that they all make references to their canon animagi are fantastic. i particularly like how remus compares sirius’ stubborn attitude to a dog licking his wounds.
7. WOLFSTAR IS CURED WOLFSTAR IS BACK TOGETHER WOLFSTAR IS CANON
8. 😳😳 now wolfstar is getting at it
9. also, do yourself a favor and go read chapter 23 end notes. masterpiece.
chapter 24:
1. starting the chapter off with jegulus smut i see
2. james’ antler tattoo 😳
3. james is the only one for regulus, i’m sobbing
4. “Most of anything Regulus thought about these days revolved around James. That’s what he gets, he supposed, for falling for the sun. It was only natural.” AHHHHHHHHH. there’s a million things i want to quote from ahb, so i have to be selective, but WOW
5. they’re planning their house together in brazil. sobbing fr rn. arguments over green or red shutters. they’re gonna live together. i’m about to start blubbering wiat ajesjfnsksjdsldj
6. 😳 remus caught them. uh live laugh love
7. REMUS AND JAMES ARE GOSSIPING ABOUT THEIR LOVE LIFE, ALL IS RIGHT IN THE WORLD!! both of them proud for scoring the black brothers. goddamn, that’s an accomplishment
8. DORLENE!!! getting married in italy!!!!
9. barty calling jegulus sluts <3
10. ahb peter <33333
11. SHOVEL TALKS. i live for these
12. barty and evan are reg’s found family brothers and i stand by that for life.
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