#small wins man. also joaquin! what are you doing here | Explore Tumblr Posts and Blogs

teenagepretentiousness · 3 years

Text

Kiss the cook

Words: 1121

Warnings: Fluff, mention of blood (nothing graphic), stitches

Summary: Bucky sat on the edge of his bed, phone in hand. Sam normally texted him after each mission was over, and right now it was 1:45 am and Bucky hadn’t heard from him. He was panicked, to say the least. He chewed on his bottom lip as he watched the black of his phone screen. Maybe his phone was dead, or broken. That was rational thinking, but Bucky was well past that. All he could think was that Sam might not be ok, and that was enough to make him shake

Reblogs are cool and fun and really appreciated!

Also on wattpad

Sam stumbled onto the jet, clutching his side, where blood was promptly oozing out. He lied down on the bench while Torres rushed over holding a first aid kit. “Sam, what the hell happened?” Torres questioned, examining the wound. “Knives happened, Joaquin.” Sam answered shakily. “This isn’t too deep, I can probably stitch it up.” Torres told him, and Sam sighed in relief. “Thanks, man.” Sam said, and shut his eyes, imagining the hell Bucky’ll give him when he gets home.

Bucky sat on the edge of his bed, phone in hand. Sam normally texted him after each mission was over, and right now it was 1:45 am and Bucky hadn’t heard from him. He was panicked, to say the least. He chewed on his bottom lip as he watched the black of his phone screen. Maybe his phone was dead, or broken. That was rational thinking, but Bucky was well past that. All he could think was that Sam might not be ok, and that was enough to make him shake.

After a while, he decided it was useless to just sit there. He made his way to the kitchen and pulled out ingredients for chocolate chip cookies. Bucky was a stress baker, that was for damn sure. He pulled out the dumbass apron Sam bought for Christmas that says kiss the cook. Unfortunately, it's the only he owns, so he is forced to wear it. Sam was all too pleased by this information. It was ridiculous. He started measuring flour, glancing anxiously at his phone every few minutes. Still nothing. Bucky shook his head and continued baking, letting all his worries wash away for a moment.

Sam closed his eyes tight as Torres stitched him up, biting his lip as the needle threaded through his skin. He let out a sigh as he heard Torres step away, and opened his eyes. “Thanks again.” Sam said, offering a small smile. Torres smiled as well, going to put away the first aid kit. “That’s what I’m here for.” Torres stated, moving into the cockpit. Sam went to lay down as he remembered. Text Bucky. Sam grabbed his phone from the bag beside him and goes to turn it on. “Dead.” Sam muttered, shaking his head. He sighs in annoyance and shuts his eyes, trying to get some semblance of sleep.

Bucky was now covered in flour, stirring in the chocolate chips, eyebrows furrowed in concentration. Alpine decided now would be fun to jump up on the counter, and Bucky rolled his eyes. “No, Alpine, go play with Figaro, for god’s sake.” Bucky shooed her off the counter, and starting rolling up the dough into balls and placed them onto a baking sheet. Bucky set the timer for 10 minutes and began cleaning up, having more of a mess since his damn cat decided that she would play in the flour. “How the hell did I end up here?” Bucky muttered to himself, wiping off the counter.

Sam unlocked the front door and walked through, being greeted by the smell of fresh baked cookies. Sam grinned widely as he walked through the door. He caught sight of Bucky Barnes, eating a chocolate chip cookie, wearing the god awful apron, with flour in his hair. “Sam!” Bucky cried through a mouthful of cookie and pulled Sam into an embrace. Sam let out a slight noise of discomfort, and Bucky stepped away. “What happened?” Bucky asked, his voice more urgent, his hands still resting on Sam’s hips, and eyes fixed on the stitches on Sam’s side. “Sorry I didn’t call.” Sam said, but Bucky shook his head. “We are well past that, what happened?” Bucky insisted, eyes still on the wound. Sam shook his head, eyes fixed on Bucky. “Just some guys with knives, nothing major.” Bucky looked at him like he was insane, eyes flickering from the stitches to Sam’s face.

“Are you alright?” was Bucky’s next question, and Sam smiled up at Bucky. “Buck, baby, I’m fine.” Sam said, and Bucky met his eyes. “You sure?” Bucky muttered, and Sam shook his head softly. “Yes, you idiot.” Sam replied snarkily. Bucky grinned at Sam, and it made Sam’s heart flutter. “So, you like the apron?” Sam asked smugly. Bucky rolled his eyes, a grin still on his lips. “I do not, but it's the only thing we have, thanks to you.” Bucky answered, that caused Sam to grin his toothy grin, and snickered. “I knew you’d wear it.” Sam said smugly, and Bucky shook his head, rolling his eyes.

“To be fair, it does have pretty clear instructions.” Bucky stated, his grin now being replaced with a smirk. Sam nodded. “So it does.” Sam stood on his tiptoes to kiss him, but Bucky stood on his tiptoes to mess with him. “Do you want me to kiss you, or not?” Sam asked snarkily. Bucky laughed softly and went back down to his original height. “Yes, I do.” and so Sam kissed him. It was short and sweet, with the taste of cookies and coffee. They pulled away slowly, their noses brushing. They both smiled widely. “Thanks for not dying.” Bucky muttered. “Of course.” Sam said, intertwining his fingers with Bucky’s. “Want a cookie?” Bucky offered, and Sam chuckled. “You sure you didn’t eat them all?” Bucky gives Sam a pointed look, and Sam began laughing harder. “I did not.” Bucky countered, and Sam shook his head. “It sure seemed like it.” Sam retorted, and Bucky rolled his eyes. This was ridiculous.

Bucky didn’t reply, and Sam wasn’t gonna let him get away with that. “See, your silence tells me you at least ate most of them.” Bucky sighed deeply, still smiling. “I’m too old for this nonsense.” Sam barked out a laugh, and Bucky grinned at him. He couldn’t believe he got this lucky. Bucky dragged Sam to the oven, and gestured to the remaining cookies. “See. I ate like 3.” Bucky said pointedly, and Sam chuckled. “Ok, ok, you win.” Sam said as he bit into a cookie.

Bucky leaned his head on Sam’s shoulder, sighing in contentment. Sam smiled down at him, the flour still somehow in his hair. He planted a kiss on the top of his head. “Alpine started playing in the flour. It was a mad house.” Bucky told him, and Sam chuckled softly. “You sound surprised she would do that.” Sam said, and Bucky hummed. “You have a point.” Bucky agreed.

The two decided that they were far too awake to try to sleep, so they took to the couch, turning on whatever was vaguely interesting. Sam played with Bucky’s curls, and Bucky listened to the steady beat of Sam’s heart. It was calming, comforting.

#sambucky #winterfalcon #sambucky fic #winterfalcon fic #sambucky fanfic #winterfalcon fanfic #sambucky fanfiction #winterfalcon fanfiction #sam x bucky #bucky x sam

20 notes · View notes

danwhobrowses · 3 years

Text

MCU: 10 Ways WandaVision and Falcon & The Winter Soldier are the Same

So now we have 2 of Marvel's Phase 3.5 shows in the books, and both have been pretty great. In the 7 week wait for Loki though we'll have time to mull things over.

When watching the Falcon & Winter Soldier finale though, I started to notice that there were some patterns between it and Wandavision. While two completely different stories they did share some similar beats, so here's 10 I spotted and thus 10 to look out for when Loki comes around.

Spoilers for WandaVision and Falcon & The Winter Soldier, give it a watch before you give this a look

10 - Villains become Memes

While one can contest that Zemo acts more as an antihero in The Falcon & the Winter Soldier, he still provides an antagonistic edge in the story. However, both he and Agatha became villains that had charisma to charm the audience, and their actions brought about multiple memes. On Agatha's side there was the wink, Agatha All Along and her in the fitness outfit, while with Zemo there was the 'it captures the experience', his iconic dancing and Turkish Delight. While not a story beat on the shows, the writers must've known that fans would gravitate to these characters to give them such content to use. Also add a hat tip to John Walker who got his own memes too with him about to embed the shield into a dude's chest, and Wanda herself for her nose scrunch being used as a meme alongside Thor's 'is it though?'.

9 - The Government aren't exactly helpful

While the Government aren't entirely the enemy in the show, they don't do well to stay on our heroes' good side. In WandaVision, they enhance Wanda's grief in the fact that she can't even lay him to rest, SWORD instead deciding that her lover is government property and they are harvesting his 'organs' and vibranium skin as a resource to use for weapons. On Falcon & Winter Soldier, the US Government deliberately deceive Sam by having him hand over the shield to put in a museum, only to then take it out and give it to John Walker without even telling Sam or Bucky about it. In addition when they disavow Walker they try to reclaim the Shield - which, as the Contessa does reveal, isn't technically their property either. While Falcon & Winter Soldier delved deeper into the government's lack of help through the GDC subplot motivating the Flag Smashers, there were still similarities found with how SWORD - which is quite different to its comic version - antagonizes Wanda. In the end all this escalates because of them, and in the end neither of them get to keep the Vibranium.

8 - 'Good Person' is Bad Guy

Although there's a more supernatural threat in both stories, the characters end up having their trust betrayed by people they believed to be decent. For WandaVision it is current Director of SWORD, Director Hayward, who appears adamant in silencing Wanda after using her as a means to power up White Vision as a programmable weapon. For Falcon & the Winter Soldier, it's Sharon Carter - descendant of Steve's beau who he also made out with - the discarded agent who gave up a lot for the heroes only to not get it in return, remaining enemy of the state and becoming the Power Broker. The shows can also have this reserved for 'Agnes' and John Walker but in the end people expected them to break bad from day 1. You could make a statement for Wanda since she looks to be an antagonist for Doctor Strange 2 though.

7 - The MCU add a little history

Marvel has had a habit of changing Wanda's (and Pietro's) origin on a whim, the MCU deciding to source their powers on an Infinity Stone. Doing this however left a gap in the fact that Wanda is a Witch, which they cleaned up in WandaVision. Treading back on the Scarlet Witch being a mantle (though cutting her mother being a Scarlet Witch before her) as it is in the comics, they changed Wanda's powers from being latent and amplified by the stone rather than gifted to the stone itself. Falcon & Winter Soldier added to their history with the impactful Truth: Red, White and Black story, adding Isaiah Bradley into the MCU to further layer the conflict and tragedy Sam faces with being Captain America. Both are welcome additions to the MCU timeline, setting up for newer things to come in Phase 4 Movies.

6 - The hero wins the fight, but not the day

Winning isn't always winning, as Wanda and Sam would discover upon the finale of their respective shows. Wanda defeats Agatha and Hayward is forced to face his crimes, but she has also come to terms with the face that the Hex must go, and in turn her family with it. While the Hex has freed all its residents, Wanda knows that she's not on anyone's good side either with the people she subconsciously enslaved. Sam gets it a little better, he's recognized himself as Captain America and given a patented 'Cap-speech', but he was unable to save Karli Morgenthau from being killed, someone who he was once so close to reaching and sympathized heavily with. Although the Super Soldier threat is neutralized, the Flag Smashers' ideals will live on to further radicalize itself, and its vision will further sow conflict and division.

5 - (Mostly) Bigger Roles for old MCU Side Characters

Never one to shy past their crossovers, Wandavision and Falcon & the Winter Soldier both brought back side characters - some more obscure than others - from older films to gel into the plot. WandaVision brought back Darcy from the Thor franchise and Jimmy Woo from Ant Man & the Wasp to great comedic effect, fans already wanting a spin-off with them and possibly Monica - who may also count but technically not the same actress, the same can be said for 'Pietro' too. Falcon & the Winter Soldier stayed primarily in their lane of Captain America movies; with Batroc and Sharon both debuting in Winter Soldier and Dora Milaje's Ayo debuting in Civil War, while it was less comedic, the story was more interwoven with them since they all had ties to the main two characters.

4 - [Person] is obviously [Character]

Possibly a bit of a narrative backdrop, or maybe years of MCU has clued us in on a plot twist a mile away, but both shows also were unable to hide well that Agnes from WandaVision and Sharon from Falcon & Winter Soldier were in fact Agatha Harkness and the Power Broker. It's not to say that knowing ruined the story, it just felt more of a 'when' rather than an 'if'. The main difference though is that Sharon managed to keep her villainy secret, and remains that way, while Agatha went too far in trying to take Wanda's power rather than help her with it and has now become stuck as Agnes instead.

3 - New Blood coming on the Hero Scene

While the shows already did their job in setting up Wanda and Sam as big league heroes, they also looked a bit more in establishing new blood too. WandaVision established the potential for the twin Maximoff boys to grow into Wiccan and Speed - once Wanda finds a way to re-canonize them, Falcon & the Winter Soldier also made sure to introduce Elijah Bradley, Isaiah's grandson, which may also aid in establishing a Young Avengers team - what with Kate Bishop also soon to appear in Hawkeye. WandaVision also created the origin for Monica Rambeau, having her body altered by the Hex, which will likely be furthered in Captain Marvel 2, Falcon & the Winter Soldier also established John Walker as the US Agent to leave a potential for Thunderbolts, as well as introducing Joaquin Torres - opening the possibility to have a new Falcon. While not a bad thing to set up for the future, it is interesting that both shows had exactly 3 names that could become future heroes.

2 - 'Villain' character partly redeems themselves after a Grief-Fuelled Mistake

Make no mistake, technically speaking Wanda is still a villain in WandaVision: she enslaved an entire town and suppressed them as side characters of a tv show. But the thing is that she didn't really intend to cause pain, it was an impulse action triggered by her grief. The same can be said for John Walker in Falcon & the Winter Soldier, he was already pressured by the standards being Captain America would entail and he was feeling the stress of a string of failures, a Dora Milaje humbling and a frosty reception from Steve's two close friends, juiced up on Super Soldier serum, and then his best friend just got killed because he didn't back him up, in a rage he killed a Flag Smasher with the shield - even though they were fleeing and not the one who killed Lemar, which he would lie about to Lemar's family. Despite this though, they managed to find some form of redemption, even if it was small. Wanda released the Hex and stopped Agatha from going haywire with her chaos magic, John gave up on his revenge seeking to save a truck from falling. Even though it doesn't entirely make up for what they did, it was at least a sign that they had not completely gone off the deep end...yet.

1 - Comic-Accurate Costumes

Comic costumes are always a tough one because some of the older costumes were borderline atrocious. WandaVision at the very least managed to poke fun at it with them dressing up most of the Maximoff/Vision family in their comic-accurate costumes, Speed getting a few more nods in the finale alongside Wanda's revamped and quite on the money look. In Falcon & Winter Soldier, there was accurate costuming for John Walker's US Agent look and Sam's Captain America costume, not to mention Lemar's Battlestar outfit, Zemo's mask and Batroc's jumpsuit.

Overall, it's not a bad thing that they kept these story beats, but it may be worth trying to avoid some of these in later tv show plot points so that it doesn't appear repetitive and formulaic. These shows have been great, so let's keep that momentum going.

6 notes · View notes

ranger-report · 4 years

Text

Opinion: DC and Marvel’s Multiverses Are Crucial To The Future of Superhero Film

Alright, buckle up kids, this is going to be a long one. Get some soda and some popcorn, or some green tea and avocado toast.

Back in the long-distant year of 1989, a little film called Batman released into theaters and became the film of the Summer. Directed by Tim Burton and starring Michael Keaton and Jack Nicholson as Batman and the Joker respectively, it was a cinematic triumph that heralded a new wave of superhero films taking their source material seriously. Followed up in 1992 by Batman Returns, a sequel which increased the fantastic elements but was criticized for its darker tones, Batman’s role in movies was cemented in place by continued success. Of course, Keaton and Burton would leave to be replaced by Val Kilmer as Batman with Joel Schumacher directing for 1995′s Batman Forever, with George Clooney stepping into the cape and cowl for 1997′s Batman and Robin, a wild disaster of a film which nearly destroyed Batman’s chances in movies. But then, in 2005, Christopher Nolan brought a gritty realism to the caped crusader in Batman Begins, and continued this successful experiment with 2008′s Best Film Of The Year, The Dark Knight, and 2012′s The Dark Knight Rises (which was....fine). By this time the DCEU was beginning to get started, so a new Batman was cast for Zack Synder’s 2016 Batman v Superman: Dawn of Justice, and this role went to Ben Affleck. He reprised the role in David Ayer’s Suicide Squad and Joss Whedon’s Justice League, but bowed out of the opportunity to write and direct his own solo Bat-flick. So director Matt Reeves was tapped to direct a new Batman film starring a controversial choice of Robert Pattinson as Batman. With all of this, the question of the past 30-odd years is: which is your favorite Batman? Which one was the best? And how do these films fit into an increasingly convoluted canon in which a film series is rebooted every ten years or so?

What if the answer is: they’re all great and they all fit into canon?

