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shimmershae · 3 years

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My thoughts on Episode 3--Hunted.

Most of you lovelies already realize this, but my thoughts tend to zig and zag quite a bit, lol. So. To save some of you the headache and spare you from seeing spoilers you’d rather not see yet, I’m again placing them behind a cut.

First things first. I have totally turned into Yvette Nicole Brown with her TWD notebooks, lol, and I’m not even sorry. I just felt like it would be fun to go back when the final episode is in the books and see how well my thoughts from these early episodes line up with what I’m feeling when we say our (not-so) final goodbyes.

But that’s enough about that. Let’s get to this thing.

It really is insane how very much I love Melissa McBride. Just hearing her doing the previously on TWD recap voiceover makes me ridiculously happy.

Cole! Dude! We hardly knew ya.

Not gonna lie. That first shot of Maggie in all the chaos reminded of a shirt I’ve seen. It says--”Well, well, well. If it isn’t the consequences of my actions.”

I have to hand it to Angela and the rest of her team. These opening scenes--on all 3 episodes--have been BOMB so far. They really hook you in right away. At least IMHO.

I realize I’m behind the game on this little tidbit, but how much do I adore the fact that Dog is now in the opening credits?

Okay. Alexandria might look like it’s been on some kind of post-apocalyptic bender but all our girls are looking beautiful as ever. Maybe it’s Maybelline, lol.

I love to see Kelly and Carol still gravitating toward each other. It really speaks to each woman’s heart. Carol wants to make amends so badly and Kelly just has the most lovely, warm, forgiving heart.

Carol’s point about Alexandria still needing the horses to help with the heavy lifting and pointing out the walls and rebuilding won’t matter quite as much if they’re limited by their hunger and what they can physically lift on their own isn’t wrong. But I’m sure the same viewers that were okay with Daryl and Co. going out on Maggie’s suicide mission (using the same reasoning) and saying it made sense for the bigger picture will pretend not to recognize that the same element is there in Carol’s desire to go out there and look for the horses. You know. Because it was Carol’s idea and not that of their fave(s).

Aaron, Man. Or maybe I should say Angela. You just had to put a pit of dread in my belly mentioning Buttons like that. RIP, Buttons. You deserved better. I’m still traumatized.

Look at all the babies bonding. Look at RJ getting to sit at the big kid table.

“My mom always comes back.” She damn well better. Those babies need her. Until she does, though, Uncle Daryl and Aunt Carol (and Aunt Rosita and everybody else) are going to be there.

Anyway. Poor RJ. He barely ever gets any lines, lol.

Hershel and Judith are obviously the mini-adults in this group and baby Rhee is already more cynical and jaded than his sweet daddy was until they reached Alexandria and the wheels started to come off.

So. Does Maggie just think everybody’s already dead here or what? Hmm.

You know. Any building can be creepy AF when the lights are off and it’s dark, lol. Any building.

So much darkness so far this season. I’m going to have to invest in some blackout curtains. I just know it.

Where are all those stairs leading? Why am I thinking of Hitchcock? Am I mixing up my scary, suspenseful movies? Probably.

Of fucking course, Maggie dropped her flashlight. Thank goodness she had that lighter at the ready just before Ghost Face Reaper took a swipe at her.

Is that Father G with a screwdriver impaled in his thigh? Listen. These people deserve a Mega Bottle of pain killers and a week just vegging out in a soft, luxurious bed.

All these horror movie tropes. Some of them are cheesy, yes. But I’m totally here for it.

LMAO. That’s it, Maggie. A good old punch in the nuts works every time.

Alden really is having a terrible, horrible, no good very bad day.

Negan is still Negan. Self-serving and looking out for number one. But I believe the man really does feel the group is his group too. He’s like that long lost, sketchy uncle nobody wants to acknowledge much less invite to the dinner table, but that bond? However thin? Is there.

I am both hating that Maggie is being forced to work with the man that murdered her husband (my baby Glenn) and finding it fascinating the lengths she’s willing to go to survive. This your plan, Angela?

Rosita and Carol! How sad is it that the last really significant scene I can remember the two of these women sharing was way back? Before Rick and Co. attacked Negan’s outpost and Maggie and Carol were subsequently taken? If only the show had done more of these kind of scenes.

How much do I love all the girls working together? Gimps would never. They’d all be stuck back at Alexandria minding the kids and the community.

Shallow aside--Rosita is so pretty in this scene.

Rosita being worried about Carol honestly makes my heart hurt, because it’s about damn time more of them actually did. Her saying Abraham is trying to tell her something in her dreams is interesting. Angela sure loves her dreams, doesn’t she?

Where are Daryl’s dreams, hmm? No. Seriously. I guess they want to give some viewers plausible deniability until the bitter end.

“Really? We’re just gonna go toward the screaming? Cool.” Hahaha. You know. Even the smart people in horror movies sometimes bite it, Negan. Just saying. Maggie really does need to “stop running up the staircase” when she could just run out the front door though, lol.

Poor Duncan. I think you could have been another Tyreese, Jerry type for me.

WTF does this show have against horses? Those poor creatures.

Kelly is totally me right now. I’d be freaking inconsolable.

Carol needed that hug. Thank you, Magna. From the bottom of this tired fangirl’s heart, thank you.

Why give us that beautiful, golden shot with the horses when you’re planning to stab us through the heart later and twist the knife. Oh. Yeah. That’s exactly why.

Oh snap! Father G’s delivery when he tells that Reaper “I’m not. God isn’t here anymore.” Cold as ice.

Judas. That the Reapers’ work. Or. Damn. Either way, that’s harsh.

Back to what Alden was saying. All these oprhaned children. Who’s going to take on Adam if he dies? That poor kid has had a rough go of it. Knowing that, makes you wonder what Alden was thinking volunteering for the suicide mission.

Omigosh. There went Agatha. Terrible way to go. Right, Beatrice?

I’m sobbing. Carol with the horse. That hurt my baby so much but she hurt herself for her family the same way she has been doing since the Prison. Melissa Mcbride? When she cries, I cry. Every effin’ time. Aaron being there just made it hurt more. But at least someone was there to see how and really take in how she continues to break pieces of herself off to keep her family as whole and safe and happy as she can.

Rewinding a minute--that Magna and Carol conversation. I get Magna’s reasoning too. I do. But Angela is just making everything so dire right now so that the sun when Connie is ultimate found shines a ltitle brighter.

Those babies know they’re eating horse. I could never.

That’s got to be a different Coco. She’s even smaller. But she’s gorgeous.

Fucking finally. Angela having the other characters notice after an eternity of being blind to it, just how much Carol sacrifices of herself for them. It’s so long overdue and I imagine Rosita’s even more worried for Carol now. It’s a shame it’s taken 11 seasons. My baby’s had blood on her hands trying to keep her family safe and whole and happy and fed for a long damn time. So heartbreaking watching her try to scrub the blood away.

Sweet, sweet hug that Kelly gave Magna. She’s such a sweetheart kid sis to all of them, isn’t she?

Interesting place of refuge. A gutted church. A visual symbol, Angela, of where Maggie and the rest of our people are now perhaps?

“It’s easy for you, isn’t it? Being reckless with sombody’s life...” Maggie. Maggie. Those words would have hit so much harder if we hadn’t spent the majority of the last 2.5 episodes watching you ignore sound advice just because it came out of the mouth of somebody you (justifiably) hate.

But will Alden be there when Maggie and Negan get back? That is the question. Or will he eventually Lucille himself?

That little bit of lineup Negan music to remind the audience of Negan lovers and sympathizers that he once took great pleasure in murderously swinging a bag at people’s heads was a nice, subtle touch there. Like agree with her or not, Maggie is literally left to rely on the hope, however small it is, that Negan has changed just enough that he won’t try to finish a job he taken on years before--killing what’s left of her.

Oh lawd. Next episode sees the return of a character literally nobody asked for. How excited am I not?

Dog better not be harmed or so help me.

Now for Angela’s weekly explanations of WTF she/there were thinking because they been doing this plausible deniability thing so long some people out there watching with biased, muddy stan glasses can no longer separate head canon from canon.

Is Maggie worried at all about Daryl or does she just assume his superhero powers are in full effect in this episode?

“You can’t really say it wasn’t going to happen anyway.” Not Angela pointing out that simply laying the blame for literally everything bad that ever happens at Carol’s feet isn’t the answer. Say it louder for those in the back. Alpha was going to do what Alpha wanted to do.

“There is love there. There is respect there. However, there’s also frustration...” You damn skippy. Friendships and human relationships are complex AF. Like Carol. She’s honestly one of the most complicated characters on this show and any show, IMHO. That’s what makes her so memorable and such a lightning rod for discussion.

I know I might be in a minority, but I really feel like they need more of those little scenes between the kids to keep things real.

Kang saying she always feels like she’s going to get murdered in a staircase or parking lot is relatable, funny, and sad all at the same time. It’s a girl thing.

Why is Carol’s story giving me Dark Knight vibes? Like I feel like she’ll gladly shoulder the burden of their distrust, their hate, or their judgment as long as the hard choices she makes keeps them safe. And she’s still ultimately going to come back to save their asses even when they forsake her. Just like Bruce Wayne/Batman. Am I reaching too far, lol? Because sometimes I do that.

Anyway. This is the third episode of the season and the third episode in a row that I mostly enjoyed. I don’t know if I’m just so relieved and happy to have all the characters and my show back or what, but overall? I’ve been pleased with the episodes and found something to love in all of them.

There’s a much stronger horror vibe woven throughout Season 11 so far. I feel like it’s a return to the roots of the show and I like that. Literally none of the characters are making perfect choices and this viewer is here for it. My only complaint so far is there hasn’t been enough Carol but what we’ve been given has felt like a gift and significant in a way that Gimps’ version was not. Also? I really hope the trend of the ladies working together and supporting each other continues because they rule the TWD world, lol.

Hope you enjoyed at least some of my TWD word vomit.

Until next episode.

#The Walking Dead #Season 11 #TWD spoilers #things that make me smile and cry #for reasons #my heart

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kaypeace21 · 3 years

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i’m a survivor too, and i found that certain scenes/stuff will said just really struck me as ‘csa-survivor’-like? i felt a bit uncomfortable about headcanoning it happening to someone else, especially for a fandom as wild as this one, but your metas have really been a comfort to me because they’ve been able to pick out and explain things that i couldn’t necessarily find the words for myself.

and yeah, i would love to have a character like me that is powerful and who finds love and who gets a happy ending. the people who call the theory disgusting always kinda hit wrong with me because although csa is a difficult subject, we shouldn’t be ashamed about sharing it. they sound like they’re trying to say that it’s a bad topic to talk about and implying that it can’t happen to kids, which uhhhhh-

(i’m sure that’s not what they mean, precisely, but it’s still what they sound like, and i wish that they would stop implying that we can’t exist, especially in popular media. we do, and i’m not gonna pretend we don’t, and if they feel uncomfortable with the topic they can just use the block button. we deserve to have some well written representation just as much as anyone else. also, i really really hope that will gets a happy ending.)

anywayyyy i love your theories and i can see your post in the tag so i think you’re fine?? have a good day ❤️❤️❤️

SORRY, this ask took so long to respond to. It always warms my heart to hear other survivors speak and say they found comfort in my theory.

Yes, I think I and a lot of c*a/r*pe victims (subconscious or otherwise) were triggered by some of the symbolism/visuals in s1-3. And s3 made it hard for most of us to ignore the past imagery- since s3 wasn’t as subtle.

I get why people have reservations about the theory. But the debates to the contrary are usually just plain offensive. Or people trying to be respectful but being the opposite. There’s the obvious bad-apples . I got many anons after part 1 of my DID theory saying it “ruined/tainted byler”, and “if that happened to Will i’ll stop shipping byler” , or that it “ruins the best gay character” , and to “remove the post immediately”. And this was when I was open about being a gay c*a victim. I obviously blocked them. Many survivors don’t come forward because they’re afraid people will see them as “tainted”, “ruined”, “ just their trauma”, or blame them for what happened. So yeah, it pisses me off when people say similar stuff about Will (and thus other c*a victims). Not even diving into the messed up psychology about byler/mileven shippers (knowing i was a lesbian c*a victim) but purposely spreading bs rumors about me being a p*do that was into Will/Noah-all because of the theory. -_-

Then there’s the people who try to be “respectful” but literally do the opposite.

I’ve heard numerous times it’s somehow “less offensive” to just use r*pe imagery to make monsters scary. Rather than have the monsters have that imagery cause Will created the monsters from his memory/imagination-and st is a story of Will healing from that trauma. SORRY- I disagree. Using the worst experiences of peoples’ lives (and triggering their trauma) for no real purpose- except to make their monsters scarier to the normal/general audience who haven’t gone through it so won’t be triggered like us - is MORE OFFENSIVE to victims! NOT LESS! At least to me.

Then there’s the people who say “c*a should never be talked about (in stories).” Which I disagree with. V*ctims have already been told by ab*ser’s and enablers of the ab*ser- to never talk about what happened to us . So it rubs A LOT of us the wrong way when people say this. Because (subconscious or not) you remind some of us of the people who used to hurt/silence us. People say this -simply for their convenience (like ab*sers) and cause deep down they’re uncomfortable with our existence and equate the despicable act to us the innocent v*ctim ...or just want to deny the horrible reality of the situation (like many enablers who deny the truth and hurt us because they don’t want to accept reality) . And 1) It brings us back to a time where they told us to NEVER talk about it- and makes us feel like we did something wrong when we didn’t! 2) Every psych professional says with-holding/keeping the ab*se a secret is detrimental to our mental health.

Plus, there’s a HUGE difference between sugarcoating/minimizing trauma or WORSE glamorizing, condoning, or romanticizing C*A in stories (ex: pretty little liars) VS showing how the action is wrong, causes trauma, but showing recovery and happiness is still possible for v*ctims. if the story shows how accurately traumatizing it is (instead of minimizing/glamorizing it)- it’s incredibly rare for that character to get a happy ending. Having a story about recovering from that type of trauma and finding happiness despite such hardships would be amazing for US survivors! We rarely get stories with a happy ending- it’s more harmful to us survivors to never see ourselves get happy endings in tv/film/books. How can some survivors (in a dark place) think there’s a light at the end of the tunnel- if it’s never shown?Also if Will has DID too- it’s good mental health rep, along with queer rep (and survivor’s rep.) All 3 groups rarely are treated well or get happy endings in media. A lot of people may feel more heard, seen, and a bit more hopeful for the future - If Will (and other characters) get a happy ending.

And even though st has many themes- like say homophobia. To try and hand-wave all the disturbing r*pe imagery away as ‘Will is just gay so the monsters are like that”. IS SOOOOOO offensive. Trigger warning for examples. I’m sorry what part of Max saying when Billy had c*nsensual s*x it’s “good screams” but when possessed by the mf he causes Heather to do “bad screams” read as gay???! Having the possessed ch*ke/dr*g people before throwing them in trunks (like it’s implied Lonnie did to Will -since Jonathan checked Lonnie’s trunk for Will in s1)?Tying their arms and legs up/ g*ging them and getting on top of them and saying “stay VERY still it’ll all be over soon”-before a monster shoves it’s tentacle into someone’s mouth and inserts a goo - just gay??? Similar to the sentient vine/shadow monster forcing itself down Will’s throat. Let alone Will saying things like “he made me do it”, “i felt it everywhere”, or being tied to a bed and screaming “help! stop! it hurts! let me go!” While Jonathan is the only one who’s visibly triggered by this and has to literally turn away and hug someone . Or barb, billy, and El spiting up a white liquid from their mouth (similar to will spitting up a slug and lying to his mother about it ).El/billy touching a suspicious looking slime with their hand and looking at the substance confused . El drawing Papa with 3 legs (the middle one being shorter) , trying to undress in front of the boys , and Benny saying “I think she’s been ab*sed or something”.The theme of ab*sive dads- brenner , Lonnie, and Neil . Even when the demogorgan (called in d&d the “deep father”/ in the show “a man without a face”) attacked Barb it’s chopped up with scenes of Nancy having c*nsensual sex (the monsters are doing the opposite symbolically). There’s way more examples but NO- to try and hand wave /equate ALL OF THIS to just “gay imagery” or an “a*ds metaphor” is WAY more problematic. And just offensive (specifically to gay people) than just admitting what it may actually represent. R*pe imagery and gay imagery is NOT THE SAME THING!

Also ST has never been a kid show- maybe rewatch the show and see the rating of tv-14 . Goodness sake- s1 has a st*ged su*icde, k*dnappings, m*rder, discussions of physics, h*mophobia, and s*x (with stancy in s1 & jancy in s2-s3). S2/3 discuss at their finalies recovering from tra*ma . S2 had gra*ic de*ths, a man causing a women br*in damage/ and faking her m*scarriage, and a gang of vigalantes k*lling criminals. s3 had critiques on capitalism /media/s*xism, many d*eaths, and questionable imagery like the prior seasons. The Duffers constantly reference movies & events from the 80s (capitalizing on 80s nostalgia /subverting 80s motifs that middle age people from that time remember)! Those people were their intended age demographic . Most 80s centric refs go over most kids’ heads (heck a lot went over my head too since I wasn’t alive in the 80s XD).The Duffers even said in the book “worlds turned upsidedown” “it’s not a kid’s show despite having kids”. And maybe it’s a coincidence but when Lucas in s3 hands Will the “devil’s baby” firework (a hint about Lonnie) he says “18 and over only.” Which idk is a weird/random af line unless it’s foreshadowing that the show will get darker about various themes- and maybe even change ratings.

I get people wishing nothing bad ever happened to Will or Jonathan. And being apprehensive and not trusting the Duffers to do such a story justice (cause it’s difficult to do). But personally i trust them to do so tastefully with tact and not be exp*itative, (overly gr*fic) or offensive to v*ctims. You can disagree and think the show is about something else (or not trust the Duffers)- but it’d be great if people could stop using these other messed up talking points. While trying to appear ‘(fake) woke’ and like they care for victims- cause we see through it that you really don’t.

Have a lovely day anon ❤️ ❤️ ❤️

Update- I just really agreed with and appreciate the tags in this reblog

#tw: csa #tw:r*pe

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rialynne · 4 years

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Little Women Review

I’m feeling incredibly motivated to do this so here we go. To set it up, yes I read little women as a kid and I saw the 1994 version years ago prior to my first viewing. I watched the 1933 and 1949 versions and the 1994 version again before the second viewing.

TLDR: Go watch this Movie I love it, imma buy this blu ray. To me despite structural changes this is the definitive movie adaptation of Little Women.

So initial personal reasons why I’ve always enjoyed this story is that it takes place in Mass; my cousins live in Concord, I grew up in New England and they definitely filmed in New England cause certain scenes. We still have old style buildings around like they have in the film and the landscape, especially for scenes in the fall were absolutely beautiful. Marmee even name drops my home state at one point so shout out there.

Greta Gerwig did an absolutely fantastic job with the adapted screenplay of this movie and I am quite the fan of her decision to split up the structure of the novel and create more flash back sequences to emphasize different events that took place and how that impacted characters. I think the decision to film with a yellow warm tone in the past compared with a blue, cool tone in the adulthood scenes was a smart move as a visual way to explicitly indicate which timeline we are in. The fashion of the ladies and the hairstyles definitely did help with the timeline as well. I also love how they designed the girls hair style and clothing when they were younger to have a piece of Marmee’s style with them to signify a piece of Marmee is in each of her daughters. I also really loved the way that scenes played out, how they were shot, how when a bunch of them where showing conversations that could happen in real life. The dynamics of the march sisters remind me of my own family and there are a few scenes where there was like multiple conversations going on at once and I loved that. Also I love the sound track its on par with the 2005 Pride & Prejudice soundtrack.

For the more minor roles:

Meryl Streep did her thing as Aunt March and was quite hilarious, I loved how she was like no kisses plz and her whole you need to marry wealthy and I didn’t get married cause I’m rich bit. Mr. Lawrence has a beautiful character arc especially with Beth. He did so well with that small role and he really made you feel for the loss of his daughter. John Brook was the sweet respectful man for his wife. Friedrich Bhaer was good as well. Not as many scenes of him as I was previously expecting but I bought the connection he and Jo had and he definitely proved to be an intellectual match for him.

Laura Dern was an excellent Marmee. She really brought the presence that she was the giving, calming presence for all her daughters, especially for Jo. I absolutely love the conversations she had with Jo about her always being angry and for talking to Jo about her not really being in love with Laurie. I felt like that conversation is a really important lesson for everyone to determine if they want to marry someone, to make sure they do marry some one cause they do truly love them and not cause they want to be loved. Mr. Dashwood, the new york city publisher was also a great addition to this story in terms of representing the way publishers were back in the day.

I loved how connected they made all the March sisters feel. They really did make them all feel like one unit in their younger years, that it hurt much more when they are older when their apart. I really Loved watching Jo especially interact with all her sisters and seeing how the dynamics changed over the years. With Meg she relates to her being the oldest siblings and the scene where they talk about their different goals in life right before Meg gets married. Its a lovely scene indicating not one’s goals in life are better than another persons goals. I Love how she cares so much for Beth and looks out for her. The dynamics of Jo and Amy’s relationship was fascinating to watch cause it reminded me a lot of me and my sister and how we bickered a lot, but still deeply care for one another, and eventually were able to respect one another.

I knew going into this movie that Saoirse Ronan was going to kill it as Jo, and she flipping delivered. I love her portrayal as Jo where she is not as too much as the 1933 and 1949 portrayals and yet was very ambitious and likable, very similar to the 1994 portrayal from Winona Ryder. I loved her speech with Marmee about how great women are and how she doesn’t have a life goal to get married but how she is very lonely. That hit hard. Her negotiating for her royalties to her book was a great addition to the end of the story. I feel as if she plays a certain type of character in her movies, but she does it sooo well and in a way that no one else can do justice for it. The relationship between Jo and Amy and Jo and Laurie were great to watch. Amy and Jo are so similar besides a few key differences, and those differences help make their tension believable and turns them into remarkable characters.

I love the take on Beth in this adaptation. They still play her as a sweet and caring individual, one that ultimately leads to her getting sick and dying, but they give her a little more quirky traits and have her say some funny one liners. She has a lot of subtle moments with Jo and Amy especially that makes their reactions to her death feel so real. Emma Watson did a much better job than i expected and gave a surprising amount of depth to Meg. I did really enjoy the sub plot of her buying that fabric for a dress. $50 back then was like close to $1000, and really does show her struggle with wanting to have nice things once in a while. Her speech to Jo about her desires to be a wife and a mother is beautiful. Meg I feel is a difficult role to play due to her calm presence and lack of a super extroverted like personality and Emma made it her own.