Now, before we think too hard about that, let’s take a look at Spider-Man’s cinematic installments, which is almost more convoluted and in a more compressed amount of time. Beginning with 2002′s Spider-Man directed by Sam Raimi and starring Tobey Maguire, the amazing wall-crawler enjoyed a fantastic amount of success on the big screen, followed up by one of the best superhero films of all time, 2004′s Spider-Man 2. But Spider-Man 3 in 2007 took all of that goodwill and smashed it into the ground with a failure almost as bad as Batman and Robin a decade earlier. Plans for a Spider-Man 4 were scrapped, and eventually in 2012 director Mark Webb and star Andrew Garfield would bring a brand new Spidey to life with The Amazing Spider-Man, and The Amazing Spider-Man 2 in 2014. Both films were lively and energetic, but criticized for trying to stuff too much into their films -- especially the second one. Sony Pictures was attempting to ramp up a cinematic universe much like Marvel Films was doing at the time, but it was too much too fast. 2017 brought another reboot of the moviefilm version of Spidey, this time directed by Jon Watts and starring Tom Holland, with Spider-Man: Homecoming, this time under Marvel Film’s banner (thanks to backdoor dealing), and another cinematic triumph in 2019′s Spider-Man: Far From Home. But, unlike Batman, Spider-Man’s dealings behind the scenes are nearly as convoluted as his series. Sony Pictures owned the rights to make Spider-Man flicks for years, until Marvel managed to make a ludicrous offer after Amazing 2 failed to catch on the way producers hoped. So Spidey came to the MCU under a joint production, which is how we got Homecoming and Far From Home, but also maintained a different universe with the Amazing films, and then 2018′s Venom, and a little animated motion picture also in 2018 by the name of Spider-Man: Into The Spider-Verse.

Class, this is where I would like to direct your attention to the origin of the extraordinary events we are discussing today. Or is it the origin?

Into The Spider-Verse successfully proved that not only is the idea of multiple universes all connecting on screen a good idea, it’s an Oscar winning idea. Spider-Verse is hands down the best animated superhero film ever, and one of the best superhero films period. But here we must take note of certain ideas. The film provided much setup for a world where young Miles Morales begins to emerge with spider powers, but then Spider-Man is killed right in front of him before he can learn how to use them. Enter a Spider-Man from a slightly different parallel dimension, who not only turns Miles around, but find himself inspired to realign his own life. Spider-people abound through the film, all of them having equal weight and the possibility of spawning their own franchise without having to worry about impacting the canon of other universes. This is something comic books have done for literal decades, but Spider-Verse did it with such care and devotion that it won Best Animated Picture and became a mainstream smash hit. Marvel and Sony both sit up at attention; could this work with the major mainstream films they’ve been producing? So the experiment begins: we have a teaser trailer for Morbius, based on a vampiric Spider-Man villain, which features a cameo from the Vulture character first seen in Homecoming. And after dropping hints that Tom Holland’s Spider-Man could cross over with Tom Hardy’s Venom, Jamie Foxx recently posted about being cast as Electro -- a role he played in Amazing Spider-Man 2 -- for the third Tom Holland Spidey flick. Pictures went up on his Instragram seeming to confirm that not only was this the same Electro, but that all three previous Spider-Men -- Maguire, Garfield, and Holland -- would team up for the film. Multiple universes collide, a live action Spider-Verse, where everyone is crossing over with each other. Now, this lines up perfectly with Marvel’s MCU plans, as Doctor Strange has established in his film that multiple universes exist, and his announced sequel is even titled Doctor Strange in the Multiverse of Madness. It’s here. It’s happening. Every Spider-Man film is canon, they’ve all happened, and we don’t need to worry about which of them make sense or belong. They all make sense.

But just before this announcement, a month or so ago DC let slip that their plans for an upcoming Flash movie are taking cues from the Flashpoint comic books, in which Barry Allen goes back in time and accidentally creates a brand new timeline that he has to correct. Michael Keaton has even been cast as Bruce Wayne, the same Bruce Wayne that he played 30-odd years ago, a casting choice many fans have been clamoring for for years. On top of that, once word was put out that Keaton’s role would be similar to Samuel L. Jackson’s role as Nick Fury in the MCU, Ben Affleck was reported to be joining the picture as Batman also, a team-up no one saw coming. Even Christian Bale is being courted to join the universe-spanning flick, but reportedly only if director Christopher Nolan gives his blessing. Multiple Batmen teaming up together in a Flash movie to combat crime? Of course I’ve already bought tickets. Batman is the biggest box-office draw outside of The Avengers. And this concept opens up plenty of opportunities for DC, who’ve done Elseworlds stories in the comic for years. Joker with Joaquin Phoenix proved that DC films not directly tied to the DCEU can and will do well on their own; The Batman with Pattinson will no doubt further confirm that. But now Batman Returns is once again a viable film mixed into a comic book cocktail of wonder and excitement? And what’s wonderful is that this isn’t DC’s first big attempt at this. Slowly and surely, The CW’s Arrowverse TV shows -- Arrow, The Flash, Supergirl, Legends of Tomorrow -- have been doing multiverse crossovers for years, building up to 2019′s mega-event Crisis on Infinite Earths, which saw Brandon Routh reprise his role as Superman from 2006′s Superman Returns, which itself is a sequel to Christopher Reeve’s Superman and Superman II. And for one wonderful scene, TV’s Flash, Grant Gustin, got to interact with the DCEU’s Flash, Ezra Miller, confirming that these TV and film universes are indeed one big cocktail of parallel lives and dimensions that all interconnect while still being separate. Hell, we even saw Burt Ward, Robin from the 1966 Batman show, alive and well an in his own little world. Batman ‘66 is part of the wider DC Multiverse! How crazy is that? And we even got a small tease that Batman ‘89 is part of all of this as well, when we got to see reporter Alexander Knox look up to the Batsignal in the sky as Danny Elfman’s iconic score played. In one fell swoop, in as few as a casual couple of cameos, DC made all of their live-action properties canon in the multiverse, meaning no matter which version you like the best, they all work together and work from a franchising and audience standpoint. The 1978 Superman and the 1989 Batman both existed in worlds that ran sidecar to 2019′s Joker and 2011′s Green Lantern. It’s wild, unprecedented in cinematic history, and wonderful for fans of all ages.

Why is this the future of superhero flicks, though? It ought to be simple: no matter what movies come out, no matter how wild or crazy or outside “canon” they seem to be, they all can work and they all can coexist without having to confuse fans. Many people were feeling the reboot fatigue as early as 2012′s Amazing Spider-Man, and while there was a huge tone shift between Batman Returns and Batman Forever, the Bat-films were considered all part of the same line until Batman Begins started all the way over. Now we have Batman 89 and Returns in one world, Forever and Batman and Robin in another (which was already a fan theory, mind you). Sequels that don’t line up with their predecessors can just be shunted into a hidden multiverse timeline and left alone without the convoluted explanation of having to “ignore” certain sequels. Superman III & IV were ignored when Superman Returns chose to connect only to the first and second films, but now we can say that they definitely happened....just somewhere else. There is now a freedom of ideas and creation that can once again occur when making big-budget films based on superheroes. No longer do creative minds need to be restrained to the canon and timeline and overarching plots defined by studios years in advance; “creative differences” don’t need to drive frustrated directors away from characters or stories they truly love. Possibly -- just possibly -- good ideas can become the gold standard once again for comic book films, not just ten-year plans for how to get Captain America from scrawny Marine to Mjolnir-wielding badass. Remember when filmmakers decided to make Joker the same person who killed Bruce Wayne’s parents? Or when they decided to give Spider-Man the ability to shoot webs from his body instead of technology? That certainly wouldn’t fly these days; studio mandates would require adherence to previously established guidelines, or at least what has been seen in the comic. What if now we could get a three-episode limited series on HBO Max of Gotham By Gaslight? Or a big-budget adaptation of Marvel’s 1602? Simply trying to wedge old comic book storylines into existing Cinematic Universes no longer need be a thing! We could get some of the wildest interpretations of superheroes this side of Superman: Red Son. At least, that’s the hope, anyway.

When comic books can step away from canon for just a few minutes, worlds open up and expand. An entire multiverse of ideas can become a feast of entertainment for many. And when there’s already so many beautiful, well-told stories set in alternate universes as comic book precedent, so too can there be beautiful, well-told stories set in alternate universes for film. And the best part? Now they all matter. And I think that’s the future.

12 notes · View notes

cinemavariety · 4 years

Text

The Director’s Series: Paul Thomas Anderson

The director series will consist of me concentrating on the filmography of all my favorite directors. I will rank each of their films according to my personal taste. I hope this project will provide everyone with quality recommendations and insight into films that they might not have known about. Today’s director in spotlight is Paul Thomas Anderson

#8 - Hard Eight (1998) Runtime: 1 hr 42 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

John has lost all his money. He sits outside a diner in the desert when Sydney happens along, buys him coffee, then takes him to Reno and shows him how to get a free room without losing much money. Under Sydney's fatherly tutelage, John becomes a successful small-time professional gambler, and all is well, until he falls for Clementine, a cocktail waitress and sometimes hooker.

Verdict: One of the most impressive feature film debuts ever blessed to American cinema. Paul Thomas Anderson was only 25 years old when he broke into the scene and directed this (almost three years younger than me now, how depressing). While it is consistently thrilling and entertaining, Hard Eight oftentimes wears its influences on its sleeve too much. You can see how much inspiration Paul got from Tarantino with this film and it’s one of the 90s best independent movies. The star studded cast doesn’t hurt either.

#7 - Phantom Thread (2017) Runtime: 2 hr 10 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

Renowned British dressmaker Reynolds Woodcock comes across Alma, a young, strong-willed woman, who soon becomes a fixture in his life as his muse and lover. Verdict: It’s safe to say that Phantom Thread is PTA’s most lavish and decadent film. It feels like a piece of ancient Hollywood golden-era cinema brought back to life. Johnny Greenwood’s orchestral score is the best sound work he’s ever done, it sweeps you off your feet when it goes along with Anderson’s signature arresting imagery. I’m in the minority who places this near the bottom of Anderson’s filmography, simply because Daniel Day Lewis’s character is so insufferable that it was hard for me to empathize in many ways. It still manages to be one of the most beautiful pieces of modern cinema.

#6 - Inherent Vice (2014) Runtime: 2 hr 28 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

In Los Angeles at the turn of the 1970s, drug-fueled detective Larry “Doc” Sportello investigates the disappearance of an ex-girlfriend.

Verdict: Inherent Vice is Paul Thomas Anderson’s most underrated gem. I’ll admit, when I first saw this film, I didn’t really dig it that much and immediately cast it aside as his weakest effort. However, after some maturity, a few more viewings, and also not 100% adoring Phantom Thread, I have developed an immense appreciation for this nonsensical Thomas Pynchon adaptation. Pynchon as a writer is known as being basically unadaptable, but PTA revels in the absurdity of the film’s labyrinth of a plot. It also brings PTA back to his former glory days of ensemble casts and stoner drug fueled mayhem.

#5 - Punch-Drunk Love (2002) Runtime: 1 hr 35 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.

Verdict: Punch-Drunk Love plays out like a symphony of color, texture, and absolutely off-putting social interactions. I understand that Adam Sandler had his comeback last year with Uncut Gems, but this film is actually without a doubt the best performance he’s ever pulled off. And I credit that largely in part to the brilliance of Paul who was working behind him. It’s what I would say one of the most unconventional romantic comedies of all time. It’s nerve wracking, a little sad, super awkward - but also somehow manages to be endearing as well. The percussion heavy score brings manic energy to the whole film. Punch-Drunk Love is also a powerful statement on loneliness, unchecked mental illness, and the power of human connection.

#4 - Boogie Nights (1997) Runtime: 2 hr 35 min Aspect Ratio: 2.39 : 1 & 1.66 : 1 Film Format: 35mm

Adult film director Jack Horner is always on the lookout for new talent and it's only by chance that he meets Eddie Adams who is working as a busboy in a restaurant. Eddie is young, good looking and plenty of libido to spare. Using the screen name Dirk Diggler, he quickly rises to the top of his industry winning awards year after year. Drugs and ego however come between Dirk and those around him and he soon finds that fame is fleeting.

Verdict: How this film possibly came from a director who is my age now is almost hard to believe. Boogie Nights is one of the quintessential 90s films. It has one of PTA’s best ensemble casts. Anderson’s sophomore effort was a result of the auteur finding his footing and his directorial voice that went on to enthrall audiences over several decades. PTA’s early visual motifs were lengthy and expertly choreographed tracking shots. Please refer to the scenes in the disco as well as the pool party scene pictured above for some of the best camera operation every committed to celluloid. Boogie Nights could possibly be hailed as PTA’s most consistently entertaining and audience friendly works. It’s a great story of the rise and fall of stardom.

#3 - There Will Be Blood (2007) Runtime: 2 hr 38 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

A story of family, religion, hatred, oil and madness, focusing on a turn-of-the-century prospector in the early days of the business.

Verdict: Most critics and audiences would agree that There Will Be Blood is the director’s most impressive masterpiece (but who’s counting?). On a storytelling and technical level, I do have to agree that this is probably Paul Thomas Anderson’s best achievement, even if it isn’t exactly my personal favorite. This is the film where PTA really matured with his directorial vision. He abandoned a lot of his earlier flashy work with large casts and a constantly moving camera for something more grounded and more of a character study. There Will be Blood is the story of America in many ways. It’s the story of Capitalism. And how this system leads to so much bloodshed, greed, and hatred as man and man compete to have the most and be the best. This movie will surely stand the test of time and is a shining example of how groundbreaking modern American cinema can be.

#2 - Magnolia (1999) Runtime: 3 hr 8 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

An epic mosaic of interrelated characters in search of love, forgiveness, and meaning in the San Fernando Valley.

Verdict: Paul Thomas Anderson’s third film found the director taking everything he had learned on his previous two, and expanding on that knowledge and developing more layers to his characters who have never felt so fully realized. Magnolia is the director’s magnum opus. It is epic in its length - clocking in at a little over three hours, making it his longest film by far. It is ambitious in its storytelling approach. Many films utilize the style of a variety of seemingly unrelated characters who connect to each other, oftentimes in a synchronistic fashion as they go about the trials and tribulations of their lives. However Magnolia is one of the few that did it first, did it the best, and set the bar for all of the subpar imitations that would soon follow. It’s also profoundly beautiful in the statements that PTA was trying to make. Paul, just barely 30 years old at the time when this was released, most definitely had an emotional and intellectual maturity that is rarely seen within a director of that age range. Magnolia is about redemption, loss, forgiveness, love, and trying to keep your head above water as frogs rain down on your head.

#1 - The Master (2012) Runtime: 2 hr 18 min Aspect Ratio: 1.85 : 1 Film Format: 35mm & 70mm

Freddie, a volatile, heavy-drinking veteran who suffers from post-traumatic stress disorder, finds some semblance of a family when he stumbles onto the ship of Lancaster Dodd, the charismatic leader of a new “religion” he forms after World War II.

Verdict: I’ve always been drawn to films about cults. Something about social behavior and social roles within a cult organization is a really interesting study on a sociological, psychological and anthropological level. The Master takes the cult formula and turns it on its head in many ways, never once foraying into the territory of exploitation or tropes. It instead takes a wholly original approach to the story. I mean, it is Paul Thomas Anderson that we’re talking about here. Joaquin Phoenix delivers his most unhinged, and certainly his most impressive, performance of his career as a mentally damaged alcoholic war veteran with pretty severe PTSD. The Master is also in many ways the story of the founding father of Scientology - L. Ron Hubbard. However, let’s just say it is a Scientology movie “in disguise” as no real historical names are ever spoke, the word “Scientology” is never uttered once, and even the director himself refuses to admit that’s what it is about (I mean who can blame him? He once had to work with Tom Cruise). It is one of the most fascinating character studies I’ve ever seen. Not to mention, it is PTA’s most beautifully shot film in my opinion and Johnny Greenwood’s musical contributions to the score elevate this film to ultimate masterpiece status. By the end, I felt like I had just undergone a transcendent experience of sorts. I hope one day PTA can make a film that “wows” me ever more than this one does.

23 notes · View notes

aion-rsa · 3 years

Text

13 Best Blumhouse Horror Movies Ranked

https://ift.tt/3pr9EwE

Has any single person had a greater impact on horror this century than Jason Blum? The one-time Miramax executive struck out on his own in the 2000s when he founded Blumhouse Productions, a company where he remains the CEO. And in the ensuing years, Blum’s production label would define, and redefine again, the trends of horror movies and thrillers.

Operating on the philosophy that a horror film with a micro-budget will almost always turn a profit, Blum frequently allows directors broad freedom to make what they want within the genre, and in the process has kept multiplexes perpetually spooky. In 2009 Blumhouse helped reinvent the found footage horror aesthetic, and in the 2010s, the modern phenomenon of talent-focused horror gems began with Blumhouse’s gambles.

Working with filmmakers like James Wan, Scott Derrickson, Ethan Hawke, and Jordan Peele, Blumhouse Productions’ title card is now a promise of something different, if still eminently commercial and entertaining. It even paved the way for the controversial modern discourse around “elevated” horror, with Peele’s Get Out being the first chiller to win an Oscar for screenwriting since The Silence of the Lambs.

So with a new Blumhouse horror movie in theaters this Friday the 13th, we thought it a good time to count down the 13 best Blumhouse efforts that paid off with a bloody good time.

13. Hush

At the bottom of our top 13 is this taut thriller from Mike Flanagan, director The Haunting of series and Doctor Sleep fame. Flanagan and his co-writer and star (and also wife), Kate Siegel, wanted to make a horror movie with little to no dialogue. So they came up with this concept of a deaf-mute woman (Siegel) in a remote house, who is stalked by a killer with a crossbow. Hush is at its peak in the first 20 minutes as the masked man (10 Cloverfield Lane’s John Gallagher Jr.) realizes his quarry can’t actually hear him and begins to play games.

Movies

Doctor Sleep Director Mike Flanagan Teases Future Stephen King Projects

By John Saavedra

Movies

A24 Horror Movies Ranked From Worst to Best

By David Crow and 3 others

The pair’s relationship with sound makes an interesting dynamic in this tense home invasion movie, though the cat and mouse chase does grow somewhat repetitive and generic as the film progresses. Still, a fine performance from Siegel and an indication of what Flanagan could do on a small budget make this very much worth checking out. – Rosie Fletcher

12. Happy Death Day

The Groundhog Day formula where an odious person is doomed to relive the same day countless times has proven remarkably flexible. And Happy Death Day is no exception with its horror-comedy blend of Punxsutawney hijinks and ‘80s slasher movie clichés. Starring a ridiculously game Jessica Rothe as Tree, the sorority girl who is constantly waking up with the hangover from hell, Happy Death Day follows the typical “Queen Bee” slasher archetype, and forces her to relive the same horror movie again and again. Until she can figure out who her masked killer is, and maybe how to be a better person, she’s condemned to die in increasingly preposterous ways. Worse still, she must also wake up in a dormitory afterward.

It’s derivative in a million different ways, but delightful in many more thanks to a cheeky atmosphere from director Christopher Landon and a very savvy, self-aware script by Scott Lobdell. Most of all though, it benefits from Rothe’s comedic talents on full display, as she backflips between initial verbal bitchiness and constant physical comedy. She even manages to find a little pathos, one stab wound at a time. – David Crow

11. The Visit

The Sixth Sense may remain M. Night Shyamalan’s masterpiece, but it was an oft-referenced moment from a different film that became key to Blumhouse pulling him back from the brink of irrelevance.

Having made four objectively terrible movies in a row, including the notoriously bad wind-smeller The Happening, Shyamalan seemingly decided to use what he’d learned from a very effective part of 2002’s Signs, where Joaquin Phoenix reacts to a tense home movie of an alien sighting, and took the next logical step: What if the director put together 90 minutes of unsettling home movie moments just like that?

Your mileage may vary with the handheld, mockumentary style of The Visit, but it’s hard to argue that this brisk, low-budget tale of two young siblings staying with some very, very odd grandparents they’ve never met before could play out more wildly than it does here. And Shyamalan certainly doesn’t pull many punches when it comes to putting those poor kids in peril during the film’s climax. – Kirsten Howard

10. Creep

No, not the one set on the subway, this Creep, directed by Patrick Brice, written by Brice and Mark Duplass, and also starring them both in a tense two-hander, is an altogether more unsettling affair. Brice plays Aaron, a videographer who answers an ad posted by Josef (Duplass), the latter saying he’s dying and wants a video diary made to leave to his son. But Josef’s behavior is weird – exactly how weird is too weird is the challenge faced by Aaron.

At just 77 mins long, this is a compact, unusual, often funny movie which picks at male relationships in the modern day, and how far kindness and politeness can override instinct. Duplass and Brice are incredibly natural in a film that’s extremely unusual, steeped in unease but not really like a traditional horror, with laughter and tension relief keeping you on your toes throughout. There’s a sequel which is good too, though if you can watch the first without spoilers it delivers a particular kind of dread that’s hard to replicate. – RF

9. Upgrade

A couple of decades ago, there were plenty of films around like Upgrade. You didn’t even have to move for fun sci-fi action movies, really! But the glory days of never having to wait for the next Equilibrium, Gattaca, Cypher, or even Jet Li’s The One are long behind us. It’s pretty tough to get a slick little concept movie made when you’re expected to compete with huge action tentpoles at the box office—unless you’re Leigh Whannell, one of Blumhouse’s integral puzzle pieces.

Whannell paid his dues at the production house for 15 years as both a writer and helmer before unleashing his sophomore directorial effort, Upgrade. The film, which follows ludicrously named technophobe Grey Trace after he loses his beloved wife in a violent mugging, sees a paralyzed hero get implanted with a chatty chip that allows him to regain the use of his whole body. Soon Trace become virtually superhuman—imagine an internal K.I.T.T.—but all is not as it seems.

It shouldn’t be as delightful as it is. Admittedly, the whole thing isn’t too far removed from an elevated episode of The Outer Limits. But if you miss old school sci-fi nonsense and feel nostalgic for a time when smart sci-fi projects didn’t end up as eight drawn out episodes on a major streaming service instead, Upgrade really scratches an itch.

Of course now might be a bad time to mention that an Upgrade TV series is in the works… – KH

8. Halloween

In resurrecting one of horror’s most enduring—yet stubbornly uneven—franchises, director David Gordon Green (working with screenwriters Danny McBride and Jeff Fradley) made the smartest move he could: He stripped away the ridiculously convoluted and nonsensical mythology the franchise had built up over decades. Instead he simply made a direct sequel to Carpenter’s 1978 masterpiece.

Movies

Best Modern Horror Movies

By Don Kaye

Movies

Halloween: A Legacy Unmasked

By David Crow

The result was easily the best Halloween movie since the original itself, bringing the characters and the story into the present while reverting Michael Myers back to the enigmatic, unstoppable, unknowable force that was so terrifying in the first film. Jamie Lee Curtis, Judy Greer, and Andi Matichak as three generations of Strode women bring healthy feminine empowerment to the proceedings while the intense violence and uneasy psychological underpinnings give this Halloween a resonance that has been lacking for so long. – Don Kaye

7. Split

As the movie that suggested M. Night Shyamalan’s renaissance was real, Split is still a surprising box office win for the eclectic filmmaker. With a grizzly premise about a man suffering from Dissociative Identity Disorder (formerly known as split personality) kidnapping teen girls to hold in a zoo, this could be the stuff of ‘70s grindhouse sleaze. While there is a touch of that to Split, more critically the movie acts as a buoyant showcase for James McAvoy at his most unbound.

Playing a character with 24 different personalities, a shaved and beefy McAvoy is visibly giddy bouncing between multiple alters that include a deceptively sweet little boy, an OCD fashion designer, and a bestial final form. The commitment he shows to each also becomes its own special effect, causing you to swear his physical shape is changing with his expressions.

Similarly, scenes with theater legend Betty Buckley as his psychiatrist also rivet with the energy of a stage play, and suggest a sincere sympathy for mental illness. A rarity in horror. Nevertheless, the movie still comes down to his alters’ obsessions with their kidnapped prize (Anya Taylor-Joy), a young woman who hides demons of her own. When these true selves finally cross paths in a genuinely tense finale, Split is maniacally thrilling. – DC

6. Sinister

An unsettling entry in the horror subgenre of writers who destroy their families, Sinister marked director/co-writer Scott Derrickson’s (The Exorcism of Emily Rose) return to horror after he detoured with an ill-fated remake of The Day the Earth Stood Still. Thus Derrickson and co-writer C. Robert Cargill concocted a unique, if somewhat scattershot, mythology about a pagan deity that murders entire families in the ghastliest ways imaginable.

Movies

M. Night Shyamalan Movies Ranked

By John Saavedra

Movies

Best Horror Movies on Netflix: Scariest Films to Stream

By David Crow and 2 others

True crime writer Ethan Hawke discovers the extent of those murders in a box of 8mm films left in the attic of his new home (where the last killings took place), and it’s the unspooling of those films—along with long sequences of Hawke moving through the shadows and silence of the house—that provide Sinister with its sickening core and palpable dread. Derrickson sustains the film’s foreboding mood for the entire running time, making the movie an authentically frightening experience. – DK

5. Oculus

The film that brought much of the world’s attention to Mike Flanagan, Oculus turned out to be a preview for the horror filmmaker’s interests. It also remains a truly unnerving ghost story. Not since the days of Dead of Night has a film so successfully made you scared of looking in a mirror.

Officially titled the Lasser Glass, the mirror in question is the apparent supernatural cause of hundreds of deaths, including the parents of Kaylie Russell (Karen Gillan) and her brother Tim (Brenton Thwaites). When they were children, their mother starved and mutilated herself before their father killed her. But now as an adult, Kaylie is convinced she can prove the antique glass is the true culprit, and she’ll document its evil power before destroying it. But the funny thing about evil mirrors is they have ways of protecting themselves, and wreaking havoc on a sense of time, place, and certainly self-image.

The Haunting of Bly Manor: Mike Flanagan Discusses Standout Eighth Episode

By Alec Bojalad

The Haunting of Bly Manor: The Poignant Tale of Hannah Grose

By Louisa Mellor

With the movie’s near masterful blending of events occurring 11 years ago and in the present, Flanagan revealed a knack for dreamlike structure, and stories about the past damning the future. These are ideas he’s gone on to explore in richer detail with The Haunting of Hill House and Doctor Sleep, but Flanagan’s ability to juxtapose childhood trauma with a nightmarish present was never more potent, or tragic, than in Oculus’ refracted gaze. – DC

4. Paranormal Activity

It may take some mental gymnastics, but if you can take a step back and ignore all the sequels that followed in the wake of this surprise 2009 blockbuster, then you’d remember Paranormal Activity is a stone cold classic. It is also the movie that put Blumhouse on the map. Already mostly finished when Jason Blum saw a DVD screener of Oren Peli’s Paranormal Activity, this $15,000-budgeted terror is arguably the most evocative use of found footage in all of horror.

While Peli is obviously influenced by 1999’s The Blair Witch Project, that earlier movie is as famous for its shaky disorientation as it is its scares. By contrast what occurs in Paranormal Activity is excruciatingly clear. Seriously, the camera barely moves! Instead we’re asked to sit back and watch in near slow motion as an unwise couple (Katie Featherston and Micah Sloat) meddle with forces that were better off left undisturbed.

Movies

How Jason Blum Changed Horror Movies

By Rosie Fletcher

Movies

The Best Horror Movies to Stream

By Alec Bojalad and 1 other

It begins when Micah brings a home video camera into their house to track apparent ghosts in the dark; it ends in a demonic rush of violence. Everything in between is tracked by a disinterested lens, which usually sits statically in a corner or on a tripod, capturing the tedium of everyday life in its everyday natural lighting. Only occasionally does the horned shadow on the wall manifest. But then Paranormal Activity is chilling in its isolation. – DC

3. Insidious

As the fourth feature film directed by Australian filmmaker James Wan, Insidious follows a couple named Josh and Renai Lambert (Patrick Wilson and Rose Byrne), whose son inexplicably falls into a coma and becomes a vessel for malevolent entities from a dimension called the Further. The family enlists a psychic named Elise Rainier (Lin Shaye) in a battle involving astral projection and demonic possession.

Following an era of horror films that were more torture porn or police procedural (including Wan’s own Saw), Insidious was a return to the kind of horror filmmaking that was dependent on atmosphere, suspense, and what you don’t see lurking in the shadows. And Wan seemed to imbue that creepiness around the edges of every shot. Using actual adult characters and developing them (as opposed to the hipster teens that infested nearly every horror movie for at least 10 years previously) also set the film apart as a serious attempt at a genre that had been too often exploited in a tossed-off fashion.

Movies

Universal Monsters: The Invisible Man Shows Life After Dark Universe Death

By David Crow

Movies

Blumhouse Horror Movies Update: Halloween Kills, Insidious 5 and More

By Don Kaye

The world-building of Insidious left the door open for sequels, of course, and while the three produced so far have had their moments, none has matched the sheer invention and terrifying fun of the original. – DK

2. The Invisible Man

Leigh Whannell’s reimagining of the classic Universal Monster, the Invisible Man, was as much of a surprise when it hit screens earlier this year as the titular villain himself. As a smart social commentary on domestic abuse and gaslighting, while also being enormously effective as a straight up horror, this was a highly fresh take on an old standard.

At the core was the terrific performance of Elisabeth Moss as Cecilia, a woman stuck with her controlling boyfriend Adrian (Oliver Jackson-Cohen) in their high-tech, high security fortress of a home. When Cece finally manages to escape and Adrian appears to take his own life, she hopes her ordeal can finally be over. But in fact it’s just beginning.

Movies

How Leigh Whannell Made The Invisible Man Scary Again

By Rosie Fletcher

Movies

How The Invisible Man Channels the Original Tale

By Don Kaye

Playing on the true horror of not being believed, Whannell’s Invisible Man is as harrowing at times as it is thrilling. Yes, there are some extraordinarily shocking set pieces – the restaurant scene of course stands out – but it’s the increasing desperation of Cece, whose world is falling apart at the manipulative hands of a man who won’t let her go, which stays with you.

The Invisible Man is a thrilling horror, for sure, with a feel good ending (if you want to read it that way…), but it’s something altogether more exciting than that too: a fresh, relevant take on a classic, expertly directed and boasting star power delivered on a moderate budget, which flexes exactly what horror can do. – RF

1. Get Out

More impressive than any awards it won, Jordan Peele’s Get Out encapsulates the essential draw of horror: through entertaining “scares,” it unmasks truths folks might find too horrifying or uncomfortable to acknowledge. In the case of Get Out, it is the despair of Blackness and Black bodies still being commodified by a predatory American culture.

Wearing influences like Rosemary’s Baby and Stepford Wives on his sleeve, Peele pulls from classic horror conventions for his directorial debut, but gives them a startling 21st century sheen. His movie’s insidious conspiracy is neither an obvious coven of witches or the openly racist heavies of a period piece. Rather Peele sets his story about a Black man (Daniel Kaluuya) coming to meet his white girlfriend’s parents in a liberal conclave of wealthy suburbia. Written during the final days of the Obama years, Peele casts these parents (Bradley Whitford and Catherine Keener) as genial and welcoming, shielding cries of racism behind fashionable political correctness.

Yet once Peele moves past that trendy veneer, he finds a potent allegory in which the ghosts of slavery are still alive and well, even in Upstate New York. Peele also packs anxieties about interracial relationships, culture clash, and childhood trauma into a film that is nevertheless gregariously funny. Ultimately though, its final effect is triggering in the best way. Get Out offers an opportunity to confront real dread, one uneasy laugh, and then sudden jump scare, at a time. – DC

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post 13 Best Blumhouse Horror Movies Ranked appeared first on Den of Geek.

from Den of Geek https://ift.tt/2Uqblw1

#aion-rsa #Den of Geek

4 notes · View notes

allthefilmsiveseenforfree · 4 years

Text

Joker

It’s hard to write a movie review for a movie that everyone already has an opinion about (whether they’ve even seen the film or not). And I know that comes off as very “boo hoo, pity me, the poor movie reviewer who saw this movie for free and now has to WRITE WORDS about it for fun” but listen, there’s some real pressure here. Todd Phillips’ vision of Arthur Fleck (Joaquin Phoenix) and his descent into madness at the hands of a cruel and violent world is nominated for 11 Oscars, including Best Picture, and even though as a society it feels like we’re kind of over the Oscars, they are also somehow still Very Important all at the same time. So is this film a gritty, IMPORTANT, timely warning of the dangers of a man pushed too far? Or is it a sad power trip that encourages an all too common sense of entitlement and violence amongst the men who are presumably most likely to resonate with its message? Well...

Honestly? Fucking neither. It’s shot beautifully (how could it not be when Todd Phillips is just trying to do everything Martin Scorsese would do, but a little less well) and Joaquin Phoenix’s performance is truly, singularly committed and brilliant. But Phoenix is suffering from the same problem as Rami Malek and his incredible performance as Freddie Mercury last year - the movie each man is at the center of (in spite of their incredible acting) is not nearly as clever or interesting as it wants to be or could have been.

Some thoughts:

Arthur is certainly a man in pain in a world that doesn’t really care about him. Gotham is a tense, struggling city, and all the people Arthur encounters treat him with disdain or cruelty. To me, this is less an issue of the moral decay or lawless attitudes of the city, and more about the ways in which poverty poisons people’s lives and souls. This movie depicts class warfare in a way that feels garish and cartoonish, which would be appropriate and possibly kind of cool if it weren’t trying to take everything VeRy SeRiOuSlY.

He’s isolated, depressed, full of rage, and everyone thinks he’s creepy - sure, random coworker, hand him a gun, that checks out.

Also, the movie places us in a weird position almost from the start, because Arthur can’t help that he has brain damage and a disability (his laughter) that makes people uncomfortable. But we’re also supposed to...feel bad for him? understand his frustration? when he gets fired for bringing a gun to a children’s hospital. I don’t think the film necessarily positions us to sympathize with Arthur by the end of the film, but it doesn’t not do that either.

If a man you don’t know walks outside your gate with a clown nose on, you turn and run.

If a man you don’t know puts his thumbs in your mouth, you DEFINITELY turn and run.

One interesting thing that I did ruminate on for quite awhile - Arthur never harms any people of color. Zazie Beetz and Brian Tyree Henry both have interesting supporting roles and are true highlights of the film, and they manage to escape their encounters with Arthur relatively unscathed (albeit disturbed). Let it be said, Arthur only punches up, not down.

A big part of the reason why I say the movie isn’t as clever as it thinks is the lack of engagement with all of the big, nasty themes running through it. A lot of big thematic punchlines are left unexamined, and I’m sorry, just pointing out LOOK AT THIS THING THAT EXISTS is not the same as engaging with it. This is like the Ready Player One approach to social justice issues, or if that phrase is too triggering how about simple fucking human decency, and it rings hollow. For example, two police officers heavily imply that Arthur’s mother (Frances Conroy) is to blame for the violence she and Arthur suffered at the hands of an abusive boyfriend. Is Phillips’ script trying to comment on victim blaming and rape culture here? Based on Arthur’s reaction to the news, I would say no. Or how about the social worker Arthur goes to for counseling saying her department is being shut down due to budget cuts. Is Phillips trying to interrogate the lack of infrastructure in place for mental health support or any other social safety net meant to enhance the public welfare? Well, considering people who have a mental illness are more likely to be the victim of a violent crime than to perpetrate one, I’d say again, no.