Timothee Chalamet is a fantastic Laurie. He did well in balancing Laurie’s immature and lazy side to him while making him endearing. Seeing his love for the March family grow over time was beautiful. His relationship with Jo and Amy were awesome. With Jo, they are a great example of a platonic friendship, especially from when this book was published. I really loved the rejected proposal on the hill. You can see Jo still resisting adulthood still from her sister’s wedding, even when Laurie proposes I think she sees that as the end of childhood for her. Along with that she never had an interest to get married and expresses that she doesn’t love him like that and why they wouldn’t make a good match. The argument doesn’t feel like unrequited love but more like two best friends having a disagreement. His scenes with Amy also highlight his path to adulthood and him learning about love in the process.

AMY MARCH FINALLY GOT HER DUE! About damn time she did. Amy is my favorite character from this adaptation and is the one that surprised me the most. Lord FLORENCE PUGH needs to get a damn nomination because she was fucking amazing. For me she was able to convincingly play a young and adult Amy so well. Amy is a woman who knows what she wants in life and is very determined to get them and work within the current societal circumstances she is in. She is able to push her ego aside to get what she wants. She is so cheeky and energetic when she is younger but becomes more refined and tactful when older. Her burning Jo’s book did indicate her jealousy of her sister and the immaturity of her emotions that over time she has a grip on more as an adult. Her relationship with Aunt March indicates the idea and pressure she has to take care of the rest of her family. When she has her economic proposition speech, you really see how this is adding so much pressure on her, pressure that does influence her choices and behavior later on.

But, my absolute favorite part about Amy’s development over the movie was her relationship with Laurie. I’m so happy Greta really took the time to flush out this relationship. I really love these two together. They are both a really great example of love that evolves over time. The little tid bits in the past with the small moments of Amy and her small crush over Laurie: THE FOOT MOLD, the way young Amy looks at Laurie, her drawing of him at the beach while flirting with Fred Vaughn, talking about how hot he is as a half Italian. All of that was perfection. Everything in Paris with these too was also sooo fantastic. I love it that prim and proper 20 year old lady Amy turns into a kid again when she sees Laurie and just jumping and hugging him, and then Laurie is all like you’re beautiful. when she invites him to the ball and he kisses Aunt March. Her being all like “its Laurie!” and looking back at him with that damn smile, the things that make my heart melt. With Amy and Laurie knowing each other for so long, Amy is able to be real with him and call him out throughout their time in Paris, mainly at the ball when his drunken fuckboi ass waltz in. Also The PAINTING ROOM, lawrd. Amy still shitting on Laurie for his behavior, their conversation about love, Amy’s speech on economic proposition, THE UNBUTTONING OF THE PAINTING SMOCK (that absolutely rivals the Pride & Prejudice 2005 hand touch in terms of sexual tension), Amy being able to be her true self around Laurie, Laurie telling Amy “You look beautiful...you are beautiful” (SWOOON). Then when they at the park: Amy scolding him for being lazy and not taking charge and being responsible, Amy drawing him again and showing him the older picture, Laurie telling Amy not to marry Fred “don’t marry him. Why? you know why.”, Amy realizing what hes implying and being all like Naw don’t you dare fam I’ve always been second to Jo “I won’t do it. Not when I have spent my entire life loving you.”. Laurie finally grew a pair and went off to London to make something of himself and Amy turning down Fred’s proposal realizing she wants to marry for love. Them reuniting in Paris after Beth dies, and being alike i wont let you travel alone even if you despise me, which Amy says she doesn’t despise him. And she states she aint marrying Fred and then rambles on and LAURIE KISSES HER GOD BLESS HE DO LOVE HER. and wow. Their love story is one of the most satisfying love story arcs I’ve seen in a long time.

Any ways that’s my long ass Review of Little Women 2019. GO watch it in theaters if you can. I will buy it and stream it when it comes out of theaters. This is the definitive adaptation for me and I think it will hold up well as an amazing period drama for years to come.

#little women #little women 2019 #jo march #amy x laurie #amy march #laurie #theodore lawrence #beth march #marmee #meg march #movie review

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lixiefe · 4 years

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Can’t Touch-k.sm

Chapter Three: Touch as light as feather

Words: 1.6k

Warning: description of anxiety/ panic attack

SEUNGMIN WAS utterly fashionable, but he didn't go out much. So all his fashion-sense was invested into making suits look unique and contemporary; not at all in accordance to the classic black-white formal wear. Even if he wasn't quite interested in the meet-up, he still dressed himself rather well. A gray suit paired with an emerald tie and black silk shirt underneath.

It wasn't appropriate to say that Seungmin was nervous, because he refused to fall into baseless nervousness. But the possibility that people he was not close with might touch him, even for greeting, scared him. He was anxious and he knew of nothing that could get him away from this.

In a flurry of anxiety, he found himself stuffing a pocket hand sanitizer and wet wipes along with it. He breathed deeply, eyes closing and subtly opening again, seeing his godforsaken reflection in the mirror. With that, he somberly receded down to the living room where he found his mother; staring intensely into her smartphone, her nude nail polish contrasting her bright red matte phonecase.

At the sound of his footsteps, his mother looked up, eyes gleaming as she skipped towards her son. "Oh my god! You look gorgeous!" she beamed with glee, a happiness all too threatening in the latter’s eye..

Her gaze was of a proud mother as she ran her eyes from his head to toe. Seungmin found it strange how his mother somehow considered him to be the most enticing man ever, even though he couldn't see why. To Seungmin, she looked like she was about to drag him through the building and show off just how incredibly handsome her son was. And involuntary shudder spiked up his spine at the thought. However, he couldn’t suppress the achievement he felt.

"I am not gorgeous." Seungmin mumbled, a slight smile creeping up his face. It wasn't wrong that no matter how much he pretended that he hated compliments, it mystified him every time.

"Oh come on! I am sure Y/L/N is going to be surprised."

Seungmin inwardly cringed at that. He didn't want to impress someone who was being forced upon him. If anything he wanted to be Shrek, with layers resembling onions and filled with unfiltered disgust, so that she could reject him at once. It also fired up his senses on why she didn't refuse the connubial first hand. Maybe, maybe she also didn’t have a choice. But the wee grudge at the lack of protest from the other side wasn’t something he could ignore. But he wasn’t much different.

Seungmin knew he was being a hypocrite but he couldn't help himself. Who would like it if they were to be married when they clearly didn't want to?

---

Seungmin was seated on the reserved table of his mother's favorite restaurant, tapping on his phone without looking up. It was to her great malevolence that he got to seat himself farther away from everyone, in a subdued corner. There was a blank seat between him and his mother, and he prayed to whoever that his mother doesn't make the girl seat there of all places when there were three vacant seats right in front.

It was then that Seungmin looked up from his phone when he saw people nearing their table along with a series of embraces and complements. They missed other this much in such a short time?

He put his phone down and looked up, eyes trailing on the young girl hidden behind the elder women. His brows furrowed in awe, trying to obtain as much view of you as possible. But all he saw was a section of silky waist length -- hair, which he found extremely beguiling. His eyes betrayed his own orders as they trailed behind your hair as you moved.

He also noticed your subtle movements that gave justice to proper etiquette and upbringing. And all his momentary hatred seemed to vanish away as if it's existence was a lie. Which wasn’t much inaccurate.

Finally, as the women dispersed from each other, Seungmin mentally gawked at you as you gracefully sat down right in front of him. You gave him a quick tense smile, folding your hands on your lap and looking down right away, wisps of your bangs falling in your eyes. You shyly blinked them away.

Although he couldn't catch how you looked, Seungmin found your small actions immensely attractive. All through his years he never really focused on anyone, he couldn't. And now that he acknowledged there were people like you in the world, the confines of his office room seemed crooked, evil even.

Seungmin couldn't help but admit that you were absolutely enchanting, even though his standards of ‘ enchanting ‘ was unknown to himself. And your peach dress contrasting your skin made you look even more gorgeous, a fairy in disguise. Undoubtedly, you were the most beautiful female he had laid his eyes on his whole life, aside from his mother of course. And he hadn’t even seen you properly.

But then again, you were so stunning that you might have had multiple boyfriends, or a ton of guys crushing on you, competing for your attention, he thought. And that didn't make him feel exceptional anymore.

"Seungmin, introduce yourself!" Seungmin shook away from his trance, blinking his eyes once again. He saw you abruptly lift up you head, your hair swaying in the act.

When he thought you couldn't get any prettier, he felt his heart skip a beat. You looked innocently evocative with facial features that were distinct; soft, with a touch of exuberance. Your eyes a magnificent --- that seemed to brighten with the reflection of light from above.

How your skin glowed under the extravagant chandeliers of the restaurant and how your hair shined in the fluorescence, was a mystery to him. Seungmin figured his eyes were malfunctioning, hallucinating countless glowing sparkles that circulated around you like Cinderella’s magic heels.

But this is not some disney movie depiction?

He detected that you hadn't worn much makeup. All he could see was your lip tint, which had a glossy hue, making your lips stand out in the most sensational manner. Seungmin felt like he had forgotten how to breathe. Was it love at first sight?

No! Not in a million years. He mentally slapped himself. But he quickly zoned himself back to reality.

"Kim Seungmin. It's nice to meet you," he said, giving you a small tight-lipped smile. He didn't bring his hands forth for a handshake, since he couldn't muster to. Instead, he gave you a little bow to show courtesy.

"Kim Y/N. Glad to meet you too." You returned the bow and offered a smile, which Seungmin nervously returned along with another tentative bow.

Now that you finally took a look, your mother was right. Your supposed-to-be fiancé was awfully handsome, with flawless skin and princely visuals. You noticed his dark brown hair pushed back with frails falling over his forehead, fashioning his hair in a unique manner. His mono-lid eyes looked unnecessarily glamorous and face pointlessly good-looking. Nonetheless, he was surely appealing in his own exclusive way and you couldn't help but admire him.

The rest of the lunch went by smoothly. You mother engaged into a heated conversation with her friend. It didn't seem like they could ever talk enough, much less catch up onto their lives.

You also glanced at Seungmin occasionally. He was constantly texting someone on his phone, who you guessed to be his associate. You weren’t keen on disrupting whatever conversation he might be having. Now, you were the only one sitting straight and only perceiving your surroundings. The decorum of place was without a word very luxurious, so high class compared to you.

No way did you fit in here.

You were about to take a tissue from the decorative container, not acknowledging that Seungmin had reached out for one as well. You felt your hand brush with his fingers for a brief moment, touch as light as feather. But he pulled his hand back almost immediately. Your eyes fixated on his changed movements, observing.

And you noticed that his demeanor had become a tad bit panicky; anxious. One of his legs shaking underneath the table as his gaze vacillated through the conserved area every second. You didn't know if he was just nervous or if there was something going on, something you had no idea of.

At that very moment, he excused himself to the washroom, leaving you with your running thoughts and unconfirmed assumptions.

Seungmin hastily went inside the washroom, immediately fishing out the patch of wet wipes and using one to sanitize the area your hand touched his. He rubbed multiple times before using a liquid soap to clean his hands further. He felt panic set within his chest and the more he rubbed the more ease he felt. Thriving for the burning feeling in his chest to go away, he continued to cleanse his hands for a solid thirty seconds.

He was discombobulated. He felt like he needed to constantly clean himself to not contaminate someone else with germs, similarly the other way around. The only thought in his mind was that, it couldn't happen again.

He couldn't touch you, because he felt so disgusting and out of place that it was an abstract prohibition for him. And the thoughts were so indirect and repetitive that it made him dizzy. He knew he was fidgety with touches, but what the fuck was this feeling? It was intense to the point it made him feel like a maniac on loose.

He looked at himself in the mirror and spotted a glisten of cool sweat forming on his forehead. He wiped them away with another wipe and went back to the table.

Why was he so riled up?

As soon as you saw Seungmin entering your line of view, you had your eyes totally set on him and his every posture. He timidly sat down in front of you and proceeded to finish his meal.

It bothered you when you saw that his middle and index fingers were faintly reddish, as if he’d scratched them. You didn't recall any reddish patch on his hands when he reached out for the tissue. But you didn't give it much thought at the moment. Maybe on his journey from the washroom to here, a mosquito had bit him.

Even though that could be it, you couldn't convince yourself.

a/n: I feel like it’s very messy...

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thiswaycomessomethingwicked · 4 years

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for the quiet night in ask: how did Grima make his way into your heart? And why do you ship him with Eomer? I've been meaning to inquire about this for long hehe (also I love your theme! think this is the first time I see it)

I am so sorry, you’re getting an ESSAY.

I’ve been wanting to talk about my Grima feels FOR SO LONG.

HE SNAKED HIS WAY INTO MY HEART.

Um, tl;dr I have a soft spot for the bad guys who clearly have a complicated history with those they are opposing and I think Eomer/Grima have a fun opposites-attract dynamic and I love a good redemption story.

I don’t touch on literacy and Grima in this because that’s strictly the films and it’s worthy of it’s own post entirely.

I’m trying to think best how to break this all out, because it gets a bit long and rambly. I’m using both book and films for this, as a note. Since I tend to mash up different aspects of those Grima’s in my head, give the guy some eyebrows, and call it a day.

So, first off, his history. Now, we don’t really have anything to go on in canon here. All we know, in both book and film, is that Grima “was once a man of Rohan” (ROTK). In the book, Gandalf says: “This here, is a snake. To slay it [Grima] would be just. But it was not always as it is now. Once it was a man, and it did you service in its fashion.”

Grima evidently has served Rohan for some years at this point. We know that Theoden’s enchantment/possession began three years prior to TTT. In the books there is no possession. Theoden’s enchantment relies on the powers of words and their suggestions. Something Tolkien was well aware of carrying great weight and import in Anglo-Saxon culture. You tell a man he is old and infirm, he will become old and infirm.

I understand why Jackson went the possession route - explaining Anglo-Saxon engagement with galdorcraeft/witchcraft and the power of words etc. and how that influenced the development of Rohan in the span of like 7 minutes of screen time wasn’t happening. Possession works for the same purpose, but in a language the modern audience is familiar with - especially in visual mediums. Grima is circa 40 when TTT happens, same age as Boromir for reference. So, let’s say he’s been an advisor for 10/12 years at this point. He has therefore been a good servant of the king longer than he’s been a traitor.

Hence, the outreach. And, in Brad Dourif’s wonderful acting, Grima’s clear desire to go home to his king. In the book it’s more subtle. Grima chucks the palantir out the window at Orthanc and it’s stated that he wasn’t sure who he was aiming for, Saruman or Gandalf, because he couldn’t decide who he hated more.

Honestly? Legit. I would also hate the guy who reduced me to “it” pronouns. But maybe that’s my gender identity stuff playing up ;)

(Granted, in the full quote Gandalf reverts back to “he”, for context. And I’ve said this before, in another post, that it makes sense for Gandalf and as a writer, I agree with Tolkien’s decisions for that scene.)

Now, for some speculation. Not that I haven’t spilled a tonne already. MORE SPECULATION. This time bringing you long term effects of bullying and never having loving relationships modelled for you! Because LOTR, at the end of the day, is all about trauma and how maybe not to deal with it.

So - motives.

We know Saruman’s motives. Indeed, he tells them to us in FOTRK: “[to] have power, power to order all things as we will, for that good which only the Wise can see” and to achieve “the high and ultimate purpose: Knowledge, Rule, Order; all the things that we have so far striven in vain to accomplish, hindered rather than helped by our weak or idle friends.”

Great. Super straight forward. And from the man’s own mouth.

Grima’s though, always come to us second hand. In the books it’s Gandalf telling us (Gandalf can mind read, so yes, maybe he is accurate). In the films, it’s Eomer guestimating.

But Grima never actually tells us, himself, what his motives are.

(a quick aside: if some dude is shoving me up against a pole and threatening me, and I hear someone walking by, of course I’m going to look over at them and it by no means indicates my desire to shag that person. Now, of course, we know from other scenes this is the case. I’m just saying. It’s natural to look over at the person walking by while you’re being jumped by the Third Marshal of the Mark who is twice your size. anyway.)

So what are his driving forces for treason? What made him go to this point of no return then keep going even when people offered him a way back.

It is important to note that his treason required him to forswear his oath to his liege lord. I don’t know how to convey what a big deal that would have been, in modern terms. But it would have been huge. Forswearing/reneging on oaths was a massive cultural taboo in Anglo-saxon [AS] England (and general, early medieval Europe).

And, as Rohan is based on AS England (I forget if Tolkien was cagey about this. He was sometimes a dumb shit and coy about things so was like “noooo it’s not STRICTLY AS England….but it’s clearly AS England with more horses and a light dusting of vikings and the Danelaw”), we can assume it carried as much weight for them as it did for the historical people.

(Indeed, it’s implied, if not directly stated, in the text what a big deal oath breaking is. Don’t say “oath breaking” too loud or the Silmarillion fandom will come out of the woodwork)

The big takeaway: BIG DEAL TO FORSWEAR YOUR OATH.

And he did it! Which is why I don’t buy the “it was because of Eowyn and like some nice jewels.” You don’t betray your country, you don’t forswear your oath to your king, simply because you’re hot on the king’s niece and Saruman might give you a raise.

And, as a liege man to Theoden, he was part of Theoden’s household so would have eaten, worked with, lived with everyone else in the household (Eomer, until he becomes Third Marshal; Eowyn; Hama; Theoden’s guards etc.)

So, you live with these people, eat with them, drink with them, spend all your time with them, for circa 10 years then you do a bunk and betray them? Something happened. I suspect it was years and years of things happening.

Overall, I think it to be a combination of things. As is usually the case for these sorts of crimes. In this case, a nice mix of fear, desperation, greed, resentment, anger and desire.

Fear/Desperation: So, to Grima’s mind the world is ending. Why wouldn’t he think this? Hell, even the Wisest and the Fairest (i.e. wizards & elves) think it’s ending. Why wouldn’t this poor bloke from some small country nearby to Mordor not think it an existential threat to an unimaginable degree?

Grima is sat here in Rohan looking at Mordor going "oh fuck" then who are the leaders left? Denethor (slightly bonkers) and Theoden (past his prime and lacklustre, like his father and grandfather).

This is not a man with a strong moral fiber. Or...any moral fiber, let’s be real. He does not have the fortitude to stick it out through hopeless situations. And it would have been hopeless to his eyes. And those around him (see: Eomer’s do not trust to hope… Sure Saruman was a problem, but he wasn’t just talking about the white wizard).

Gandalf’s plan, which none of these people were ever wholly aware of, was a goddamn Hail Mary pass and it worked. Barely, but it did. NO ONE had reason to believe it would, though. And those are people in the know. Not someone like Grima who has no fucking clue what Gandalf et al is up to. He sees Gandalf then like … Nazgul torture him on the planes of Rohan (Unfinished Tales). He sees Gandalf then bad things happen.

Lathspell indeed.

Greed & Desire: I don’t think I need to go into these ones too much. They’re pretty self explanatory. Grima and Black Phillip hung out and the goat asked Grima if he wanted to live deliciously and Grima, like any normal person, said: um, yes please? Also, Eowyn was around being badass, beautiful and untouchable.

Resentment/Anger: Alright, more probing in the dark. I suspect, for one reason or another (and these reasons would vary depending if you’re looking at books or movies), he was someone who was always treated as other/differently, teased, picked on, isolated, overlooked, doesn’t measure up to Rohan’s military ideal of masculinity. All of which creates an underlying resentment issue.

And nothing festers quite like resentment.

On top of that, I also suspect he was always told he was a snake/untrustworthy/not worthy etc. and if you're told something enough, and you don't have anything or anyone else telling you the opposite, there is a strong chance you become that thing.

It's a chicken and egg: the face you wear to the world tells the world how to treat you; the world tells you what you are and that is how you shape your face.

THEN you add in Saruman. Who is clearly, in the text, abusive. Which, if there were any inferiority/bullied etc. issues that are informing Grima’s actions, Saruman is just going to amplify it.

“You are a traitor because you’re a snake, and you’re a snake because you’re spineless, weak, nothing more than a creature that crawls on its stomach on the ground. Snakes are bad, evil things. Which is all you’ve ever been. Barely deserving of the good treatment I give you etc.” <-- all of which is basically a summary of what Saruman has been saying to him for a few years at this point (in the book, it’s only tangentially implied in the movies).

So Grima sort of morphed himself into what he believed himself to be, fuelled by that perversity resentment causes: Oh you think I’m a snake? I’ll be the best goddamn most poisonous snake you ever did see. Just watch me.

He is trapped in this situation. A hutch to trammel some wild thing in.

Which leads me to an interesting point that I think gets lost sometimes: Narratively, he and Eowyn are similar in what they are experiencing. Isolation, being overlooked, misunderstood/misrepresented, don't fit into societal roles and expectations etc. They just go in very different directions in how they respond to it.

I think that's why, in the film, it was smart to have her give pause and listen to him because what he's saying resonates. He is, in some ways, speaking as much for himself as her. But then, of course, he's also just trying to shit disturb and make mischief so of course, at the end of the day, any sympathy he is attempting to convey is laced with poison.

I do wonder, too, if he's the first person to see her fear and her frustrations and acknowledges them out loud. Which is powerful. To have someone see you. Damn shame it's Grima. Still, Eowyn (in the film) paused and listened for a reason.

A brief aside on my idle, ill founded thoughts on gender and Rohan:

One of the reasons I think Eowyn and Grima go in diverging directions, is that Eowyn is performing masculinity, in her society's accepted interpretation of it. Masculinity, in Middle Earth, is clearly the norm. And in Rohan, it’s a very particular iteration of military-focused masculinity that is idealized (you can bet, men who killed like 10 orcs were awarded places in court above Grima who served as advisor for like ten years but hasn’t killed an orc ever).

Eowyn’s desire to live/perform this more masculine ideal caters to the subconscious thing of “Masculinity is Natural Neutral Ideal” so of course you would want to be more like A Man. Whereas Grima is the opposite, not performing masculinity according to Rohan's accepted view of it.

And gods, in Anglo-Saxon culture (therefore, Rohan’s, most likely. I see no evidence to the contrary) is that a difficult position to find yourself in. Back in AS England, being called argr, unmanly, or to be accused of ergri, unmanliness, was one of the worst insults you could throw at a man (indeed, some laws said you could kill a man in retaliation for calling you such things). I would bet my shirt that people used such insults about Grima in this world. Which is all kinds of messed up.

Now, my interest in him is my general love for a good redemption arc for the most hopeless of characters. It’s why I struggle to call Boromir’s arc, when he’s written as living, a redemption arc. Because I don’t know he has much to redeem himself for. In his own mind, sure, yes, but externally? Not in my view, at least. He has things he’s done wrong and needs to make amends for. But that’s different from redemption.