When this thing gets bloody, it gets REAL BLOODY. I was prepared, kind of, but it still turned my stomach.

I’m unsure how to feel about Arthur’s appearance on the talk show - the southern belle accent, the dancing, the makeup - it all feels very camp, very queer coded villainy in a way that feels regressive rather than a loving homage to theater and film history.

In fact, describing anything about this movie as loving feels impossible. Even the beautiful cinematography and the effective score - it all feels like it’s born out of spite and ugliness. Like someone dared Todd Phillips to make the most anti of antihero movies, and he wrote the script by fear pissing the words into a snow bank.

Did I Cry? Um yeah, no.

From a structural standpoint, the beats are solid and the tension is tight. It builds and builds until Arthur’s face-off against the late night talk show host (Robert De Niro) who was once his hero until he brutally mocked Arthur on his show. It’s the climax of the film, the pot that boils over, the match lighting the gasoline, and I was so tense I thought I was going to cry and then....I wasn’t. The balloon popped too early for me, the scene verged into something so over-the-top that I completely lost any sense of narrative tension for the rest of the movie.

Which brings us to the ending, that shit-eating-grin-ain’t-i-a-stinker ending. If it undermines everything that came before it, I feel like well what was the point? And if it doesn’t, I feel like well what was the point? You can only play with ambiguity so much before the audience either gets bored or gets mad. Also, I’m gonna have a real hard fucking time if this movie that ends like an episode of Scooby Doo wins a Best Picture Oscar.

The performances are all top notch, but I found this a deeply unpleasant movie watching experience that feels like a very expensive meal at a fancy restaurant. The ingredients are all there, but throwing them all together in very small quantities and dressing them up with pretty garnishes doesn’t necessarily leave anyone feeling satisfied or full of anything but the potential for what could have been.

If you liked this review, please consider reblogging or subscribing to my Patreon! For as low as $1, you can access bonus content and movie reviews, or even request that I review any movie of your choice.

#119in2019 #joker #joker review #joker 2019 #joaquin phoenix #robert de niro #zazie beetz #frances conroy #Brian Tyree Henry #movie reviews #film reviews

23 notes · View notes

thebaronmunchausen · 4 years

Text

Like most of you writers, I got my start as a writer in the campus press, first in high school, then in college. And, like most of my contemporaries I dreamed of a career in journalism—writing for the national newspapers and magazines, since, in those days, there was only print journalism. Creative writing programs, and even creative writing courses didn’t exist.

UST, my alma mater, offered a degree in Journalism (with course offerings which included the new fields of Advertising and Public Relations). In the same faculty (the Faculty of Philosophy & Letters, or Philets), which taught Journalism, it also offered a Bachelor of Philosophy (with course offerings which included many Literature subjects). I chose Philosophy even if I had no idea what profession a degree in Philosophy prepared one for, mainly because I wanted to take all those Literature courses.

In high school, while writing for and eventually editing The Paulinian, I began to contribute feature articles to several national magazines (all unfortunately short-lived). As a sophomore in college, while writing for and eventually editing The Varsitarian, I wrote a weekly column in the youth section of the “Manila Chronicle”; and as a senior, I became Editor of the youth section of the “Weekly Graphic”. So, when I graduated from college, I considered myself a professional journalist.

But what I really wanted to be was a writer of short stories, and, of course, to win a Palanca. This didn’t come easily to me. It was essays that I wrote, and the Palanca Awards then did not yet include the essay category. My best friend had already won a Palanca for her poetry while still an undergraduate. But I hadn’t even published a story! And when she was invited to be part of the first Writers’ Workshop in Silliman, and I wasn’t, I was devastated.

When my first short story was published, I was 25, married and a mother. When I won my first Palanca, my husband had accepted a job with UNICEF, and we were living in Beirut. The news got to me in a letter from my mother, sent via diplomatic pouch by UNICEF in Manila. Tony was out of the country, and my oldest daughter was in school. So the only one I could share my big news with was my second daughter, Anna, who was around 4 years old. I said to her: “Anna, guess what, I won a prize for my story—I got 3rd prize.” She thought about that for a moment, and then, she said, “Gee, Ma, you have to try harder next time.”

I have another favorite Palanca memory. It happened in this very room on Palanca Night. I was here with my husband, Tony. Either he or I had served as judge for one of the categories. A young man came up to greet us—it was the late Luis Katigbak, still an undergraduate in the UP’s Creative Writing Program then. He looked rather self -conscious in his dark suit. I had only ever seen him in t-shirts and jeans, so I almost didn’t recognize him. We congratulated him for his prize, and he shook our hands, gave us a wide smile, and a little bow. After he had left us, Tony said to me, “That’s the look and the swagger of a writer who has just won his first Palanca. Recognize it?”

And every Palanca night since, I have seen that look and that swagger in some of the young writers in attendance. But now and again, I wonder: how long will this last? The question I’m asking is not long will the Palanca Awards last, but how long will writers keep on wanting and trying to produce the kind of writing that wins a Palanca award?

Why am I asking this question? We all know that in the different branches of the country’s biggest bookstore chain, what few shelves are devoted to books are not occupied by literary titles written by Filipino writers. Of course, these days, the question that follows naturally on that one is: but what do we mean by that term “literary title”?

A few months ago, at a meeting of the Board of Trustees of the Book Development Association of the Philippines (BDAP), I heard another term used for the first time: “hard literature.” I learned that, in the publishing world, the term has replaced the earlier term, “serious literature.” As a writer, and a reader, my own definition of “serious literature” is literature that is carefully crafted, literature that seeks to explore ideas which the writer feels strongly about, literature that is written, not just to share experiences, but to offer insights about its subject. In other words, literature which has a chance of winning a Palanca award.

But at that meeting I am referring to, the speaker (himself a very successful local publisher, who happens to be here tonight, and who has given me permission to mention his name—Mr. Jun Matias of Precious Pages and Lampara) made a pitch for Filipino publishers to be more open—not just to “hard literature”—but to all forms writing. There is so much of it being produced now, he said, so many young people wanting to share their stories, and so many people wanting to read them, that publishers who choose to continue to ignore it, or “judge” it—by which he meant, look down on it—run the risk of being left behind. This made me sit up.

Jun then showed us a brief video of one of his authors—a Wattpad writer—arriving for a “meetup.” This writer’s fans were so numerous that they had to open another room to accommodate them. When she arrived, she was received like a rock star—with screams and shrieks and wild applause. And she looked the part too—young and slim with straight long hair, her face partly hidden by huge shades.

Another publisher later told me that her company has been in an arrangement with Wattpad since 2014, to turn selected Wattpad novels into print novels. One of these, “She’s Dating a Gangster” by Bianca Bernardino became, not just an National Bookstore bestseller, but the first Wattpad novel to be turned into a movie (by Star Cinema, with Kathryn Bernardo and Daniel Padilla in the lead roles).

This publisher also informed me that their most popular writer, Jonaxx, is so big that the company has created an imprint just for her. Her real name is Jonah Mae Panen Pacala; she’s 28 years old and a pre-school teacher from Cagayan de Oro. According to her fan page she is the first Filipina Wattpad author to gain 1 million followers. Last year, that figure went up to 2.7M+. And her fans are so fiercely devoted to her that they object to her novels’ being changed in any way, including correcting grammar and syntax. “Mapapansin Kaya?” the first of her books to be published, had a print run of 40,000. Seven of her books have been published so far. Since she joined Wattpad in 2012, she has published 32 novels. (That was a year ago. Perhaps she has since produced more.)

Actually, my initial reaction to the Wattpad phenomenon when I first heard of it was astonishment. I had no idea that so many people wanted to write fiction. But why not? Looking back on my own teen years… didn’t I, too, want to write stories?

I began writing stories because I loved reading them. I’m talking about novels like “Little Women” and “Anne of Green Gables” and “Daddy Long Legs;” and later, the Nancy Drew series and the Beverly Gray series—what today are called “YA novels.” My world was a small one. My parents were conservative and kept me at home most of the time. To use a hoary cliché, reading books opened doors for me, doors into other, larger, worlds.

When I first tried to write stories, I was a pre-teen. I simply wanted to imitate the stories I had read. The heroines in those stories had adventures; they fell in love. And they wanted to be writers! They became my role models. My writing—like my reading—was not so much for self-expression or sharing with others. It was a form of escape, an escape from a life I considered boring and humdrum.

But I outgrew those stories. There was something predictable in their plots, and in their characters, principally, the little orphan girl, neglected and deprived of love, but gifted with a vivid imagination. After various mishaps, some painful, sone hilarious, she transforms into a strong-minded, large-hearted, confident, accomplished, and lovely young woman; and of course finds a young man worthy of her.

So, I moved on to Jane Austen and the Bronte sisters, to Mark Twain and Harper Lee and Charles Dickens. I discovered Nick Joaquin and Kerima Polotan and Carmen Guerrero Nakpil. I realized I was no longer reading just for escape. Without fully realizing what I was looking for, I just knew I was looking for something else, for something more.

My writing began to change as well. I showed my new essays and stories to my English teachers and the school paper adviser. When they edited these, or wrote comments on the margins, I did not take this as an infringement on my freedom. Neither did any of my classmates, by the way. We took it as an effort to help us become better writers. And we were grateful. (Which is I find it difficult to understand why, today, some beginning writers are averse to being edited.)

Anyway, this whole process simply meant that I was growing up as a person. And that I was developing as a writer.

Today, I ask myself: if the Net had existed when I was a teen-ager, and had it been possible to post my scribblings on an app like Wattpad, without the benefit of comments or suggestions from teachers or more experienced writers; had I acquired a huge following, and my stories been turned into printed books, which would sell copies in the hundreds of thousands… if these things had happened to me, would I have chosen to stop writing girlish romances, and moved on to other subjects, and other ways of writing? What would have been the reason for doing so?

It has occurred to me that this may well be the situation some of the Wattpad writers find themselves in. They’re already successful. What else do they need to do? In particular, why do they need to go to college and study writing?

Actually, I know people—some of them, writers—who believe that one does not have to get a degree in creative writing to become a writer. And that is certainly true. National Artists Nick Joaquin, NVM Gonzalez, Francisco Arcellana didn’t have degrees in Creative Writing. National Artists Bienvnido Lumbera, Virgilio Almario, and Frankie Sionil Jose don’t have degrees in creative writing. And, as I said earlier, neither do I.

The establishment of Creative Writing as an academic discipline is relatively new (unlike the B.A. in Fine Arts and the B.A. in Music, which have been around for more than a century). But I’m not quite sure why anyone would discourage young writers from wanting to get degrees in creative writing.

The myth seems to be that a formal education in writing will “destroy” your natural, instinctive talent. And, perhaps, there ARE some teachers out there whose methods may, in fact, have a negative effect on their students. But doesn’t this happen in all fields, be they the arts, the natural sciences, or the social sciences? There are good teachers and bad teachers; there are teachers whom some students find inspiring while others find them boring.

I tell my students that, at some point, they should become pro-active and choose the mentor they feel is the best suited to their own temperaments, someone they admire and trust and feel they can work with. Such a mentor cannot harm them; in fact, he or she, is more likely to be a great help to them.

I’ve said this often before: writing is a profession like any other. One trains to become a professional. It is accepted as natural that people in the other arts, like painting or sculpture should wish to enroll in a College of Fine Arts, and musicians should wish to enter a Conservatory of Music. And, certainly in the visual arts and in music, the more highly skilled you are, the bigger your chances of selling your works via the great international auction houses or doing solo performances to the accompaniment of great symphony orchestras. Why should it be any different for literature?

Of course writers who don’t want to get a university education don’t have to get it. But if they’re serious about making writing their career—if they wish to be professional writers—they need some form of training, even if it be self-training. All training requires hard work, but this kind of training—self-training—even more so.

One learns any skill, first, by imitating those who know how to do it. Even child prodigies—like Tiger Woods, who was playing golf when he was two years old—took golf lessons, from his father, first of all. Even gifted musicians—like the band Queen and its brilliant front man Freddie Mercury—have acknowledged the influence on their work of other rock stars, whom they respected, and whose music they spent time studying: Elvis Presley, David Bowie, Jimi Hendrix.

When the UST Center for Creative Writing invited Ely Buendia to speak at a forum on song writing, I asked him what he thought had led to the Eraser Heads’ great success. He said he didn’t know, but he also told me that he had admired many other musicians, had studied them, and tried to incorporate those influences into his music. He mentioned, in particular, Elvis Presley (who, in turn, had been influenced by African American blues, southern country music, and gospel music). And he mentioned our own folk songs, which he said he had also studied.

To return to what I was saying earlier: what would be the incentive of the phenomenally popular and commercially successful Wattpad writer to raise the level of her writing skills, and take on concerns larger than first love or first heartbreak?

Actually, I know someone who has done just that. Perhaps some of you will recognize the name Charmaine M. Lasar. She’s a 20-year-old Wattpad writer, who won the Carlos Palanca award for the novel in Filipino in 2015. She has been quoted to the effect that she joined the Palanca literary contest because she “wanted to refute the idea that only garbage comes out of Wattpad.” But she also added that, in writing her 35,000-word novel, Toto-O, which she claims to have written in just one month, she “consciously deviated from her Wattpad writing style, which is looser and more carefree,” and opted to write something that was “medyo malalim” in terms of language.” Also, its plot has nothing to do with young love or heartbreak.

The novel was published in 2016 by JumpMedia. And last year, Maine was accepted by the UP Institute of Creative Writing as a writing fellow for its National Writers Workshop. I met her there, and she told me she was considering saving up to enroll for a Creative Writing degree. I salute her, and I salute the Palanca Awards for giving her the recognition she earned.

Her crossover is proof that the two worlds—the world of pop fiction and the world of hard literature—are not mutually exclusive.

Back in 1999, after retiring from government service, my husband (who, in one of his earlier incarnations, had also been a poet, an essayist , and a journalist), set up a small publishing company that he ran pretty much by himself. He had in mind two lines: information books, and literature. But when he found out how small the print run of most literary titles was, he was shocked. Why, he asked me, would I go to all that trouble and use up all that time to write a novel or a collection of short stories or essays, if only a thousand people were going to read me?

He was determined to publish books that would appeal to larger audiences, and he decided that the way to do that was to produce short, light, nonfiction books, targetting readers in their 20s and 30s; books which would be accessible, without losing their literary quality. Many of the writers he published were first-time authors, like Vlad Gonzalez, Carljoe Javier, Rica Bolipata Santos; but he also published writers who already had something of a name, like Marivi Soliven Blanco, and Luis Katigbak; and award-winning writers like Butch Dalisay, Vince Groyon, and Chris Martinez. The award winners were not averse to trying their hand at writing that would have a more popular appeal.

Milflores books did well in terms of sales. A few did exceptionally well. And some of the Miflores books also won awards, like Rica Bolipata Santos’ “Love, Desire, Children, Etc.,” which won the Madrigal Gonzalez Best First Book Award.

Today, we have Visprint Publishing, which is doing something similar, but on a much larger scale. Some of the writers whom Nida Ramirez publishes are actually academics, like Chuckberry Pascual, Joselito Delos Reyes, and John Jack Wigley. All three have written “hard literature.” All have won awards for their writing. But Nida has chosen to publish their lighter work. Visprint books are small, inexpensive, light, humorous. Nida has also published the speculative fiction of Eliza Victoria and the graphic fiction of Manix Abrera. Actually, none of Visprint’s titles are sleepers. And some have won literary awards too. In fact, in 2015, Visprint received a National Book Award as Publisher of the Year, a prize which goes to the publisher with the biggest number of winning titles for that year.

So Visprint would seem to represent the happy bridge between the commercially successful book and the artistically lauded book, proving, yet again, that these are not incompatible.

In that sense, this is actually a very exciting time for writers. There have never been so many choices available, including what would have been mind-boggling for me and my contemporaries: self-publishing online.

Before making those choices, though, writers need to figure out a few things. First, what kind of books do they want to write? Second, what kind of writers do they want to be, or think they can be? Third, do they mainly want to entertain readers, or to challenge them intellectually, or to influence them politically? Do they want to make as much money as they can? Or do they want to write in the best way they know how? Or do they want to try and do both? And, finally, how do they want their books distributed—by commercial publishers? by academic publishing houses? by themselves, on line and in small expos?

These choices will be determined by what they believe the function of literature is in a country like ours, at the time in which we live, and what role they want to play in it as writers.

Because I am a writer who is also a publisher, I understand the need to be commercially viable. But, as an educator, I also believe that public service is an important responsibility of the publishing industry. And this means recognizing that expanding the market for books is important, not just for bigger profits, but because more educated citizens make more mature citizens—an indispensable element for any experiment in democracy, like ours.

In concrete terms, this means: on the one hand, accepting the level at which most of our reading public is—what it’s willing to read, what it enjoys reading—and, on the other hand, committing at least a part of the resources available to producing books which will upgrade standards and tastes.

Personally, I remain committed to writing in the best way I know how, no matter how small the audience for this kind of writing might be. Because I feel that literature of this sort—“hard literature,” if you will --serves its own purpose.

In another essay, I wrote about this, and perhaps you will allow me to quote from it: “Writers of all generations have tried to define that purpose. But there are periods in our history when it becomes startlingly clear. The period we live in today, in this country, is one of them—one of those periods when events, both natural and man-made, conspire to drain one of all hope that better times lie ahead."