Grima, on the other hand, is one whose walk-back from evil would be a full on redemption arc. And I like it because he’s not nice, he’s not pleasant. He will never be nice or pleasant or cheerful. But learning how to love and be a good person doesn’t require niceness.

Saruman could be plenty nice. Sauron could be plenty nice. Look what they turned out to be.

And in my writing, I do hope I’m treading that line between creating an understanding of who Grima is without Kylo-Ren-ing him. Or, woobiefying him, as the old parlance was. That’s the line I’m really aiming for. I want people to not hate him. I want them to understand him. Oh, still condemn him, still judge him, disagree with him, acknowledge and know he did bad things and isn’t a nice person. But the end game is to add some understanding and nuance.

Shades of grey.

Also I’m a sucker for challenging redemptions.

Why Eomer/Grima?

Because I am an agent of chaos.

More seriously, I was never overly taken with the Grima/Eowyn approach, personally, which is obviously popular (um...within the Grima world), and closer to canon. There are some beautifully written fics and art out there for the two of them, so if you’re into that. The creators in that nook of fandom are top notch.

I always liked the drastic opposite of Grima and Eomer. As I noted above, Grima and Eowyn are two sides of the same coin. Both bitter and resentful and trapped. And that’s a lot of fun to play with, and i get it. But for me, I love a good strong contrast of personalities in my pairings. (If that uh … isn’t readily apparent.)

I think both Eomer and Grima would have a lot to teach each other and in some really interesting ways that neither would expect. I can see both getting under each other’s skin in that way where you’re sort of always thinking about them.

Grima is also someone who has had very little love in his life (I suspect he wants it, he just doesn’t know how to give or receive it). Eomer is someone who has lost a lot of people (parents, quasi-uncle for a few years there. I think it’s why he’s so controlling over Eowyn. Didn’t want to lose her). And I think there’s something in there where they could help each other grow. But I’m a sucker for some beauty to be there, in the end. Some hope.

Mostly, though, I think it boils down to their dynamic and the angst potential. Eomer is this brash, forthright, fiery third marshal of the mark who may or may not think things through. Big of heart, dumb of ass. Then there’s Grima who is quiet and reserved, cynical, critical, always has a plan or five, gets by via his wits etc. Lots of fun potential there.

#LOTR #lord of the rings #the lord of the rings #grima wormtongue #rohan #eorlingas #LOTR meta #ask #reply #eomer

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adamrevi3ws · 3 years

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Jedi: Fallen Order

When I finished playing DOOM, I told myself that the next game I would play wouldn’t be one that pissed me off. Unfortunately, Star Wars: Jedi: Fallen Order did not live up to those expectations.

While the source of my frustration with DOOM was mainly growing pains with its intense gameplay and action, Fallen Order mainly drew ire from me due to its unfinished and unpolished nature. Its publisher, EA, is in the same club as Ubisoft, Bethesda, and apparently now CD Projekt Red, often releasing games as broken glitchy messes when they first come out to meet quick deadlines. I’ve seen and heard how unplayable this game was at launch, and while it isn’t as bad as it was then, it still has enough subtle mistakes to ruin my gameplay experience. The main source of this and my frustration, in general, was the extremely finicky and unresponsive controls, particularly found in its two main selling points: platforming (and plot but I’ll talk about that later) directly lifted, if not plagiarized from the Uncharted games, and Dark Souls-esque combat gameplay. Nothing really lines up or “clicks” when it really needs to. Regarding the platforming, it feels like it takes a miracle to properly grab onto something and takes a thousand tries for a jump to work. When the double jump gets introduced, it really only works when the game, in its divine ignorance, feels the whim to let it work. A lot of reviewers complained about the difficult and unwieldy ice slide sequences in the game, and while I had my fair share of annoyance on a very specific ice slide, I think it’s just a symptom of a much larger problem. The combat shares this similar “the game only works when it wants to” problem. You don’t always dodge or block right when you want it to, but I think its biggest problem is healing. Instead of pressing a button and having part of your health restored, pressing said button instead “calls” your robot companion, which needs to do a special little animation and THEN you get healed, which takes a long 15 seconds. Not only does this waste a good amount of time in a game where time is absurdly precious in its hardcore combat, but every other time I tried calling the damn robot it straight up ignored me. I don’t know if this is a glitch, or it needs a cooldown period, or you can’t heal while being hit by an enemy, but it made the fights a lot more unnecessarily grating than they already are. Speaking of straight up screw you moments from the game, whenever I hit the “target” button in close combat with multiple enemies, it’d always target the farthest away enemy, for no reason. All of this is a shame because these main gameplay components are actually quite fun when they aren’t broken? A lot of the level design allows for really fast and exhilarating platforming that is absurdly fun when it syncs up, but that’s only, like half of the time. The combat can be enjoyable too, allowing for some great lightsaber duel boss fights, which can feel pretty cinematic when the combat actually works.

Outside of gameplay, the game’s unfinished nature shows itself a lot in its cutscenes. Its graphics just straight up dip and fail to fully render for 90% of these moments, often also feeling extremely choppy and cutting off a bit too soon. There was even one time an enemy was supposed to show up in a cutscene to initiate a boss fight but they just weren’t there and it was quite confusing because it felt like the main character was speaking to an empty wall. Around the middle of the game, both cutscenes and gameplay sequences would just freeze, and this is probably the first game I’ve played in a while to straight up crash on my PS4. If the developers took an extra, idk six months to actually fix this game a bit more I’d rate it a lot higher than I am now. I was actually warned about the game’s poor performance before playing, with a friend mentioning its horrible load times, but I didn’t know it’d be this bad. As my unopened copy of the infamous Cyberpunk 2077 waits on my mantlepiece for the developers to actually make it a playable game months after its release, I fear it may have the same fate as Fallen Order, still being quite a bit buggy and annoying over a year after its messy launch.

With its buggy and incohesive gameplay in mind, Jedi: Fallen Order’s strongest element is its plot. To my surprise, this is much less of a Star Wars game and more a game that just happens to be set in the Star Wars universe. Taking place between episodes 3 and 4, I kind of expected it to be an epic quest detailing the rise of the rebel alliance, but instead, I got a more generic treasure hunt storyline heavily reminiscent of the Uncharted series. Although this sounds quite disappointing, the game’s plot still soars in its great character arcs and setpieces interspersed the vague framework of its less-than-original overall plot. Combine these great individual moments with an absolutely bombastic ending and it almost makes trudging through the glitchy gameplay worth it. This is elevated by some great voice acting performances, particularly from Cameron Monaghan, who gives a movie star performance to the main character, even in a lot of moments where he doesn’t have much to work with. The setting is also a high point. Disney’s milking of Star Wars has led to a variety of media set between episodes 3 and 4, this game feels particularly special because it is more focused on the aftermath of Episode 3 rather than the buildup to Episode 4, which I think the rest of the media in this era is focused on. It’s clear that there are so many parts of the game that the studio put a lot of love in, ranging from the plot, to the memorable soundtrack (Mongolian throat singing, anyone?), to even the hilarious enemy dialogue, I just wish they put this amount of effort to make the game fully playable.

The one elephant in the room regarding this game that I haven’t mentioned so far is the game’s worlds/levels themselves. They aren’t annoyingly unpolished like the gameplay but aren’t really a labor of love either. Instead what we get is an admittedly gorgeous maze of areas within a few planets, constantly getting more twisty and confusing as you go on. It may visually resemble an open world, but it is very much a series of paths that make you go “hmmmm, should I go back to that other branching path to see if there are any healing upgrades or character customization options I can collect?” There’s nothing wrong about this MetroidVania style format, but frankly it’s not my type. A lot of the areas look visually similar so it’s quite easy to get lost, and despite each planet’s map being absurdly big, there’s no way to actually fast travel between areas, just between planets. Finally, the incentive to go back and explore isn’t particularly convincing, where the healing upgrades are a bit too well concealed and the character customization options are like, absurdly mid. This is the one time I actually wished an EA game had its own in-game currency so I could buy something cooler than “the same damn poncho you’re wearing except a slightly less boring color combination.” Come on, man! The one good thing I’ll say about the overall game world is that the in-game map highlights which paths you haven’t explored yet, making it much easier to get on track. While the game’s maze-like level style isn’t necessarily my thing, I think if the developers tried to make it a bit more interesting a lot of people would get a kick out of it.

Jedi: Fallen Order is a game that finally made me understand my college professors that went a bit too hard on my grammar mistakes when grading papers. The central content and ideas this game presents have a lot of potential, but they’re heavily weighed down by an infinite number of fixable mistakes. I give this game a 6.7 out of 10 stars.

#jedi: fallen order #jedi fallen order #cal kestis #star wars

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viktcrr · 4 years

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「maxence danet-fauvel & nonbinary」⇾ samuels, viktor, the senior radcliffe student’s records show that he/they are a capricorn and 24 years old. he/they are studying visual arts, living in noland and can be observant, ingenious, reticent & dependent. when i see him/them i am reminded of a sculptor’s hands clay-ridden, the insistent hum of tv static, and a crying preacher inside a dusty funeral home. ⇽「james & 21 & est & they/them.」

hllo !!! i’m james n here’s one of my big idiot muses <3 he’s not actually dumb he’s :/ a bit evil. bt thts okay hes still <3 beloved <3 LKDSFHLSADLKGFSHLKD anyways!

TW DEATH, HEAVY GRIEF, OVERDOSE / DRUG ADDICTION, HOSPITALIZATION, HYPERSEXUALITY, RELIGION MENTIONS, MENTAL ILLNESS

aesthetic.

old tvs and their static, worn tapes, horror movie screams, spilled ink, a sculptor’s hands, clay-stained, chicken scratch handwriting, messy notes, messy hair, scoffs and eye-rolls, bruised knuckles, sore throats, funeral homes and a crying preacher, shattered ceramics, knife fights, high ledges, vertically-striped pants, red lights, the moon shrouded in clouds, cigarette butts, graveyards and half-empty wine bottles, sitting there for hours and talking to nothing, about nothing, a god complex, gold rings adorning both hands, barbwire baseball bats, having never played baseball in your life, deep eyebags and broken mirrors, a permanent chip on one’s shoulder, yearning, longing, wishing.

basic info.

full name: viktor phillip samuels

nickname(s): icky vicky :/

b.o.d. - jan 2nd

label(s): the black hole, the crepehanger, the impious, the opaque, the tempest, etc.

height: 6′1″

hometown: rochester, new york

sexuality: pansexual uwu

stats

inspired by: beetlejuice (beetlejuice), sid (toy story), jack sparrow (pirates of the caribbean), francis wilkerson (malcolm in the middle), azula (avatar: the last airbender), vicky (the fairly oddparents), stu macher / billy loomis (scream), marshall lee (adventure time), bojack horseman (bojack horseman), any it’s always sunny character :/

biography.

born to mama and papa (preacher) samuels in rochester, new york - fifteen minutes after his twin sister, tatiana samuels. years later, rosa samuels joined the gang.

was an awkward, quiet kid growing up, he didn’t interact well with others and preferred being left alone to dig up worms and draw on the walls of their childhood home. the only exception was his twin, really.

as he got older he grew out of this, but instead became like … sort of an asshole? maybe to compensate for years of childhood awkwardness. he’s the sort of person who will bite the hand that feeds him & developed into a full time nuisance by middle school, unlike tatiana who was much more subtle about her conniving manners.