I mentioned the book, "Sonoran Desert Summer," by John Alcock, professor of Zoology at Arizona State University, where he describes June in the desert as "the month of almost no hope for all living creatures, with the temperature at 102 degrees, rainfall at two-tenths of an inch, and a wind that has removed almost every hint of moisture from the desert world."

He calls it "a time for hanging on, enduring, letting the days pass."

And then, he describes how, suddenly… "from the boulders on the still shaded lower slope of Usery Mountain comes a song, the clear, descending trill of a canyon wren. Loud, defiant, and encouraging, it announces a survivor... (The bird) bounds from rock to rock, at perfect ease in its home in the desert.’’

Sometimes I think that this might be the reason we do it, the reason we keep on writing. This is our song, “defiant and encouraging.”

As writers, we all know that we must stay the course, most particularly in bleak times such as those that confront us now. We will not necessarily agree on what we are called upon to do, but we will do it according to our best lights. We will observe, we will record, we will protest. Above all, we will remember. And we will endure.

Cristina Pantoja Hidalgo

*Speech delivered during the Carlos Palanca Memorial Awards, November 8, 2019, at the Manila Peninsula, where the author was Guest of Honor and received the Dangal ng Lahi Award

11 notes · View notes

anticipatingevaporation · 5 years

Text

Joker

I just came out of Joker, one of my most anticipated films of the year, and let me tell you. I have a lot of thoughts. Unfortunately they are frightfully mixed, so this is going to be part review, part me trying to work out exactly how I feel about this film…

So as a preface, I am both a DC fan and completely done with this superhero wave of films we’re somehow still stuck in. I haven’t gone to see the last 5 or so Marvel movies because I find they aren’t really doing anything innovative or new. They simply don’t appeal to me anymore. The only time I find myself interested in an upcoming superhero/comic book film is when I see it doing something new with the genre. Take the recent Spiderman: Into the Spiderverse, for example. The story structure, animation and choice to introduce Miles Morales was so intriguing to me, so I went to watch that film and loved it.

All of that being said, I was very excited to see Joker. I find the DC characters generally more interesting and complex and the dark tone this movie appeared to have really intrigued me.

Now I’m not a mega fan who has read every Batman comic, however I have read The Killing Joke, arguably the most famous one, and there is one quote in it that I kept coming back to. The Joker tells Batman “All it takes is one bad day to reduce the sanest man alive to lunacy. That’s how far the world is from where I am. Just one bad day.”

This film delves into that idea in a thought-provoking fashion. Here, we are introduced to Arthur Fleck, a man whose life is plagued with tragedy. This film asks the question of what it would take for a man like that to snap. It explores the society this man finds himself in and whether or not they are complicit in who he becomes.

Joker does many things well. Firstly, this film would be nothing without Joaquin Phoenix’s performance. He is magnetic in this role. At every single moment, there is that flicker in his eye that depicts a man on the edge of madness. It is equally unnerving and fascinating. When his transformation is complete I found myself genuinely perturbed and afraid. This Joker is frighteningly real. Phoenix is in almost every frame of the film, and I honestly think it would have fallen apart in the hands of a less talented actor. At one point he is just so phenomenal that I said out loud, “He’s winning the Oscar.” There is no doubt this will go down as one of Phoenix’s best performances among many. He’s just that good.

The lore surrounding Batman has been well documented since the 1930’s and depicted in multiple forms again and again and again. It has been done so many times that it’s easy to become tired and difficult to alter without angering a huge number of fans. Joker has an interesting take on this well known story; controversially giving the titular character, someone who has famously never had a true backstory, an origin. A big part of the Joker’s character was the fact that it was never made clear what pushed him to become who he is. While some storylines suggested it, it has never been outright stated.

In director Todd Phillip’s adaptation, it is a cruel society that creates the Joker, thereby making everyone around him complicit in his downfall. It asks some very interesting questions about mental health and how those suffering are treated in society, particularly the lack of compassion people tend to have towards the mentally ill.

It also discusses class divides and the blatant disregard the 1% seem to have for the 99%, effectively creating a different interpretation of the famous Wayne family that I found very interesting and not an unbelievable stretch to take.

The score is also fantastic: a haunting string melody that is perfectly used to underscore the poignant moments of the film. The soundtrack is just as great; music is well placed to keep you in the world and highlight that 80’s timeframe.

I also loved the Joker’s look in this film. His suit and makeup are brilliant, the hairstyling and the way he walks. Right down to the laugh and why he laughs, a unique and brilliant choice this film makes. Everything about this character screamed the Joker. However it never felt like an imitation of a version of this character we had already seen. It was remarkably unique while also staying very true to the character. When Phoenix walks down the hallway, flowers in hand, you know it’s the Joker, but it’s also Phoenix’s Joker. He makes the character very much his own while encapsulating what it means to be the Joker. (More than can be said for some... other recent adaptations.)

However I don’t think I loved this film as a whole. That being said I think this is certainly a film that makes you think about it for a while and this opinion may very well change in a day, or a week or upon repeat viewing. But based on this first watch, I think my issues with this film lie with the plot itself.

I think while I loved the individual elements of the story, and the character, performances, style and tone, I didn’t feel they all connected smoothly and cohesively all the time. At times it felt like a series of brilliant moments that lacked connective tissue melding them together. That being said, I’m really glad to see a film that doesn’t feel pressure to give you all the answers all the time. Some plot points are deliberately left unclear, which leaves room for debate and falls firmly in line with the Joker’s famous lack of backstory.

The plot itself had numerous twists and misdirects that left me genuinely shocked and on the edge of my seat throughout. I like that it left me guessing. I couldn’t predict what was coming next.

My biggest issue with this film is that it is very direct and clear with its themes. In that it lacks subtlety at times. One of my biggest pet peeves in movies is dialogue that sounds clunky and unrealistic. There was more than one instance of heavy handed and on the nose dialogue to be found here. Particularly during a climactic scene that took me out of the film for a bit.

When I say the film is direct and clear with its themes, I mean that there are clear bad and good lines being drawn. So while the cruel and unforgiving society is the impetus for Arthur Fleck’s transformation into Joker, it often felt like everything was going wrong for him, in order to justify his evil turn. Bad thing after bad thing kept happening to him to the point of absurdity. I understand that the point is to show Gotham as a nightmare place to be, but when Arthur gets beaten up for the 3rd or so time, it started to feel ridiculous and excessive.

Every single person in Arthur’s life treats him poorly. There is no compassion to be found anywhere for this man. Which makes his turn understandable but the world to be somewhat unrealistic and extremely grim. I personally find the morally grey far more fascinating than the straight up black. So I felt at moments that if this dark world was given more complexity, more twisted corruption as opposed to point blank awfulness, it would feel more realistic and that much more upsetting.

I think Phillips was just scratching the surface with what he could do with this world and I would like to see it delved into deeper, to expose what other horrors Gotham contains.

This film has gone through quite a bit of controversy for the violence and potential message it could spread. While I completely understand the possible criticism that this film simply gives those who are already unstable and wanting to incite violence a justification for their actions and an example to emulate, I have to say that:

It is not the onus of a filmmaker or artist to deliver a “positive message” through their art. It is to make their audience think, to influence their emotions and perhaps make them reconsider how they see the world. It is simply ridiculous to hold an artist responsible for how audiences respond to their art.

Joker, while a compelling character to watch, is never framed as a hero. He is a legitimately frightening individual whose life is never painted as something to strive towards. This is a troubled individual’s story and it is horrifying to watch.

In the end, despite the small problems I had with the film (I don’t think I loved it), it definitely made me think. I love this angle being taken towards DC characters. It is high time Warner Bros. understand that this is the treatment these characters need. Poorly emulating something else disappoints everyone. This film is doing so well because it is depicting this character in the way he should be shown.

These dark, gritty and realistic takes on comic book characters are far more intriguing to me. They make the viewer think about the society they live in, the injustices that are occurring and what we can do to put an end to them. This is where comic book stories shine, when they make us consider our own world in a new light.

While I didn’t completely love Joker, or instantly think it my favourite film, I haven’t stopped thinking about it since the credits rolled. And I think that is the type of film we need in the comic book space. One that makes us think, discuss and debate.

I’m starting to think that Joker didn’t give me what I wanted, but perhaps it’s what I needed…

#long review sorry not sorry #I still feel like there's so much to say abt this film #testament to the quality i guess #hmmm interesting #enjoy!#Joker #My Review #Joaquin Phoenix #DC

5 notes · View notes

lordgeebsdom · 4 years

Text

2019, a year in review: Superlative Edition

-Gareth Bill

Athlete of the year: Lamar Jackson - QB Baltimore Ravens. HM: Kawhi Leonard - SF Toronto/LA

Lamar Jackson came out of nowhere to light the league on fire in 2019 breaking Michael Vick’s all-time record for rushing yards by a Quarterback and redefining the position in the process. From his five touchdown performance in Miami to being the assumed MVP, there wasn’t a week where Lamar Jackson didn’t dominate headlines and he continues to show superiority as Baltimore has secured the Number 1 seed in the AFC. Honorable mention goes to Kawhi Leonard for producing the first ever buzzer beater in a game 7 in NBA history and for also bringing Canada their first NBA title. Even against a Kevin Durant-less Golden State Warriors team, Leonard stepped up and delivered when it counted most.

Song of the year: Lost Lately- San Holo. HM: Daemon Veil - EPROM & G Jones

Sander van Dijck, better known by his stage name “San Holo” surprised us with “Lost Lately” in June of this year. A melancholic and melodic ballad of discovery and feeling “lost in aftermath of a breakup” spoke to feelings of insecurity and extends a friendly hand to those in need. From an endearing marketing campaign featuring “lost” posters where fans could call a “helpline” to hear an exclusive sample of the song, to a music video taken straight from EDC: Bitbird executed an almost perfect build and drop for “Lost Lately.” Great followup work to last years “Album1” and I definitely am excited about his future projects for 2020. Honorable mention goes to the IDM monster “Daemon Veil” by EPROM and G Jones. Plain and simple, I loved this ear worm. There’s so much going on from the initial baseline drop to the stuttering minefield of drops and turns that follows before a calming conclusion. Every time I hear this track, I see it too: the flying snares, the zips, zooms and wubs, the story it tells me….its captivating and satisfying. While it isn’t as friendly for casual listening like my 2018 song of the year “Time” (also by G Jones), Daemon Veil is an IDM banger that I’ll continue to blast well into 2020 and beyond.

Album of the year: Good Faith- Madeon. HM: Hollywood’s Bleeding - Post Malone

This was a tough call for me, there was a lot of great albums that came to us in 2019 but Madeon’s “Good Faith” stands tall above the rest. From the initial singles of “All My Friends,” and “Dream, Dream, Dream,” to the unexpected bangers of “Miracle,” and “No Fear, No More,”: “Good Faith” makes a solid argument not just for album of the year but possibly even for the decade and I simply cannot recommend it enough. Honorable Mention goes to “Hollywood’s Bleeding” by Post Malone. Like many, I have thoroughly enjoyed the evolution of Post Malone from SoundCloud sensation to certified super-star, and “Hollywood’s Bleeding” continues to show us that this artist is just getting started. I loved “Goodbyes,” “Circles,” “Sunflower,” and many other tracks on that album, and I’m confident many others did as well. Rapper, Rockstar, Soul-singer and bro: best of luck in 2020 and beyond Post, we’re all eagerly watching.

Movie of the year: Its a Beautiful Day in the Neighborhood. HM: Avengers: Endgame

Easily the most contested category of the year and the hardest decision made in these superlatives. 2019 produced some awesome films but Tom Hanks’s take on Fred Rogers gave me chills that I hadn’t felt since seeing Christopher Reeve’s Superman as a child. Like Superman, his presence among adults and children alike would universally cause awe and calm, almost god-like tranquility through security. In a year that was defined by division, unrest, cruelty, and anger: Fred Rogers reminds us that there’s still a great deal of hope for humanity, and it all starts with being a good neighbor. Young, old and everyone in between can learn something from this deeply affecting story about humanity and connection. Honorable mention goes to Avengers: Endgame for managing to be the only major franchise ending this year (Game of Thrones, Avengers, Star Wars) that managed to do it with a consensus BANG! It was a 3 hour film that somehow felt like an hour and half, and when Captain America held Mjornir with every Avenger ever at his back and said “Avengers, Assemble!”, I couldn’t help but fist pump with a grin from ear to ear. Tony Stark’s dying words of “I am Iron-Man,” gave me goosebumps and Black Widow’s death made me feel genuine loss: The Marvel Cinematic Universe managed to execute a singular plan and vision over 23 films and that is truly exceptional.

Actor/Actress of the year: Joaquin Phoenix as Arthur/Joker. HM: Florence Pugh - Midsommar

Joaquin Phoenix’s long anticipated and controversial performance as Joker was the best singular work I saw this year. Authentic, gut-wrenching, thought-provoking, and anything but boring: Joker gave us the next step in comic book cinema and a new cultural icon in the process. Arthur Fleck is a poster child for mental illness, something that currently is at the forefront of our society and gave the general public a poster child for such conditions. Phoenix’s Joker will one day be recognized in the same light as we currently see Che: an underdog figure of resistance and revolution standing against a seemingly unstoppable status quo and inspiring the unseen masses in the process. Honorable mention has to go to one of my new favorites in Florence Pugh and her performance as Dani in “Midsommar”. Her pain, confusion, and ultimate triumph that unravels throughout a trip to a small village in Europe during their mid-summer festival is the stuff of “slow-burn horror” wet-dreams. There’s a scene early on where her character has to convey immense grief after suffering a personal tragedy and I can still hear that crying in the most haunting way. Pugh’s performance stuck with me in a year full of great ones, and I’m very excited to see her future work including “Black Widow” in May.

Television show of the year: Watchmen- HBO. HM: Good Omens - Amazon Prime

Watchmen blew my mind, and I the less I say about it, the better. A continuation of the story told in my favorite book of all-time, “Watchmen” managed to tie together many loose plot threads from that story while also moving the universe forward in new and exciting ways that matched the tone of the graphic novel. Regina King’s “Sister Night” was a complex, likable, and tragic protagonist uniquely qualified to walk us through this new chapter, and without spoiling things anymore than I already may have: YOU NEED TO WATCH THIS. Honorable Mention goes to Good Omens on Amazon Prime. To any familiar with the story or Neil Gaiman’s work in general, you know what to expect: deep stories, complex and likable characters, and witty dialogue that will make you pause and think or laugh feverishly in equal measure. Its only 5 episodes, so there’s really no excuse to not dive into this one and see how the world ends…..or rather was supposed to…

Game of the year: Sekiro: Shadows Die Twice - PS4/XboxOne/PC. HM: Apex Legends - PS4/PC/XboxOne

From Softwares’ “Sekiro: Shadows Die Twice” stands tall in a year that finally saw long awaited projects like Obsidian’s “Outer Worlds” and Kojima’s “Death Stranding” get long-awaited releases. An exciting and more stealthy evolution of the Dark Souls combat system made me feel like a real Ninja for the first time since Ninja Gaiden Black on my original Xbox. The demanding, but fair gameplay combined with a variation of environments including haunted Japanese forests, Sengoku Temples, Palaces and gory battlefields came together to give the most complete package I played in 2019. Just don’t be too surprised if the final boss gives you problems because that f***er can almost made me break a controller. Honorable mention goes to the game that managed to dethrone “Fortnite” as the most popular game for like a whole two months. Respawn entertainment developed the awesome Titanfall series that I personally enjoyed and rumors had been circulating for quite awhile that they were looking to expand Titanfall into the booming genre of BR or Battle Royale. Apex Legends is the answer to those prayers and still continues to push out new skins, content and weapons at a regular rate. Did I mention it is also completely free to play?

Story of the year: President Trump becomes the third President to ever be impeached 12/19

HM: Henry Nobrega wins the fucking BVN Football Fantasy Football title. 11/19

To be perfectly honest, this is the first category that really could have gone either way for me. President Trump becoming the third President in US history to be impeached for abuse of power and obstruction of congress was massive; regardless of how you feel about President Orangutan. His tenure as President has produced a number of newsworthy moments but this story stood out among the others for sheer importance and international embarrassment. Speaking of embarrassment, that’s essentially what my good friend Henry’s fantasy football team has managed to be every year that I’ve played with him. A perennial basement dweller that typically auto drafts due to some BS excuse, and a resident near the bottom of our power rankings but this year he flipped that script on its head. He managed to draft my Athlete of the year, Lamar Jackson, and the last great white running back in Christian McCaffrey. Not only did Henry surpass his preseason ranking of bottom, he managed to win both regular season and postseason titles and beat a solid team by Graham Heck in the process. I got love for you bro, but I’m still perplexed on how your season managed to be as dominant as it was. Sorry Greta Thunberg, but these stories had my jaw on the floor, maybe next year lil’ Queen.

Meme of the year: Baby Yoda of the Disney+ show “The Mandolorian”

Was there every really a doubt here? Baby Yoda or “The Child” as he’s known on the show is the biggest pop culture icon born on the internet in 2019. The gap between Baby Yoda and what I considered to be an honorable mention was so wide that he will officially stand alone in this category. Baby Yoda’s cuteness managed to melt even my stone cold heart this year and that is absolutely an achievement. What made this creature so endearing was the universal applicability though music, sports, culture, and food: Baby Yoda was everywhere and the internet found common ground and shared meaning through sharing little graphics everywhere prominently featuring him as the centerpiece. Well played Jon Favreau, we love this little guy and everyone thanks you for creating him.

1 note · View note

costaxserena · 5 years

Photo

Introducing Joaquín Mondragón. He is a Police Consultant that belongs to the Summer District. He’s 25 years old and strongly resembles Ryan Guzman. He’s open.

Trigger Warning: Death

Get to know him...

Even if he’s gone through a lot of difficult experiences in his life, Joaquin has worked hard to use what he learned from them and turn them into strength and most of all, courage. He always knows what he wants and plans on the best way of getting it. His self-image can get the best of him at times, since he does feel proud of his accomplishments and will not hesitate to boast about them if he’s given the slightest chance to do it. He thinks doing right for his country in the war and his help in cleaning Mexico’s streets from drugs are worthy of awe. Still, he is a good guy at heart and does have the best of intentions in mind, you just need to cut through his layer of vanity to see it.

Welcome to the coast...

Joaquin didn’t exactly have a typical Mexican upbringing, although those parts were there too. His father was a senior officer in the Mexican military, something that was more than a job to him, it was a lifestyle and he tried and mold his son into it. As he grew up with his two best friends, even though he got in trouble with the sometimes, his smarts always managed to keep him mostly unscathed from the consequences. He made a conscious effort to have as much fun as possible while also looking good in front of his dad and the mayor and try to one up his friend Manolo in front of their crush. His mother made sure that even as he trained with his dad and at school to become a better fighter, taking basic swordsmanship and shooting lessons, his son also got to know the softer parts of life, like reading classic Mexican literature and helping her cook. This hectic but comfortable lifestyle was cut short when Joaquin’s father passed away in battle. Even after he became San Angel’s hero and with the support of the town, he and his mother couldn’t take it for long and moved to Mexico City a year after the even. Joaquin would make sure to visit San Angel as much as possible and keep his father’s good image present there.

Stay a while...

As soon as he graduated top of his class from high-school, Joaquin convinced his mother to let him go back home for five years and work on his military training. He, of course, excelled at it after years of looking up to his father and living in a military household. The prestige that came with this was potentiated by the fact that he actually helped defend México and his base in an emergency, saving the lives of several of his partners and their general. This made him an important name in Mexico and a kind of celebrity in San Angel. Now, Joaquin understands it’s time to support his mother and go with her wishes, so he’s moved to the small town of Costa Serena with her, to make sure she gets the break she needs from San Angel’s memories and Mexico City’s never-ending action. He’s working as consultant for the police department here. Although it’s not exactly his dream job, it helps pay the bills and it does allow him to exert a certain amount of authority. He’s quite determined to eventually go back to Mexico and he tries to visit often, even if he does love Costa Serena, he thinks nothing will ever compare to the warmth (and admiration) he gets in his home country and is saving up to get a big house in San Angel, for him, his mother and whatever girl he ends up marrying to live largely.

Connections:

Manolo and Maria (Childhood Best Friends): Growing up they were his partners in crime. Maria was his first crush and Manolo his childhood rival. Now that he’s back he’s trying to reconnect with both but his stubbornness won’t let him see things have changed. He keeps trying to win Maria over and get Manolo to be his friend and forget the past, to no avail.

Nick Wilde (Co-Worker): He knows the man from work and thinks he can be a bit of a smart-ass, still he does admire his work and likes to hang around him to see if he can learn anything from him (and teach him some things himself).

Marissa Calavera (Childhood Acquaintance): He knew the mysterious girl growing up, and now that he’s found her back in his path he’s curious to see what she holds in store for him.

#town rpg #disney rp #ryan guzman #joaquin mondragon #The Book of Life #tbol #c #summer district #openm

4 notes · View notes

ryanmeft · 5 years

Text

Spider-Man: Into the Spider-Verse Movie Review

Spider-Man 2 set the standard for the wall-crawler’s celluloid escapes, and the movies have been trying to catch up to that ever since. Thanks in large part to poor decisions by Sony, it never came close until Marvel got a hand on the property again. The last thing I ever expected from Sony’s own spin-off movies was that they’d be any good, especially after surviving Venom. As it turns out, the soul of the character just needed animation to set it free. Spider-Man: Into the Spider-Verse is not only a great entry in the webslinger’s mostly forgettable filmography, it’s in the top tier of superhero films, period.

Miles Morales (Shamiek Moore) is a black teen being sent to a private school after winning a scholarship; his father (Brian Tyree Henry) is a by-the-books cop who struggles to understand his growing son but loves him anyway, which sounds cliche but works because the character is so well-written. His mother (Luna Lauren Velez) is unfortunately sidelined, and spending more time on her in the sequel would be welcome. He looks up to his uncle Aaron (Mahershala Ali), who shares Miles’s love of graffiti art but who is also some sort of a criminal. I mention Miles’s race because it’s important: the movie elects for a happily stable family and a smart kid with a bright future, a rare focus for African American characters in cinema. The movie is not political in the slightest, and treats this as if it’s not uncommon, because it isn’t. It’s a deliberate contrast to Peter Parker, whose life is a constant mess. Miles gets his powers with a similar spider bite and without much fanfare.

Speaking of Peter Parker, he shows up, voiced by Chris Pine, and gets in a big fight involving the Green Goblin (Jorma Taccone) and the Kingpin (Liev Schreiber), classic Spider-Man villains somewhat re-imagined for the setting. When things go wrong trying to stop a dimension-combining device, Miles lands the gig of stopping the machine from firing again, but can barely use his own powers. Another Parker (Jake Johnson), an older and out-of-shape one who has given up on life, shows up and doesn’t make a very adequate mentor. He’s eventually joined by numerous other versions. Spider-Gwen (Hailee Steinfeld), who is clearly here to launch her own spin-off, is cynical and calculating. Peni Parker (Kimiko Glenn) is an anime take on the character whose powers are actually invested in a machine that I think is piloted by a spider itself. I’ll be honest, I lost the details in the rush, but she works because she’s more homage to the form than parody. Spider-Ham/Peter Porker (John Mulaney) is sadly underutilized and didn’t really add as much as he could; there’s too many other Spider-guys for him to stand out. By far my favorite was Spider-Man Noir, a version who is almost all shadow, wears a fedora and trench-coat, and is voiced brilliantly by Nicolas Cage, who channels Humphrey Bogart and James Cagney. Indeed, the voice cast is so stuffed that Lily Tomlin and Zoe Kravitz end up in tertiary roles. Each of these alternate heroes got sucked into Miles’s universe and will see their molecules fracture like a bad radio signal if they don’t get back. For this, they seek the help of a batty-but-brilliant scientist (Kathryn Hahn), who provokes one of Parker’s best lines. Each is accompanied by a quick and humorous rundown of their respective origins, which both serves as a nice send-up of the now-tedious origin story and fills in whatever small amount of info the audience might need.

A disclaimer for those who are understandably confused about Spidey’s cinematic history: none of these Spider-People are the same one from the Marvel Cinematic Universe, that interconnected place of Guardians and Avengers. The Parker here appears to be some version of the one from Sam Raimi’s first trilogy, and considering the divided reception of that line, it’s an interesting choice (it still contains the best Spider-Man movie, and a couple lackluster ones). It matters far less than it does in the MCU, because this movie feeds more on energy, humor and heart than on continuity. To my recollection (it’s been a while), all of these characters exist in some way in the comics, but you don’t have to care. On screen, they play off each other wonderfully. The jaded Parker is like those wizened mentors from every movie ever made about a plucky kid finding his way, except this guy, while having the skills, doesn’t care. That’s a decidedly different look for Spider-Man, one that only an animated film, specifically only an animated film this unique, could pull off; an apathetic hero is just not something audiences would accept if he were the main character. The Noir version has the most potential for his own movie, as his universe is the most different from what we’ve seen before. Like Rey in Star Wars, Spider-Gwen is unfortunately given the least interesting character, but there’s room for development later. For some reason, the same people that decided we need more female heroes (which we do) also decided they always have to be---pardon the expression---the straight man. Will we maybe have a female take on Tony Stark at some point? I won’t hold my breath; the culture just isn’t there yet.

The heroes are of course opposed by the afore-mentioned villains, joined by many others: Prowler, a Batman-esque fighter, Scorpion (Joaquin Cosio), Tombstone (Marvin “Krondon” Jones III) and a surprise bonus pick who I will not mention because you should discover it for yourself, except to say this person really works while, in a way, bringing back a long-absent, long in demand foe. When machines are activated and villains are fighting, the movie does occasionally veer somewhat close to confusion, but it always recovers, with the exception of some of the villains being rather generic. Animation has unshackled the agility, speed and wit Spider-Man has always evoked in the minds of people flipping through comic panels. There’s a litheness to the movements of the characters that no amount of CG could ever replicate, and a boundless energy that the unique animation style---designed to look like comic panels in motion and, to my eternal shock, actually successful in this---works perfectly with.

Still, the most surprising thing is how the emotions carry through. Each Spider-Dude-or-Dudette has their own tragedy and loss, and the sense that no matter what universe he exists in, he’ll always have to deal with that is sadly poignant, especially for anyone who grew up on the Spider-Man mythos. There are actual stakes here; even the motivations of the Kingpin have real heft. The movie has been handled by Lego Movie producers Phil Lord and Christopher Miller, with a small army of co-writers joining along the way, and the surprise is that for once, so many cooks have managed to concoct something that feels so sincere.

If you aren’t a comic person, don’t worry. There’s enough heart here to sweep you up even if you don’t know your spiders from your bats. Stan Lee’s posthumous cameo feels fitting, in a movie that does right by his (and Steve Ditko’s) best creation. Nerds tend to declare amazing absolutely every comic movie that comes out. And every once in a while, they’re right.

Verdict: Highly Recommended (3 1/2 out of 4 stars)

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

You can follow Ryan's reviews on Facebook here:

https://www.facebook.com/ryanmeftmovies/

Or his tweets here:

https://twitter.com/RyanmEft

All images are property of the people what own the movie.

#spider-man #marvel #Nicolas Cage #the lego movie #mahershala ali #hailee steinfeld #movies #shamiek moore #brian tyree henry #luna lauren velez #chris pine #jake johnson #zoe kravitz #lily tomlin #kimiko glenn #john mulaney #joaquin cosio #superheroes #comics

8 notes · View notes

newstfionline · 5 years

Text

In East Palo Alto, residents say tech companies have created ‘a semi-feudal society’

By Scott Wilson, Washington Post, November 4, 2018

EAST PALO ALTO, Calif.--This poor city is surrounded by the temples of the new American economy that has, in nearly every way imaginable, passed it by.

Just outside the northern city limit, Facebook is expanding the blocks-long headquarters it built seven years ago. Google’s offices sit just outside the southern edge, and just a few miles to the west, Stanford University stands as the rich proving ground of the economy’s future. Amazon just moved in.

Only a small fraction of jobs in those companies go to those who live in this city of 30,000 people, one of the region’s few whose population is majority minority. That demography is under threat by the one economic force that has not passed East Palo Alto by--rapidly rising rents and home prices.

“Amazon Google Facebook--SOS,” reads a painted bedsheet draped from an RV parked off Pulgas Avenue, one of dozens of trailers where families have come to live rent-free along a gravel path that leads from the city to the San Francisco Bay.

In the past year, John Mahoni, a burly, affable 41-year-old Latino man, has had a dozen visits from real estate speculators looking to buy his small house off Terra-Villa Street in the city’s worn-down southeast side. The most recent doorstep instant offer: $900,000 in cash, almost three times what he paid less than a decade ago. He turned it down.

“They’ve stopped coming because I cussed them out, but I know they were just doing their jobs,” said Mahoni, noting that residents have the right to reject any offer for their property. “... There’s no law against not being greedy.”

Skyrocketing housing costs are accelerating a demographic shift across the progressive Bay Area, pushing out Latinos and African Americans into ever-more-distant suburbs to make room for predominantly white technology workers.

A recent University of California at Berkeley study found that the region has “lost thousands of low-income black households” as the result of rising housing costs. The study found no similar effect on the income of or departures in white neighborhoods.

The process compelling minorities to leave for cheaper cities, caused by Bay Area housing shortages and policies that have cemented those market trends, is in effect resegregating a region that has prided itself on ethnic diversity.

A 30 percent median rent increase from 2000 to 2015 translated into a 21 percent decline in minority households, according to the university’s Urban Displacement Project. While it is hard to pin down the average Bay Area rent, estimates place it above $3,000 a month.

Black neighborhoods in Oakland, Richmond and Berkeley have seen the most precipitous exodus. Most of those leaving are heading east to the less-expensive agricultural valleys, where political resentment toward the coastal elite has been building for years.

The crisis is sharpening as Californians prepare to vote Tuesday on a ballot measure that would make it easier for cities and counties to impose certain forms of rent control.

Proposition 10, as the measure is known, is unlikely to win judging by recent polling. But when surveys ask California voters if they support rent control in general, a majority say yes.

This could mark a turn after decades of unsuccessful attempts to give local governments more authority to control housing costs.

In 2016, five California cities had ballot measures to adopt new rent-control laws. Two were victorious and two more cities, including Santa Cruz in this region, will vote on similar measures Tuesday. Sacramento, the state capital, will have a rent-control initiative on the 2020 ballot.

“We’ve seen a shift in public opinion from rent control being popular to rent control being winnable,” said Dean Preston, executive director of Tenants Together, a nonprofit advocacy group. “People have just had enough of the runaway rents and it’s fair to see this is as a wave happening across the state in response.”

Blessed and cursed by geography, East Palo Alto is the next frontier of Bay Area gentrification.

The city has become a hunting ground for real estate speculators eager to turn even the town’s most decrepit properties into homes and apartments for the tech sector. The offers of cash--and it is often cash--have proved irresistible to some homeowners here who never imagined their tiny two-bedroom bungalows would one day be worth seven figures.

Landlords are using evictions and rent hikes to prepare residential neighborhoods for redevelopment at a time when the city’s wealthy neighbors, from San Jose to Sunnyvale, are in some cases actively opposing affordable housing projects.

The spillover has prompted city leaders here to try to collect some money from the companies building offices with no accompanying housing for the workers.

A measure on the East Palo Alto ballot would impose a tax on each square-foot of large commercial office space, which city leaders say would raise a few million dollars a year for affordable housing and job training. The measure is known colloquially as the “tech tax.”

“The market is fundamentally broken,” said Daniel Saver, senior attorney for the nonprofit Community Legal Services, who after graduating from Harvard Law School six years ago works with low-income tenants and homeowners here. “This is a regional problem, and we can’t solve a regional problem on our own.”

From the early 1980s on, California’s powerful real estate lobby managed to kill every new measure to expand rent control proposed at the state and local levels. The crackdown followed a golden age of tenant rights activism in California when cities such as Berkeley, Santa Monica and East Palo Alto adopted strong rent control measures.

Proposition 10 has revived the long-dormant debate at the state level. If passed, the measure would effectively nullify legislation known as the Costa-Hawkins Rental Housing Act, which the state legislature passed in 1995.

Costa-Hawkins did not eliminate all local rent control in the state. But it prohibited local jurisdictions from implementing two regulations that affordable housing advocates say would better protect residents of cities such as this one amid the real estate boom.

One allowed local governments to limit rent increases when one tenant leaves an apartment and another tenant moves in, even if the new rent remains below market value.

East Palo Alto had the regulation in place before Costa-Hawkins. Tenant rights advocates say vacancy control, as the regulation is known, removes the financial incentive for landlords to evict tenants and hike the rent.

The other allowed local governments to apply rent-control regulations to single-family homes and condominiums. Proposition 10 opponents have focused on this element, in particular, because of its implications for the rights of individual homeowners.

But its advocates say the idea is to discourage real estate speculators, many of whom are now scouring East Palo Alto for investment homes.

The median home price here is more than $1 million, a mixed-blessing milestone passed just a few months ago that culminated a 25 percent price increase over just the past year. But the median household income of $55,170 remains nearly a third of that of neighboring Palo Alto and half that of adjacent Menlo Park.

“Socially and economically in this area we’re living in a semi-feudal society,” Abrica said.

Those economic conditions make this city particularly vulnerable to the forces of gentrification. Many longtime residents are income poor and property rich. They are the prime targets for real estate speculators and investment companies with cash.

“It’s a gold mine here right now,” said Mahoni, one of those targets, who makes his living trading on eBay.

He bought his house--single-story, a patch of lawn surrounded by a chain-link fence out front--in 2009. That is the era known here as “before Facebook,” whose arrival two years later electrified the property market. He paid $330,000.

Mahoni grew up in San Mateo County in a house his parents bought for about $112,000 in 1985 and is now worth 10 times that. While he has resisted the money, many of his neighbors have not or have been forced out by rent hikes.

His cousin is moving to the East Bay from a home on the next street over. He has several friends who in the past year have sold houses and resettled as far away as Tracy, a city about 60 miles east in the San Joaquin Valley.

“No one wanted any part of us when the crime was high here, and that’s what is also frustrating about all this new interest,” said Mahoni, who intends to leave the home to his seven children. “I tell people only sell if you have to, that you have the character not to sell your soul to the devil. But for some people it’s just too much money not to.”