always has been a fan of ‘darker’ materials. grim & creepy morbid shit. probably the biggest tim burton fan, ever since he was a kid … not a good look for a preacher’s son, but he never really felt ‘in’ with the rest of his family to begin with. classic black sheep syndrome.

drew disturbing pictures as a kid that probably prompted one or two or five phone calls home to assure everything was fine.

just really had a knack for art at a young age, from drawing to painting to playing with clay. it’s always been his Thing and probably is the only thing he’s good at.

being twins with tatiana was hard. they were near opposite besides both being quite mean-spirited. tatiana handled being in public better, left a better image behind - but viktor had talent, more than she did. they loved each other deeply - y’know, those unbreakable twin bonds as cliche as it sounds - but found each other as competition for their parents’ attention. a rivalry for affection.

in high school is when viktor really started to act out. it started extreme, like losing his virginity in their church and vandalism around the neighborhoods. faked being possessed in the middle of sunday service & almost had an exorcism performed on him.

his only redeemable trait was like … just his sheer talent in the arts. was in a 3D art AP course and specialized in sculptures. he could pretty much create anything he wanted with enough dedication.

because he was the problem child, the one who deserved to be disciplined for all his antics, tatiana could sneak away and get away with whatever she wanted much easier. on the bright-side, for her, i guess.

not a very motivated person - wasn’t planning on going to college, much less going to radcliffe but his parents literally wrote & sent his college application for him because they weren’t going to house a deadbeat but had too much heart to kick him out onto the streets. cool!

he’s actually pretty smart but he just doesn’t apply himself. has a minor in english because he didn’t care for an extra course-load, but he’s good at writing & analyzing literature. is going to use it to write and illustrate his own series of children books with a style similar to tim burton’s. not for the kids, but because he likes to leave a trail of terror in whatever he does.

has been experimenting with himself since high school but college is where he really had started to crack down on himself. was out as pansexual & nonbinary by his sophomore year of college just … not to his parents, who don’t really need to know.

if you asked him if he believed in twins having a psychic connection with each other - he’d tell you he wouldn’t know. it felt believable at times, but sometimes he had no idea what was going on inside of tatiana’as head. on the other hand - viktor had always felt oddly transparent to her, like she knew all of his moves before he did. the only person who could predict him accurately.

( TW DEATH, GRIEF, OVERDOSE / HOSPITALIZATION BEYOND THIS POINT )

when tatiana disappeared, viktor knew something was up. it was a twist in his gut, pure instinct that something wasn’t right. and it wasn’t right - and when she was proclaimed missing, they couldn’t find her.

and when tatiana died - viktor knew. it felt wrong, something cut so severely in him he could pinpoint her death to the second. he didn’t know how, or why, but he knew it. knew it before anybody else had.

afterwards he went on a sort of bender. he’d begun to struggle with a mild drug addiction late senior year of high school / early college, but he was managing it up until this point.

his mental health had also sunk to an all-time low, when it’d never been great to begin with. (manic & depressive episodes. once fixated on a sculpting project for six months and then knocked it off the table and destroyed it as soon as he finished it for no apparent reason.)

tatiana’s body wasn’t found immediately, and when it was … viktor went off the rails. ended up overdosing & being hospitalized. spent six months in & out of psychiatric care after that.

came back to radcliffe to finish his senior year because … for the reasons above, he hadn’t been able to complete it. just wants to get his credits and get out of here.

is still dealing with a lot of trauma & grief, especially since the one year anniversary of tatiana’s death was this month (january) - causes him to spiral and be unpredictable in regards of his mental health. he stopped taking his medication, so. :/ some days are alright, other days are pretty bad.

UPDATE: now that summer’s come n go ... viktor hs been thru <3 a lot <3 recently. switched therapists (his :/ last one got her license revoked) & started new medications, went to a treatment center briefly ‘cos .. he wasn’t doing too well :/ bt now he’s back baybey! trying to be better n trying to be sober but ... :/

personality.

the human embodiment of a gremlin that was fed after midnight. a goblin, if you will. one of those cats with a narrow head and really big ears … that’s them!

a big horror & halloween enthusiast. loves the old campy horror movies & probably has an abundance of masks from different movies. dresses like a grimy millennial beetlejuice more than they should because they just … love those black & white vertical-striped pants.

can appreciate the lore & cryptids at radcliffe and likes to feed into the fear that surrounds them. is probably the cause of a few ‘anomalies’ and ‘paranormal sightings’ because they’re just … a jerk.

fashion alternates between e-boy (they would be tiktok famous if they were 17 & didn’t think that a majorly minor based app was weird.), millennial beetlejuice, and goth in a crop top & sweatpants. big fan of crop tops and a big fan of sweatpants.

they can be really fucking mean? petty, aggressive, a major instigator. will literally spit in your face for little to no reason, you could just look at them the wrong way. the kind of person who will stick their gum into someone else’s hair. other than that? they’re like … sort of okay. they’re not always mean, just a dick about 90% of the time lmao

like okay yeah they’ll call someone a stinky bitch for no reason except they feel like it and believes it. it’s fine, they’re fine, we’re fine.

despite the fact that they’re probably getting into a fight whenever, considers themself to be a lover and not a fighter but that’a primarily because they fuck a lot. uses it as a coping mechanism, like they’re this big fancy carnival show that’s like ‘come one, come all! fuck the dead girl’s twin brother!’ and it’s … a Lot. might have a problem with hypsersexuality but they’re not fully aware of it.

the preacher’s whore son, basically :)

pansexual & nonbinary, switches between he & they pronouns often and without a pattern, but they have such a fragile grip on their identity that you could call them ‘dog-faced bitch’ and they’d turn around like. sup.

vastly impulsive … like i said, they destroy their own creations for the fun of it. spends all teir money on useless shit, will cheat on someone because they feel like it & likes the thrill, screams into the night sky frequently like a cat in heat.

will also spend months creating useless shit for no reason too. spent six of them sculpting a hollowed out tree the size of them & then took a sledgehammer to it.

they’re very super dramatic. would play the organ at church when nobody was looking after them and service was about to start. would just churn out these super haunting, creepy melodies like they were phantom of the opera. would do the same exact thing at home on their keyboard with the pipe organ setting whenever they got grounded until their parents took it away HBDSJFNGKH

will absolutely not talk about their ‘time away’ because it’s not anyone’s business, not even their own younger sister. still refuses to talk about tatiana’s death, or their mental health, or their addiction (fallen back into it but it hasn’t gotten severe … yet :/), or anything involving their own emotions.

will just change the topic abruptly, no warning. asks about the jonas brothers instead and they fucking hate the jonas brothers.

that being said they’re absolutely not over tatiana’s death & it’s to the point of obsession over it. like there’s some kind of secret that needs to be uncovered, even though there just. isn’t. tatiana was their rock and they were pretty much dependent on her. kept them grounded. could control them when nobody else could, got into their head easier than others. it’s sort of like rosa lost two siblings that day because viktor hasn’t been the same since.

emotionally unavailable while also crying twice a day. cries during their brawls but still wins. is stony-faced when they tell you they cheated on you with your much hotter best friend.

will tell you straight up what they want from you, no bullshit & no beating around the bush. just blunt. if they want to fuck, nothing else, then that’s it. if they feel deviation or developing feelings then they’ll ghost in less than a second. is awful like that but feels no shame.

but also emotional as shit and it’s confusing. will cry on a whim and then flip you off if you try to console them or ask them what’s up. will bite you.

they go to therapy but they just fuck around and wastes their therapists’ time … also is fucking their therapist, but that’s neither here nor there. so they’re not really getting the help they need.

likes to be intimidating but not … with their body or anything because they’re a TWIG but uses their love & knowledge of horror and creepy shit to their advantage. has an abundance of fake blood. has channeled the energy of jack nicholson and used it on tatiana’s boyfriends before (also is a big fan of sfx makeup & has dabbled in it)

probably chases kids around with a chainsaw without the chain on halloween every year.

generally never doing good, both mental health wise & morally. would probably steal candy from a baby for funsies.

i don’t know if there’s a good to them somewhere deep down, but they don’t see any issues with themself either. nothing really breaks through to them anymore because the only person who ever made them stop and think about their actions was tatiana, and well, y’know. :/

an introverted reclusive type who doesn’t like most people or going out, but does so anyway if it means a quick high & a cheap thrill.

pretty observant and likes to analyze people even though they’re often like … partially wrong. judgmental because they like to make people feel bad, not because they’re a righteous mighty person. because they’re not. so like, a hypocrite!

wanted connections.

a roommate… but it’s an absolute nightmare to live with him.

enemies… because viktor would have a lot of them…

familiar faces… people who knew tatiana or of her / were her friends. maybe even those who dated her, and who viktor would’ve tried to intimidate / scare at any given chance :/

pitiful glances… people who take pity on viktor and he hates it sooo much.

hooligan gremlin kids… just a friend group of grown ass adults who do drugs and fuck shit up around town like they’re edgy teenagers.

high school girlfriend… probably the one he lost his virginity to inside his family church :/

childhood acquaintances… people who knew him from his youth.

exes… good & bad terms, but mostly bad terms because viktor is an actual demon. probably cheated on them.

soft… i don’t know if he’s soft towards anyone and/or is capable of it but we can try. we can try.

unrequited… either viktor just doesn’t like them or he’s holding back because he’s :/ got issues with relationships & is self-sabotaging as one does

enemies with Tension… of the … spicy kind if you know what i mean. wink.

friends… old friends, new friends, bad friends, good friends, close friends, frenemies, etc. i don’t know how many he had but if your muse likes to cause a ruckus and fuck shit up then viktor’s your man.

hook-ups… current or old. friends with benefits, one night stands, anything and everything because he fucks around a lot.

ride or die… friendship but make it extreme.

bad influence… he’s just toxic to be around and brings out the worst in people :/

bad egg… he’s gotten into a few fights :/ maybe you witnessed it. maybe you were in it.

literally anything i wld love all sorts of plots.

#ruhqintro #death tw #grief tw #drug abuse tw #addiction tw #overdose tw #hospitalization tw #hypersexuality tw #religion mention

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doomonfilm · 3 years

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Ranking : The Coen Brothers (1954/1957 - present)

Directing a film can be one of the most vast, task oriented and stress inducing undertakings imaginable, which makes it odd that more directing duos, specifically sibling duos, do not exist. Sibling duos like the Wachowskis, Hughes, Farrellys, Safdies and even the Zellners have made names for themselves, but one set of siblings easily towers above the rest : the Coen brothers. With nearly 20 films under their belt, and nearly as many stylistic varieties and storytelling approaches found within, it is hard to argue the impression they have left on moviegoers worldwide over the past nearly four decades they’ve existed professionally. With such a stellar record of films under their collective belts, I’ve decided to do the most stress-inducing task of all : rank these films from least to most favorite.

18. Intolerable Cruelty (2003) For a duo with so much distinct style and flair for storytelling, this film feels the least like a Coen Brothers film. If anything, this feels like a script that sat on a shelf in pre-development hell, possibly for years, only for someone considering themselves a bit of a ‘maverick’ or ‘forward thinker’ to discover it and think that a dose of Coen Brothers magic could save it. Even with the star power of George Clooney and Catherine Zeta-Jones behind it, this one feels a bit too ‘by the numbers’ to stand out from an oeuvre that nears perfection.