#East Palo Alto #Bay Area housing

5 notes · View notes

unholyimagines · 7 years

Text

Payback

FP Jones x (legal)Reader

Summary; Reader has been a long time friend of Archie and Jughead and has a small fight with them, leading her to go drinking in the Whyte Wyrm and meets FP, not knowing he’s Juggie’s dad, she decides to take her mind of things with his help

Warnings; cursing, drinking, the usual rough sex

A/N; This is my first story here so I hope you like it! Plenty more to come! Feedback is appreciated!

Sitting in Pop’s Diner on a friday night at 11.30pm with Archie Andrews and Jughead Jones was a normal, boring thing for you.

The three of you had been best friends as long as you could remember and you being a few years older was never an issue. Even when Juggie and Archie had a falling out, you had stayed with them both and now you were inseparable. You did everything with the boys and you now had your mind set on getting them to party with you.

“Oh cmon, I’ll handle the drinks, you just gotta drag your asses with me!”, you tried to convince the boys as they weren’t that excited about your idea.

“Y/N not today, okay? I’m just not in the mood for getting wasted”, Archie said with a loud sigh.

“Not today? It’s fucking friday guys! What else are we gonna do? Sit in this diner for the whole night again? I’m tired of these boring neon lights”, you said with your own sigh as you were starting to get frustrated.

“We’re always looking after your drunk ass on the weekends so why don’t you take it easy today and we don’t have to pull you from some creeps bed again”, Jughead laughed and elbowed Archie softly, making him laugh too.

“I can take care of myself so you both can fuck off because I’m getting drunk!”, you almost yelled at them. Feeling angry, you got up and as you had a short black dress on which had ridden up your thighs as you had sat, the boys noticed it.

“Your inner slut is showing Y/N, might wanna lower your hem”, Archie laughed with a raised brow.

His words fueled your anger even more. You were used to calling each other names and insults but in this situation, you didn’t think it was funny.

“Well if you excuse me, I’m gonna go be the slut that I am”, you said both angry and sad.

The boys noticed your serious tone and their faces fell a little but they didn’t have time to stop you as you had already went out the door.

‘This place gives me the creeps’, you thought as you stood outside of a bar called Whyte Wyrm. It looked like a bikergang hangout and that’s exactly what it was. Normally, you would avoid places like this, especially when you’re alone but now you didn’t care.

Walking inside and heading directly to the counter, you ordered two shots of tequila and your favorite beer. The bartender had your order in front of you in a minute and you paid before downing the shots. The taste was as horrible as it had always been and you turned around to scan through the bar as you sucked on your lemon slice. The place was packed.

Spotting only one empty table, you quickly grabbed your beer and made your way to sit by it. Before you had a chance to sit down, you felt a hand on your arm and turned around.

“Y/N what the hell are you doing here?”.

It was Joaquin and he smiled at you as you smiled back. You knew him through Kevin and he seemed like a nice guy.

“I needed to get drunk”, you confessed, sipping your beer.

“Needed? If there’s something on your mind, you came to the right place”, he smirked and pulled you with him the a pool table, surrounded by many people of all ages.

After what felt like hours of playing, you were now incredibly drunk, but sober enough to win every single game you had played.

“Is there not anyone who can even give me a challenge?”, you smirked as you scanned the people around you. Many had defeated looks on their faces as they didn’t stand a chance against you.

“I’ll give it a try”, a voice said and you turned around to see a smoking hot older male.

“I think you’ve had enough”, Joaquin whispered and tried to pull you away but you weren’t having it.

Suddenly, the whole bar was almost quiet and you made eye contact with the mysterious man. He looked you up from head to toe, almost eyefucking you right there and his stare lingered on your chest for a moment before returning back to your eyes. He didn’t say anything as he grabbed a pool stick and walked close to you. He was clearly trying to intimidate you but the alcohol had given you enough courage to not feel scared. When he realized that you weren’t gonna budge, he started to smirk and oh my god, it almost made your panties wet.

“Give us some privacy guys��, he finally said and everyone was back to talking and drinking. The area around the pool table cleared and now you had started to feel intrigued about the man.

“So normal rules?”, you asked with an innocent smile.

“Whatever you want, sweet cheeks”, he said and you tried to hide your blush.

You had been playing for a short while and he was winning. You felt a little nervous but downed the rest of your drink and decided to give him a little distraction. He was lining up his shot, leaning against the table when you walked across the table and leaned your elbows against it, making sure to press you boobs together.

“That’s not gonna work, honey”, he smirked and shot his final ball into the bag and won.

“So how much do I owe you?”, you asked as you had been playing for money all night.

“How about a kiss?”, he asked as he walked to you, pushing you to sit on the pool table, him standing between your legs. Him being so close, got your breathing to become faster and the fact that he was one of the sexiest men you’ve ever seen, didn’t help. He reached behind him and had two shots of something in his hands. You took the shot and quickly drank it, cringing at the taste a little. He did the same and as he finished, you wrapped your hands around his neck and brought his lips to yours. He instantly kissed back as his hands went to your waist, pulling you against his crotch, you felt his hard cock.

“Wanna go somewhere a little more private?”, you asked as you now knew he wanted the same as you.

“Thought you’d never ask, baby girl”, he said as he lifted you from the table.

The way to his place wasn’t long. Some guy had given you a ride and now you were standing in his trailer as he was pouring you two glasses of whiskey.

“You’re old enough, right?”, he asked before handing you the glass.

“Depends on what you’re talking about”, you smirked at him, taking a sip of the strong drink.

“You’re a bad girl, aren’t you?”, he smirked, sitting down on the couch.

“Oh you have no idea”, you smirked back at him, joining him on the old couch.

“So what made you come with me? Do you have daddy issues?”, he questioned with a small chuckle.

“No, but I have no problem with calling you daddy”, you smirked, feeling extra confident with the alcohol running through your veins.

“Oh my god”, he groaned as he dropped his drink to the floor and pushed you to lay on the couch, getting on top of you, kissing you hungrily.

You also dropped your drink as your hands went to tug on his hair. You pushed him off you and stood up as you pulled your dress down, leaving you in your small, red panties. His mouth hang a little open as he eyed your body. You reached to pull his shirt off and then went down on your knees to start unbuckling his belt. He lifted his waist for you to pull his pants off and you almost yelled as his big cock almost hit your face. Never had you seen someone with such impressive length and you felt nervous about him putting the giant thing inside you. He noticed your reaction and smirked.

“Be a good girl for daddy and suck my cock”, he said with a low voice and a chill went through your body. You wrapped you hands around him and licked his tip to make it easier for you to slide him in your mouth. He clearly thought you were taking too long so he took a fistful of your hair and pushed you down on his cock until you started to gag.

“That’s my girl”, he laughed as you started to bob your head, up and down, your eyes watering. You continued to suck him for a moment until he suddenly pulled you up by your hair. He got up and pushed you to sit on the couch so that you were leaning against the armrest. He got on the couch between your legs and went to suck and bite on your left nipple and pinched and pulled the other one. You were already a moaning mess as he worked his magic. Then he just stopped and ripped, not removed but literally ripped your panties off, earning a small gasp from you. He pushed your legs as far apart as he could and ran a finger over your wet slit.

“Did daddy get you this wet?”, he smirked as he spread your pussy with two fingers.

“Yes daddy, please don’t tease”, you whined.

He did what you told and pushed two fingers inside you and your eyes rolled back. He fingered you for a second before adding a third finger.

“Open your eyes, baby girl. I wanna see you fall apart”, he commanded and your eyes flew open to see him smirking over you.

You were so close to cumming, when he stopped and pulled you up by your throat. He pushed you against the small counter between the living room and the kitchen. A sharp pain shot through you as she had spanked you. You lifted your head to look at him but he grabbed your hair and pushed you down, pulling your ass up.

“Now you’re gonna be a good girl and not make a sound, understand?”, he almost whispered. You furiously nodded as you wanted to feel him already. You felt him spread your cheeks before he slammed himself inside you in one swift motion. You let out a pained wail as you felt him stretch you out. He didn’t give you any time to adjust as she started to pound into you.

“Wait…”, you tried to stop him for a moment but he wasn’t listening. Soon enough, you didn’t feel any pain, only heavenly pleasure.

“Oh shit, baby, I’m gonna cum”, he said with a exhausted voice. Just seconds after saying it, he pulled out and turned you around and forced you on your knees. He then grabbed your chin, forcing you to open your mouth.

“You better swallow”, he said as he pushed his cock, deep into your mouth and released himself inside your throat. You obeyed him and swallowed it all. He then started to laugh and pulled you up.

“That was amazing but I’m not a jerk, you didn’t cum so sit on the counter and open your legs”, he told you and you did it. He teased your clit for a second before pushing two fingers inside you, curling them to perfectly hit your g-spot.

“Oh my god!”, you yelled as he fastened his pace and in only seconds, you felt something wet dripping down your legs.

“Looks like you’re a squirter”, he smirked and started pull his fingers out of you.

At the same moment when he removed his fingers, the door opened.

“Dad?”, it was Jughead who said it and he was now standing with Archie by the door.

“Oh my god”, Jughead and you screamed at the same time.

Juggie quickly covered his eyes as he backed out of the room but Archie stood there, frozen, looking at your naked body.

“Archie, get the fuck out!”, you yelled as you ran to him and pushed him out, closing the door.

“Oh, fuck”, the naked man said as he had started to pull on some clothes.

“You’re Jug’s dad?!”, you yelled at him, pulling your dress on and trying to fix your hair.

“You know them?”, he questioned with raised brows.

“They’re my best friends for fuck’s sake! This is not happening!”, you yelled, feeling utterly embarrassed.

“Relax, we’ll sort this out, uh, what’s your name?”, he asked awkwardly.

“This is just great. It’s Y/N”, you laughed as you didn’t know how to handle the situation.

“I’m FP, its was nice to… fuck you”, FP smirked and it made the situation a little lighter for you.

You sat on the couch as FP went to open the door to let the two boys back in.

“What the fuck was that?”, Jughead shouted, looking at you.

“I didn’t know he was your dad!”, you told him with a bit of anger, remembering how he had been the other reason you had gotten drunk.

“Son, we didn’t know about each other, I only knew you had a close female friend but you didn’t tell me it was this sexy little vixen”, FP smirked at you.

“Oh my god, dad, shut up! Y/N come with us, now!”, Jug told you and started to drag you by your arm.

“Till next time”, you winked at FP as you passed him, laughing as you heard Juggie make some gagging noises.

Sitting back at Pop’s with Jug and Archie, you weren’t drunk anymore so your confidence level wasn’t as high. You felt super awkward with the boys almost ignoring you, everyone staying quiet. Archie was the first one to break the silence.

“Look Y/N, I’m sorry about the things we said before, we didn’t mean to upset you and we were so worried when you didn’t answer your phone”, he said with sadness in his voice.

“It’s fine Archiekins, I’m over it”, you said with a smile and turned your attention to Jug, who wouldn’t look at you. Archie nudged him and he sighed before looking at you.

“I’m sorry too”, he rolled his eyes.

“I forgive you, I mean, I did bang your dad for payback”, you laughed and Archie also burst out laughing.

“Oh my god!”, Jughead threw his hands up in the air.

#fp jones #fp jones smut #fp jones imagine #fp smut #fp jones x reader #skeet ulrich #kj apa #archie andrews #jughead jones #cole sprouse #riverdale #cw riverdale #riverdale smut #smut #riverdale dirty imagine #imagine #south side serpents #whyte wyrm

731 notes · View notes

kcaruth · 4 years

Text

Movie Mania: Top 10 of 2019

Another year of movies, another year a Star Wars film sadly did not make the cut for my list. With 2019′s The Rise of Skywalker, it is absolutely clear that the folks at Disney/Lucasfilm had no roadmap for this sequel trilogy whatsoever, which is an utter shame given their abundance of resources and proven ability to produce quality content as seen with the success of The Mandalorian.

In a rare occurrence, I saw most of the films nominated in the major categories for the Academy Awards. In fact, the Academy nominated seven out of my top 10 films for at least one award. I would say that 2019 was a markedly stronger year for film than 2018, so I have allowed myself a couple of extra honorable mention slots. One quick housekeeping note before I unveil my 2019 list: I’m retroactively moving Game Night and A Quiet Place ahead of Bohemian Rhapsody and Green Book on my 2018 list. Now it is time to jump into my favorite films of 2019. (No spoilers!)

Honorable Mention: Joker

Nominated for a whopping 11 Oscars (equaling The Lord of the Rings: The Return of the King [which swept all 11], The Godfather [Parts 1 and 2], West Side Story, and Saving Private Ryan, among others), Joker should get an award for most divisive film of the year. Directed by Todd Phillips (yes, the same guy who directed The Hangover), Joker is a psychological thriller staring Joaquin Phoenix that provides a possible origin story for Batman’s arch-nemesis. Before becoming the Joker, Phoenix’s character, Arthur Fleck, dreams of becoming a famous stand-up comedian. His gradual descent into insanity, nihilism, and violence mirrors the chaotic anarchy slowly consuming the decaying Gotham City as its citizens revolt against the wealthy and better-off.

Despite the concerns surrounding Joker that it would inspire real-world violence, the film has grossed over one billion dollars, making it the first R-rated film to do so. Phoenix disappears into his role, and Icelandic composer Hildur Guðnadóttir’s haunting score brilliantly conveys the inner pain and turmoil in Arthur’s mind as well as the dying light of Gotham. (Guðnadóttir made history as the first solo woman to win a Golden Globe for best original film score.) In an interview with Forbes, Guðnadóttir explained the concept of her turbulent score. “In the beginning, it’s almost just like a solo cello, but in reality, there’s a whole symphony orchestra behind the cello. It’s almost like this hidden force that he doesn’t know about and as he starts to kind of discover what he’s gone through and what’s actually happened to him, the forces become louder and more aggressive. The orchestra takes over and almost eats the cello alive.”

Although Joker is a powerful film and and makes strong statements about mental illness and poverty, its gruesome, unhinged violence can be hard to handle. Everything is shown in graphic, bloody detail, making the thought of a repeat viewing undesirable. I also could have done without a couple of choices that were made involving the Waynes, especially one scene that we have seen over and over again.

Honorable Mention: Ford v Ferrari

As someone who really does not care all that much about cars and their inner workings, this film did the one thing it needed to do for me: It made me come out exclaiming, “Yeah, cars!”

In all seriousness, James Mangold’s sharp direction smartly focuses not on the sport of racing but rather on its big personalities. Those personalities gripped me so much that I immediately started researching their lives after the film ended. The plot follows Carroll Shelby and Ken Miles as they are dispatched by Henry Ford II to dethrone the dominant Ferrari racing team with an American-made car. Along the way, they have to deal with mechanical setbacks and corporate interference to achieve their goal.

This film’s cast is outstanding. Matt Damon and Christian Bale’s deep but sometimes heated friendship as Shelby and Miles is the heart of the film. Tracy Letts as Ford II and Josh Lucas as Leo Beebe, senior executive vice president of Ford, give off the perfect amount of corporate stench to make them unlikable but not unbelievable. 14-year-old Noah Jupe comes off his great performance in 2018′s A Quiet Place to deliver another stellar outing here as Miles’ young son. However, Jon Bernthal felt a bit underused as Lee Iacocca, vice president of Ford, and Cautriona Balfe’s role as Mollie Miles, Ken’s wife, though well-acted, felt like it could have been removed entirely without much consequence to the film overall.

With a moving score and great cinematography, Ford v Ferrari unexpectedly tugged at my heartstrings, and the infectious passion Shelby, Miles, and these other characters have for cars managed to rub off on me, which might be the ultimate testimonial for this film.

Honorable Mention: 1917

1917 has been hyped as “that World War I movie with one continuous take,” but it is so much more than that. World War I was a stark clash between 20th-century technology and 19th-centry tactics. With soldiers largely trapped in trench warfare, conflicts commonly turned into battles of attrition. That does not exactly translate into exciting cinema, which explains why there are so many more films about World War II. Karl Vick acknowledges this in Time magazine, writing, “motion pictures do require a certain amount of motion, and the major accomplishment of 1917...may be that its makers figured out what the generals could not: a way to advance” (Karl Vick. Time. "Escaping the Trench". January 20, 2020. Page 38-41.)

What more can one say about Roger Deakins at this point? What he and director Sam Mendes created with the cinematography of this film is nothing short of fantastic. With its cinematic achievement of what is made to look like one continuous shot, 1917 presents most of its actors with only a small amount of screen time to make an impact, and they are more than up to the challenge. Mark Strong, Andrew Scott, Benedict Cumberbatch, Colin Firth, Richard Madden, and others all leave a lasting impression with their extremely short encounters with the film’s main characters, Lance Corporal Blake (Dean-Charles Chapman [Tommen!]) and Lance Corporal Schofield (George MacKay). Mendes places the bulk of the weight of the film on Chapman and MacKay’s shoulders, and they luckily carry it with natural ease. Working together with the one continuous take style, Thomas Newman’s riveting score keeps viewers on the edge of their seat and makes them feel like they are part of this life-or-death mission with the lance corporals.

If I had to list a couple of flaws with the film, I would say that one of the characters feels like he has untouchable plot armor. It almost seems like Mendes and company hope that the awe-inspiring cinematography will make viewers forgiving or even ignorant of the amount of times this character should be fatally shot or even injured, but I understand that some artistic license is necessary to convey the story they want to tell. The nature of the cinematography employed here also makes it difficult to get a grasp on distances and positioning because the shot is never really allowed to zoom out or give an aerial view since it is fixed on the lance corporals.

Unfortunately, I experienced this breathtaking film with one of my worst theater audiences of 2019. Much of the film was drowned out by the ladies sitting next to me who felt the need to constantly narrate everything that was happening on screen. “He’s going down into the trenches.” “Look! He’s jumping into the water.” Etc., etc. This is not your living room, people! If people want to talk over a film like this and provide running commentary and narration, they should wait for its home release. Your fellow audience members are not blind, and we would greatly appreciate it if you remained quiet.

#10: Spider-Man: Far From Home

After Avengers: Endgame released earlier in the year, the spotlight promptly shifted to Jon Watts’ Spider-Man: Far From Home, and he did a tremendous job with this film. Serving as both the epilogue to Endgame and the sequel to Spider-Man: Homecoming, Far From Home effectively closes out phase three and sets the stage for the next era of the Marvel Cinematic Universe. Far From Home is the first Spider-Man film to pass the billion-dollar mark, and it is not hard to see how it managed to pull that off. The returning cast led by Tom Holland as Peter Parker/ Spider-Man retains its great chemistry, and Jake Gyllenhaal is the perfect choice to play Quentin Beck/ Mysterio, complete with a great theme from returning composer Michael Giacchino. Fans of Spider-Man have been waiting forever to see this character on the big screen, and I am happy to report the film does him justice. Watts especially knocks his character out of the park with a certain sequence about halfway through the film that I was beyond thrilled to see.

The film is set immediately after the events of Endgame and finds Peter and his high school class taking an international field trip to Europe. The writers do an amazing job explaining the ramifications of Endgame, and the way they weave plot details and character motivations together all the way back from phase one of the MCU is mind-blowing. Watts realizes that there needs to be some levity after Endgame, so this film is full of laugh-out-loud humor and charmingly awkward teen road-trip set-pieces. Oh, and did I mention it has one of the best mid-credits scenes in the entire MCU that dramatically alters the characters’ futures going forward?

#9: Toy Story 4

I have a deep personal connection to the Toy Story franchise. I grew up watching Toy Story and Toy Story 2 on repeat, and Toy Story 3 came out during my senior year of high school. Those who have seen that film know why it especially resonated with me at that age. In my opinion, Toy Story 3 ended the trilogy perfectly; there was no way another film could top its emotional ending. When I heard that Pixar was coming out with Toy Story 4, I was not going to pass up another opportunity to hang out with Woody, Buzz, and the gang, of course, (neither was anyone else, seeing as this is the highest grossing film of the franchise) but I set my expectations to a low, manageable level.

Although I was disappointed that Buzz and the rest of Andy’s old toys were not as heavily involved in the plot and did not have all that much time to interact with Woody, I was impressed overall with the new characters and was happy to see Bo Peep return. In this film, Bo breaks through her porcelain design and exhibits a character with total agency over her choices. Everything about her redesign and the way she carries herself is awesome. Keanu Reeves’ Canadian daredevil Duke Caboom steals every scene he is in, and Christina Hendricks’ Gabby Gabby gave me terrifying flashbacks to Talky Tina from the “Living Doll” episode of The Twilight Zone.

As audiences have come to expect from Pixar, the film delivers stunning animation and a signature big emotional gut punch, which it earns it by building up genuinely heartwarming moments throughout its run time that address themes such as the difficulty of change, the beauty of imperfection, the mystery of creation and the meaning of life, and the importance of serving others. As Matt Zoller Seitz writes for RogerEbert.com, “This franchise has demonstrated an impressive ability to beat the odds and reinvent itself, over a span of time long enough for two generations to grow up in. It's a toy store of ideas, with new wonders in every aisle.”

#8: Doctor Sleep

Writer-director Mike Flanagan took on the unenviable task of pleasing two different parties when Warner Bros. hired him in January 2018: fans of Stanley Kubrick’s The Shining from 1980 and Stephen King and fans of his books The Shining and Doctor Sleep. Somehow, he managed to pull it off.

After visiting the Timberline Lodge in Oregon, the location used in Kubrick’s film for the exterior of the Overlook Hotel, this past summer, I decided it was finally time to watch The Shining. I can attest it is just as much a masterpiece as many people say it is. My favorite part: it is a horror movie that does not rely on jump scares. When I heard the Flanagan wanted to chop away at the horror genre’s reliance on jump scares, I was even more excited to see Doctor Sleep. Flanagan said, “When we were developing the project and when we were talking about the metered expectations audiences have about, in particular, jump scares and startles and the pacing of those, which we’re utterly uninterested in this film, I would say, ‘What’s your favorite jump scare in The Shining?’ There isn’t one. The same is true here. We used a lot of the lessons that Kubrick taught us about how to do a psychological thriller, a supernatural thriller, in a way that is more about suffocating atmosphere and tension than it ever is about the kind of traditional scares as we understand them today.”

It is well known that King really disliked Kubrick’s adaptation of his book. He disliked it so much, in fact, that he wrote and executive-produced a new version with the 1997 television miniseries. In his approach to Doctor Sleep, Flanagan first read King’s book, which was published in 2013, and then consulted closely with the author to reconcile the differences between the book and film version of The Shining. After reading Flanagan’s script, King felt like his least favorite parts of Kubrik’s film had been “redeemed.”

Set several decades after The Shining, Doctor Sleep reunites audiences with Danny Torrance, played by everyone’s favorite Jedi, Ewan McGregor. Danny continues to struggle with the childhood trauma he endured at the Overlook Hotel during the events of The Shining, turning to alcohol to numb the pain and his psychic abilities. Meanwhile, the True Knot, a cult of psychic vampires led by Rose the Hat (Rebecca Ferguson), is on the hunt for children with psychic abilities like Danny’s, and they are hot on the trail of young Abra Stone, played by Kyliegh Curran in her feature film debut.

With the benefit of having just seen The Shining a couple of months before this film, I was able to appreciate Flanagan’s careful attention to detail. He is clearly a fan of both King and Kubrick, but he does not let his admiration for them impede his own creative vision. He expertly balances original content with just the right amount of fan service and callbacks to The Shining. Even without jump scares, the film has plenty of horrifying moments, especially one involving young actor Jacob Tremblay that echoed in my mind long after the film had ended. Ewan McGregor is fabulous, as always, convincingly portraying Dan’s fight with his inner demons, and Rebecca Ferguson looks like she is having a devilishly good time as Rose the Hat. Above all, I was surprised to learn that this was Kyliegh Curran’s film debut. She is so comfortable on camera and has painted a bright future for herself out of the darkness of this film.

Doctor Sleep gave me all sorts of chills down my spine, induced by the eerie atmosphere of certain scenes as well as extremely well-timed tie-ins to its predecessor, that left me hungry for even more Stephen King stories.

#7: Once Upon a Time in Hollywood

Set in 1969 Los Angeles, Quentin Tarantino’s ninth film stays true to its name and delivers an alternate version of events that unfolded in Hollywood that year. In addition to Sharon Tate, Roman Polanski, and the Manson Family, the film tells the story of fictional characters Rick Dalton and Cliff Booth. Dalton is a veteran Hollywood actor most famous for starring in a Western television series called Bounty Law who believes he is approaching the end of his career. Booth, a war veteran with a shady past, is Dalton’s best friend and longtime stunt double. Together, they attempt to navigate the final stretch of Hollywood’s Golden Age.

Leonardo DiCaprio and Brad Pitt work incredibly well together as Dalton and Booth, respectively, with neither star trying to outshine the other. Margot Robbie, on the other hand, does not get a lot of material to work with as Tate. (Do not tell Tarantino that.) Conversely, Julia Butters blew me away as Trudi Fraser, Dalton’s eight-year-old co-star in the pilot of a new American Western series. She more than holds her own acting side by side with DiCaprio.

Although the film moves at a slow pace, leaving me to wonder at times where this story was even going or if I was just watching a day in the life, Tarantino’s usual engaging, snappy dialogue entertains even when there is no real action happening on screen. With this being Tarantino, audiences have to accept his signature peculiarities, like close-up shots of feet, to be treated to another perfectly crafted soundtrack, complete with classic rock and roll, old-time DJ chatter, and period-accurate radio commercials. In the end, the slow pacing of Tarantino’s script actually helps enhance the heart-stopping standoff at the halfway point and the absurd payoff at the end. Clearly, this film is Tarantino’s passion project. In fact, he said it is “probably my most personal. I think of it like my memory piece... This is me. This is the year that formed me. I was six years old then. This is my world. And this is my love letter to L.A.” No wonder he publicly referred to it as Magnum Opus while he was writing it.

#6: El Camino: A Breaking Bad Movie

Written and directed by the creator himself, Vince Gilligan, El Camino serves as the epilogue to Breaking Bad, giving fans closure on certain questions and characters. Many favorites from the series return in some form or fashion (shout-out to Jesse Plemons for absolutely crushing his role here), but the focus always remains on Jesse Pinkman. Whereas Breaking Bad was Walter White’s story, El Camino puts Jesse center stage, and Aaron Paul gives one of the best performances of his career, fully tapping into his character’s desperate, damaged psyche.

Breaking Bad and Better Call Saul are two of my favorite television shows, and I think Gilligan is one of the best show runners in the business. He manages to incorporate the tone and atmosphere from the world of those two shows into this film seamlessly, and he rewards longtime fans with a nice amount of Easter eggs. Cinematographer Marshall Adams deserves so much praise for the jaw-dropping shots that grace the screen, especially the ones that show off the New Mexico landscape. He has an astonishing ability to make every frame look like a detailed painting. Editor Skip Macdonald should also be recognized for his work, particularly for the way his editing of Jesse searching for something in an apartment reinforces Gilligan’s non-linear revelatory style of storytelling.

El Camino does not waste any time with exposition, so someone who has not seen Breaking Bad cannot jump right into this film and understand what is going on. Then again, what rock have you been hiding under if you have not seen Breaking Bad at this point? What are you waiting for? Let this be your motivation to finally watch it, and then once you have made it through the series and El Camino, keep the good times rolling and watch Better Call Saul, which is just as good, if not maybe even a little better than, Breaking Bad.

#5: Jojo Rabbit

Only the whimsical genius of Taika Waititi could have concocted this irreverent, dark satire set against the backdrop of World War II Nazi Germany. Based on Christine Leunens’ book Caging Skies, Jojo Rabbit stars Roman Griffin Davis as the titular Johannes “Jojo” Betzler, a jingoistic 10-year-old German boy enrolled in the Hitler Youth. Jojo lives with his mother, Rosie, played by Scarlett Johansson. As far as Jojo knows, his father is fighting on the Italian Front, so he often turns to his imaginary friend, a wacky version of Adolf Hitler (Waititi), for advice and support as Germany becomes more desperate as the war starts to reach its conclusion.

Jojo Rabbit’s black comedy places viewers in plenty of predicaments in which they want to laugh, are not sure its entirely appropriate, but still end up doing so anyway. The film balances this out by keeping a good amount of heartrendingly emotional and genuinely sweet moments tucked up its sleeve. Waititi and Romanian cinematographer Mihai Mălaimare, Jr.’s visual storytelling is on a whole different level, carefully using ordinary imagery as subconscious foreshadowing, leading to one of the biggest breath-stealing shocks of the entire year that stopped my heart and rocked me to my core. Michael Giacchino seems to have been criminally overlooked by the Academy for his simultaneously jaunty and intimate score that adds yet another impressive layer to the film’s wide range of emotional beats. Living in a world fueled by hate, Davis, Johansson, and Thomasin McKenzie’s characters show how compassion and the willingness to try to come to a common understanding can change, and in some cases save, lives.

#4: Marriage Story

Writer-director Noah Baumbach paints what may be the most brutally honest picture of divorce I have ever seen on screen in Marriage Story. Before Marriage Story, I had never seen one of Baumbach’s films, but I get the sense from this film that he takes a very grounded approach to storytelling.

Marriage Story stars Adam Driver and Scarlet Johansson as Charlie and Nicole Barber. Charlie is an acclaimed theater director, and Nicole is his muse. Despite her acting skills, Charlie always receives all the praise, leaving Nicole to congratulate him from the back seat and contemplate what kind of professional movie and television acting career she possibly gave up to be with him. She also misses living in Los Angeles and being close to her family. At the center of this tenuous relationship is the couple’s young son, Henry. As things go from bad to worse in their relationship, Charlie and Nicole start down the path to divorce, initially wanting to approach everything amicably without involving lawyers, but quickly walking back on that as they begin to doubt each other’s motives and end goals, especially in regards to Henry.

Driver and Johansson both put on a masterclass of acting here, but I would have to give Driver my nod in choosing the stronger performance of the two. He is a tour de force in this film, unyielding to the unflinching camera. Alan Alda and Laura Dern keep pace with Driver and Johannson beat for beat as Bert Spitz and Nora Fanshaw, Charlie and Nicole’s lawyers. Baumbach smartly chooses not to wallow in the melodrama of the messy divorce, showing that small, flickering sparks of love still exist between Charlie and Nicole, maybe not enough to reignite the flame that brought them together in the first place, but enough to convince you that they still have a hope for some kind of happiness.

#3: Knives Out

After the Internet firestorm that was Star Wars: The Last Jedi, Rian Johnson did the best thing he could have possibly done—he went far, far away from any established franchises, rounded up an all-star ensemble cast, and wrote and directed his own original murder mystery film. Through some ingenious plotting, Johnson revitalizes the entire genre and turns the classic whodunit on its head, all the while delivering some timely social commentary. Complete with Daniel Craig delivering a monologue about donut holes in a southern gentleman accent, Knives Out is an absolute delight.

The events of the film center around the Thrombey family, with the main mystery beginning after patriarch and rich crime writer Harlan Thrombey (Christopher Plummer) is found dead in an apparent suicide the morning after his big 85th birthday party with his family at his mansion. An anonymous source informs private detective Benoit Blanc (Craig) of Harlan’s death and hires him to investigate.

A huge fan of classical mystery thrillers and comedies, Johnson’s love of the genre is tangible, but he never allows the narrative to become overly meta, referential, or even reverential, for that matter. I have already mentioned Craig and how much fun he looks like he is having in his role as Blanc, but Ana de Armas breaks out as Marta Cabrera, Harlan’s caretaker, and is the heart of the film. The rest of this high caliber ensemble cast has its moments, and I only felt like a couple of the characters were completely disposable, such as Jaeden Martell’s Jacob Thrombey, for example.

Johnson keeps his audience on its toes for the entire film. Just when the solution seems obvious, he throws another twist at them to throw them off the scent. It is a true shame that Knives Out received only one nomination from the Academy, but Johnson more than deserves that nomination for best original screenplay.

#2: Avengers: Endgame

It has all led up to this, the culmination of phases one through three of the Marvel Cinematic Universe. Admittedly, I was not the biggest fan of Avengers: Infinity War; I did not care for its overall slow pacing. Avengers: Endgame, however, is everything I wanted in this grand finale of the Infinity Saga. Whereas Infinity War felt overcrowded, Endgame brings it all back home to the original Avengers team for the majority of its surprisingly swift 182-minute run time, allowing them to essentially take a victory lap before the next phase of this cinematic universe begins. In the interest of not giving anything away, I will keep this brief, and trust me when I say that I could go on and on talking about how much I enjoyed this film. I will just end by saying that directors Anthony and Joe Russo and producer Kevin Feige certainly reward the dedication of fans who have watched all 21 films leading up to Endgame, and Robert Downey, Jr. submits one of his best performances as Tony Stark/Iron Man. #ILoveYou3000

#1: Parasite

Far and away my favorite film of 2019 was Bong Joon-ho’s Parasite, a South Korean dark comedy home-invasion thriller about a poor family plotting to improve their circumstances by tricking an extremely wealthy family into hiring them by posing as unrelated, highly skilled individuals.

I came into this film ignorant of its premise, and I was completely floored. This is Bong Joon-ho in total control of his craft. Parasite has a mesmeric rhythm to it that is aesthetically energized, allowing the film’s strikingly bold tonal shifts to work so well. Every act increases the ever-present nail-biting suspense, supplemented by cinematic moments of pure genius like the nearly five-minute long montage towards the end of the first hour. Every single member of the cast knocks it out of the park, and there is enough social commentary to fuel college essays for years. The twists zig when you think they are going to zag; it is a truly wild ride. To put it quite simply, Parasite is a masterpiece.

The following are a list of films I saw from 2019, in no particular order:

· Glass

· How to Train Your Dragon: The Hidden World

· Captain Marvel

· Shazam!

· Avengers: Endgame

· Aladdin

· Booksmart

· Rocketman

· X-Men: Dark Phoenix

· Men in Black: International

· Toy Story 4

· Spider-Man: Far From Home

· Once Upon a Time in Hollywood

· Joker

· Parasite

· Jojo Rabbit

· The Lighthouse

· Doctor Sleep

· Ford v Ferrari

· Frozen II

· Knives Out

· Star Wars: The Rise of Skywalker

· 1917

· The Two Popes

· The Irishman

· Marriage Story

· El Camino

· Uncut Gems

· One Piece: Stampede

I somehow completely forgot I saw The Peanut Butter Falcon and absolutely adored it; I definitely recommend checking out this feel-good film.

My 2018 film list: https://kcaruth.tumblr.com/post/182182411291/movie-mania-top-10-of-2018

My 2017 film list: https://kcaruth.tumblr.com/post/171040800751/movie-mania-top-15-of-2017

My 2016 film list: https://kcaruth.tumblr.com/post/156340406236/movie-mania-top-15-of-2016

#movies #film #oscars #academy awards

0 notes