17. Hail, Caesar! (2016) I’ll be completely honest with you all... I don’t remember much about this film. I remember enjoying it, but I don’t remember being blown away by it. I remember enjoying the colorful display of old Hollywood, and it’s always refreshing to see George Clooney lean into roles that border upon slapstick. For as much as I found this film not all that memorable, however, it stands above Intolerable Cruelty simply because it does not trigger bad memories.

16. Burn After Reading (2008) This film is what Intolerable Cruelty wanted to be... a property that is a hair closer to by the books, but full of a screwball approach that heralds to a forgotten era of film while using an incredibly stacked cast. Of all the Coen Brothers films I’ve seen, Burn After Reading feels like the property that all involved enjoyed making the most. Like many of the Coen Brothers films, the cast on this one is mega-stacked, and from top to bottom, everyone involved shines in roles that go against their standard types, or amplify the most off-beat aspects of their performing ability.

15. The Ballad of Buster Scruggs (2018) The fact that Netflix was able to pull the Coen Brothers for a film is a win in itself, and with the duo choosing to do an anthology piece, Netflix was primed to maximize on their investment. While highly entertaining, however, the anthology nature of the property leaves it feeling a bit unfocused and disjointed at times... none of these stories really had enough meat on the bone to be expanded into feature-length films of their own, but for some reason, all parties involved passed on the opportunity to make a multi-episode serial rather than a film comprised of multiple tales. While using variance in storytelling methods and visual styles may work for some less talented directors, in the case of The Ballad of Buster Scruggs, it feels more like snack-sized bites in the place of true sustenance.

14. The Ladykillers (2004) On paper, this film should have been a disaster. The Coen Brothers generally opt for original stories, so the fact that they chose to adapt such an obscure 1950s property for the modern day was strange, especially in light of the fact that most every element with the exception of Tom Hanks’ character was given a modern update. Somehow, despite all of this oddness, The Ladykillers managed to capture a sense of the classic Coen Brothers slapstick comedy that they famously established themselves with early on in their career. Tom Hanks is given the green light to go completely ridiculous, and to much of the viewers’ delight, he does so with great aplomb. His supporting cast shines, the comedic turn brings new energy to the story, and the southern gospel setting brings a rich sense of spirituality to an otherwise run of the mill film.

13. O Brother, Where Art Thou? (2000) The Coen Brothers were essentially household names by the turn of the 20th century, but O Brother, Where Art Thou? propelled them into a legendary status. The grassroots mix of The Odyssey and the Robert Johnson crossroads legend took on a life of its own, leaving behind a soundtrack that birthed an entire generation of folk and bluegrass enthusiasts, as well as a film that showed the world George Clooney’s comedic chops. Much like The Ladykillers, O Brother puts viewers deep into the unfamiliar territory of Southern ‘discomfort’, with the African-American experience playing a major role in the narrative. Of all the Coen Brothers films one could use to introduce a stranger to their catalog, this one may be the best, as its infectious nature and stunning look leaves an impression on most anyone who has the pleasure to view it.

12. True Grit (2010) The Coen Brothers had already covered a wide bit of genre ground within their first three decades, but surprisingly, they’d not done a true western up to that point (though many argue that No Country For Old Men is a modern take on the western). Therefore, when it was announced that their first western would be a remake of the iconic John Wayne film True Grit, many were surprised, and curious if they could pull it off. Not only did they pull it off, but in my humble opinion, they made a version that more than holds its own against the original. For the handful of big name and seasoned actors that signed on, it was the breakthrough performance of relative newcomer Hailee Steinfeld that outshined all. While The Ballad of Buster Scruggs was a fun revisit to the world of the western, True Grit was the kind of achievement that makes me want more traditional westerns from the duo.

11. The Man Who Wasn’t There (2001) Listing the Coen Brothers films is by far the most difficult ranking I’ve done to date, and the first film that really gave me trouble in terms of placement was The Man Who Wasn’t There. Personally, I find this film to be captivating and nearly flawless... Billy Bob Thornton’s detachment is rich and intrusive, which makes it all the more sinister when he does choose to exude even a hint of passion about something, be it positive or negative. The black and white photography, in league with the tone of the film, puts me in the mindset of films like In Cold Blood, and some of the sequences in the film stand out as some of the most iconic in the world of Coen Brothers films, especially the car crash. For a classic-style film noir, a genre that anyone with half a brain knew was a slam dunk for the Coens, the duo went above and beyond to both modernize and wholly embody the style. One of several Coen Brothers films that sits with you long after the final credits have faded away.

10. Inside Llewyn Davis (2013) If this isn’t the darkest comedy in the Coen collection, it’s certainly giving the number one contender a run for its money. The intimacy of this film is unmatched within the broader collection of Coen characters, excluding The Dude, but the difference between Llewyn and The Dude is the personality equivalent of the difference between oil and water. You may marvel at Llewyn’s talent, but all the while, the film is screaming at you that “THIS IS A CHARACTER YOU SHOULD NOT ROOT FOR”. The symbolism found in the film is minimal while being incredibly effective in how it punctuates Llewyn’s personality and character, and the story structure is an equally subtle swerve that baits you into paying deeper attention, only to realize that the setup was the punchline the entire time.

9. The Hudsucker Proxy (1994) I’m a sucker for a Coen Brothers comedy, especially the ones that play like human cartoons, and one of their absolute best was The Hudsucker Proxy. The writing on this film is so tight that it would absolutely pop if it were any tighter. The entire A Christmas Carol-esque approach to the story makes it a wonderful moralistic tale that makes people laugh so much that they often don’t realize they are being taught a lesson about morals, integrity and self-respect. Tons of familiar character actors fill the frames, everyone tasked with supporting roles fit firmly and comfortably into the created world, and the man trio of Tim Robbins, Jennifer Jason Leigh and Paul Newman are functioning on genius levels of performance... especially Jennifer Jason Leigh. While not quite a holiday movie, there is enough of a holiday sense that it could be shoehorned into a seasonal viewing, but any time set aside for this gem is the right time to watch it.

8. Barton Fink (1991) In my humble opinion, this may be the strongest end to end performance from John Turturro in his long and storied career. As clear-cut fans of film, it is always a pleasure to see the Coen Brothers explore the world of film, and by using this approach, they are able to tell a bold, brash and haunting tale about the issues that come with assumptions about character and talent. The takes on Hollywood and the indifference of those in power, especially when it comes to assisting young and promising talents that may one day usurp them, and powerful. The real bow on the story, however, is the larger than life presence of John Goodman, who goes from being a slightly aggressive and overbearing sense of support to a literal madman by both name and action. For a film that mainly consists of individuals talking to one another about passion, talent and secrets, there is a kinetic energy that feeds the forward momentum of this movie, and for that, it stands out in the Coen collection.

7. Miller’s Crossing (1990) It’s not surprising that the Coen Brothers could make a compelling and memorable gangster film, but I don’t think that anyone expected a film as vicious and dark as Miller’s Crossing. For a duo that generally relies on nuance and contemplation to get their points across, this film certainly proves that they are more than capable of excelling in the direct approach as well. The era-specific costuming is outstanding, the murky city areas stand in stark contrast to the woods of the titular Miller’s Crossing, and the sheer volume of bullets are a stark reminder of the Prohibition-era story we are viewing. Gabriel Byrne shines in his lead role, bringing a world of fury, deceit and mistrust in tow with him. The iconic hat blowing in the wind serves as not only the biggest memorable moment from the film, but possibly also the single moment of peace and beauty found in a film that holds up a dirty mirror to a dark world.

6. A Serious Man (2009) Of all Coen Brothers films, this is easily the most underappreciated and slept on of the bunch. I’m a sucker for movies that embrace Murphy’s Law, and when mixed with the parable nature of the Book of Job, we are presented with a darkly comic and relatively unique version of the hero’s journey. The way that the personal, professional and philosophical problems pile up on Michael Stuhlbarg’s Larry are meant to be felt by the audience, and the way that his bad luck boomerangs out into the world during the film’s resolution must be seen in order to be believed. The way that destiny and chance dance around one another in this film is narratively breathtaking, and for such a subtle film, it is a truly remarkable achievement.

5. No Country For Old Men (2007) When you think of the Coen Brothers, you don’t necessarily think of evil incarnate, and yet, the duo succeeded in capturing a character in the form of Anton Chigurh, the closest thing to the Terminator that the duo has ever created (to my knowledge). The story is a wonderful, subtle tale of how the times can change into something we don’t recognize before we recognize the change, but it is easily Javier Bardem’s iconic performance that gives this film all of its power and ominous energy. His unyielding forward momentum, his disdain for obstacles in any form, and his disregard for human life are enough to instill real fear into those who partake in viewings, and his presence will more than likely haunt you far beyond completion of the film. A true modern-day masterpiece that would have been higher, if not for...

4. Blood Simple (1984) What a powerful debut, and one that not only hinted at, but outright put the spotlight on the promise of the Coen Brothers when it came to stark visuals and stunning storytelling. For such a simple, small scale story, the tangled web that is woven is a slippery slope of deception and distrust that leaves little to no survivors in its wake. The scale of the film is deceptively small, but the quality shines in every aspect that it can. Seeds are placed that pay off wonderfully, and the color palette presented gives the film the feeling of a Technicolor film-noir. Much like A Serious Man, Blood Simple deserves to be talked about and held up much more than it is by fans of film.

3. Raising Arizona (1987) What a wonderfully ridiculous movie about something as simple as the trials and tribulations of navigating love, marriage and parenthood. The most hilarious aspect of this film, in my opinion, is how it feels like a living and breathing cartoon, both in terms of the character performances and the outrageous events that take place within the world of the film. Nicolas Cage is operating on a completely different level, Holly Hunter is equal parts charming and hilarious, Trey Wilson is wonderfully over the top, John Goodman and William Forsythe bring excess hilarity to the wild proceedings, and Randall “Tex” Cobb is downright iconic in terms of his ridiculous character. The pacing of the film is breakneck and feverish, the comedy hits never stop coming, and the utter charm emanating from the midst of the caper presented is infectious. As a second film, this could not be any more different than Blood Simple, and yet somehow, it connected so vividly with viewers that it remains a must-watch film to this day.

2. Fargo (1996) What is there to be said about Fargo that has not already been said? For a duo with more iconic films to their name than some directors have completed films, Fargo was an immediate signal that the limits of the Coen Brothers’ creativity and skill had not even began to show its full breadth. Within less than five years of release, the film was already heralded as a classic (of all-time, not just modern day), the mystery surrounding its possibility of being based on a true story built a world of intrigue around the movie, and it has gone on to create a universe of its own in the form of an FX TV show that recently wrapped its fourth season. There is not a wasted role in this film, and to this day, any movie fan worth their salt will happily bust out their version of a Minnesota accent that is almost certainly based on one of the many memorable characters that inhabit the world of Fargo. Numerous actors, including William H. Macy, Frances McDormand and Steve Buscemi, all found breakout success in the wake of this wonderful film.

1. The Big Lebowski (1998) Was there ever any doubt for this placement? For everything that Fargo did in terms of success within the world of the film industry, The Big Lebowski did that and more for the worlds of the counter-culture and cult film fans. The story we are presented with is so simple, yet so ridiculous in its journey, that it almost insists on viewers revisiting it over and over. Like many Coen Brothers films, nobody cast in the film is wasted or misused, and due to these stellar performances, the film finds itself as one of the most quotable in recent memory. Much like the performances of the cast, the writing does not waste any words or opportunities, often referring back to itself in extremely subtle and nuanced ways that present themselves over time, and to hilarious effect. Nobody would have expected a film of this nature to have a fandom, and yet, the legions of fans for this film are unique to that of the Coen Brothers catalog in the sense of their dedication, devotion to and love of the movie. While not everyone’s cup of tea upon first viewing, The Big Lebowski is truly an example of the gift that keeps on giving.

If the Coen Brothers never make another film, they’ve already created and achieved more in their journey that most filmmakers can dream of. Many of their films could honestly be considered works of art, and nearly all of them are compelling with an ability to leave deep and lasting impressions. If you are unfamiliar with the Coen Brothers, do yourself a favor and check out their work, as it may bring a new sense of invigoration to your love of film.

Editor’s Note (12/10/2020) : Inside Llewyn Davis added to the number 10 position, all films ranked lower adjusted accordingly.

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amphtaminedreams · 4 years

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Film Tier Ranking 2019: A Bad Year for Bird Films

Hi to anyone reading,

I’ve finally put it together: my 2019 film tier ranking! I know tier rankings are a bit 6 months ago but seeing British crisps sorted into god, good, mid and shit tier all over Twitter, the format really resonated with me and I was like I MUST USE THIS AT SOME POINT! And I guess since there probably isn’t much of an audience for crisp tier rankings on Tumblr, it makes more sense for me to do it with films instead, especially as doing a 2019 year in film review was something I previously claimed I would do; here’s to 2020 and following through on my proposals.

I think 2019 in general was an okay year for film, with the end of the year definitely outselling the beginning. One thing to bear in mind is that a lot of films that I would’ve been able to see in 2019, I.E Little Women and Parasite, didn’t come out until 2020 in the UK so they won’t make it onto this year’s list. It’s not a snub by any means. I more fall in line with the Elsie Fisher Film Awards school of thought than the Oscars, which have yet again disregarded several incredible performances this year: Florence Pugh in Midsommar, Taron Egerton in Rocketman, Lupita Nyongo in Us, and of course, Greta Gerwig’s direction of Little Women. I’m sure there are many more but those are the first few that come to mind. Oh to be in 2017 when nominations made fractionally more sense.

This list also includes films that weren’t necessarily released this year, but that I just got around to watching; there were a couple of disappointments but also a lot of films I can’t believe it took me this long to finally watch and have definitely made their way into my favourites. My goal for this year is to get through even more of the films on my verrrry long Letterboxd watchlist, and more specifically, watch said films without going on my phone, which is a really bad habit of mine. I find it hard to sit still! Let me live!

I also want to try and put aside my prejudices about visual quality and watch more pre-2000s movies this year; it’s really bad but I never managed to get more than half an hour into Psycho, of all films, solely because I couldn’t deal with the black and white. In 2020, I am going to stop being a whiney Gen Z/cusp millenial-er and give older films the chance they deserve.

So, without further ado, here is my film tier ranking of everything I watched in 2019! If you make it til the end and have any thoughts or disagreements, let me know. I love to hear other’s opinions and get new perspectives on things and am totally open to any criticism. Happy reading:-)

God Tier

Knives Out (Rian Johnson, 2019)

Knives Out. What a film.

I feel like I waited forever to see this at the cinema. They must have started showing trailers for it in, like, August, and I had to wait til mid-November to see it. How are you gonna just dangle a film with Toni Colette and Lakeith Stanfield in my face and then make me wait 3 months? Totally unethical.

But that being said, when it finally came around and I did see it, as much as I love Toni and Lakeith, there was one stand out and it wasn’t either of them: ANA DE ARMAS. I have to admit I’d never heard of her before but she acted the shit out of a role I feel I’d ordinarily find irritating and gimmicky. Daniel Craig, whose character seemed annoying as fuck in the trailer, was actually surprisingly funny.

Stylistically, it was a very cool film and I liked the subtle commentary on class that was running throughout. Also, I thought the ending was very clever. My issue with a lot of whodunnits is that they just pick someone who doesn’t make sense for shock factor *cough, Bobby Beale in Eastenders, cough* but the shocks here were more in the details.

Hustlers (Lorene Scafaria, 2019)

There wasn’t one single moment of Hustlers I didn’t enjoy and it’s quite amazing that there wasn’t one single point in this film about strippers that I felt gratuitously sexualised women. THAT is why you fund female directors. It made the whole thing look like a calculated art form, which I think the unsexy amongst us can all agree that it is. Constance Wu was a fantastic lead, J-Lo was kind of robbed for a supporting actress nom, and Keke Palmer and Lili Reinhart were hilarious too.

Midsommar (Ari Aster, 2019)

Midsommar was such an experience that it took me a good few days afterwards to decide whether I actually liked it. I saw it the day it came out because I loved Hereditary so much and I wasn’t quite sure what to expect. I kind of had an idea of the way it was going to go, we could all kind of guess evil cult was the route that was being taken from the trailer, but I just didn’t realise quite how weird it’d get.

The gore was great, the visuals were stunning and the character arcs were surprising and for that reason, I think this is another game changer for horror from Ari Aster. I didn’t love it like I loved Hereditary but it continues to play on my mind and 7 months later I still can’t resist a good “Things you Missed in Hereditary” or “Hereditary Themes Explained” Youtube video essay. That’s how you know a film fucked with you and that’s the ultimate goal of going into a horror for me. Put that on my headstone after I inevitably get myself into some mortally dangerous conflict because I want to “get fucked with” a little bit.

Booksmart (Olivia Wilde, 2019)

So here’s the thing with Booksmart: I was getting progressively more and more drunk throughout it so I might be a little biased when I say I loved it. That being said, worth revere seems to be a commonly held opinion so I’ll stick to my guns. Plus, movies like this, which just focus on girls living their lives, are few and far between. Why have we had to wait THIS long for the female Superbad?

IDK. But Kaitlyn Dever, Beanie Feldstein and Billie Lourd proved it’s definitely a genre worth investing in so hopefully we see more lighthearted female-led coming of age comedies. One Ladybird per year isn’t enough for me.

The Favourite (Yorgos Lanthimos, 2018)

I included The Favourite in my 50 Films You’ve Got to Watch that I made earlier this year so I don’t have all that much to say about it that I haven’t said already. To summarise, it’s an instant classic: the cinematography, the cast, the lines, it’s all perfection.

Suspiria (Luca Guadagnino, 2018)

I also included Suspiria in my 50 Films You’ve Got to Watch list so sorry if I’m repeating myself, but I adored everything about it. If I had to sum it up in one sentence I’d say divine feminine energy, but inverted. Plus ballet. That dancing scene in the mirrored room will probably never leave my mind (if you’ve watched it, trust me, you’ll know the one I'm talking about), and if there were awards given out for creepy montages in horror, this would win all of them. It still blows my mind that Tilda Swinton played 3 characters in this film; 2 of them are so distinctly different, if anyone put two and two together without prior knowledge of this fact then I’ll blow my own head up too. This is why I got so mad when there was all that discussion around her being the new female Doctor Who and there were people asking who she was. How can you not know who Tilda fucking Swinton is!? She’s a legend!

Sorry, is the wannabe film snob in me showing?

Annihilation (Alex Garland, 2018)

Though I initially watched it because it’s branded as a horror, Annihilation ended up being a surprisingly introspective take on human nature and our self-destructive tendencies. Nothing really went the way I expected it to, even though I was constantly trying to guess that trajectory from beginning to end.

Visually, Annihilation is magnificent. Like, it’s tense, and where exactly the plot is going is shrouded in mystery, but most importantly, it’s super fucking pretty. Sure, the only thing that was mildly horrifying was the *SPOILER* end result of that bear scene but I didn’t mind too much because there was always that edge-of-your-seat possibility something like that would happen again.

Also I realised that Gina Roduriguez is really hot in this! I would just say in general but that video of her saying the n-word kind of took away shot at real world magnetism. WHY SUCH A SHITTY APOLOGY VIDEO!? WHY?!

Assassination Nation (Sam Levinson, 2018)

So I didn’t clock until I was looking up directors that Sam Levinson, Euphoria director, also directed this, and suddenly everything makes sense in the world. They both have that dreamlike, exaggerated feel that perfectly captures the emotional rollercoaster that is being a teenager, only in Assassination Nation obviously the threats are a bit more...tangible. As in its actually other people trying to kill our protagonists this time round, not just angst.

Not gonna lie, it’s not a patch on Euphoria because that show is probably the best thing I watched all year, but I did thoroughly enjoy it, even if I did feel the social commentary, despite how in your face it was, got a bit lost in translation at times. I think it’s the kind of film that, once again, would’ve felt more genuine coming from a female director, however that’s not to take away from how witty, modern, and completely relevant it still is as we move into 2020.

Sorry To Bother You (Boots Riley, 2018)

Right. WHAT THE FUCK!?

Why don’t more people talk about this film? Like it has Tessa Thompson and the world’s best earrings! Lakeith Stanfield getting more than 10 cumulative minutes of screen time! Armie Hammer being that bitch we all knew he was irl (probably)! Scathing critiques of late stage capitalism! It’s insane, in the absolute best way.

SPOILERS AHEAD: I had a mini paragraph written about the last hour of the film and the descent into pure unadulterated chaos, and how it’s like, the internet’s best kept secret, because ordinarily you lot can’t keep your mouths shut about a film or TV’s shows most crucial reveals for more than 5 minutes and THEN...My FBI agent must be feeling real cheeky because THIS tweet pops up on my Twitter timeline.

Fuck this shit, I’m out. Onto the next film. MI5 stop peeping my drafts.

Eighth Grade (Bo Burnham, 2018)

I don’t want to repeat what I said about Eighth Grade in my 50 Films you Should Watch list but Elsie Fisher’s performance in this is why I wish the Oscars also had some kind of rising star award category à la the BAFTAs. Honestly, every 13/14 year old should watch this; it’s a reminder that although feeling like an outsider is by its nature quite isolating, it’s prolific enough that a 29 year old man, 10 years out of “high school”, gets it.

American Animals (Bart Layton, 2018)

My sister and I absolutely loved this film so you can image our disappointment when we turned round to our parents at the end and our enthusiasm wasn’t matched...as in, I’m pretty sure they were both asleep for a lot of it. WHICH I DON’T GET. Because to me, there wasn’t a dull moment. American Animals is what happens when a group of university age boys with the finesse of the American Vandal Turd Burglar try and apply that to an Evil Genius stye heist, part Netflix, talking head abundant documentary, part live-action film. Splicing a stylistic reenactment with interview footage of the men who really attempted to commit the crime elevated what I probably would have put in the Good Tier™ to the God Tier™; seeing the guy Evan Peters is playing alongside Evan Peters playing him, now only the remnants of the arrogance we see in the reenactment left behind, sharply reminds you of the fall from grace these boys deservedly went through. Plus Barry Keoghan from The Killing of a Sacred Deer is in it, proving that unsettlingly stiff is NOT in fact his natural state.

Gerald’s Game (Mike Flanagan, 2017)

I wish there was a shorthand way to say I wrote about this in my 50 Films You Should Watch list so I’m gonna keep it short but here we are! This was great! If The Haunting of Hill House isn’t proof enough, Gerald’s Game (not to take away any credit from Stephen King) is a reminder that Mike Flanagan is the king of subtle, niggling sensation in your stomach that something is about to go very wrong horror. I hear he and Ari Aster have a timeshare situation going on with the crown.

The Ritual (David Bruckner, 2017)

Okay, so this is the film that made me realise we should all be very scared of forests. Nope, all the documentaries into the Aokigahara Forest weren’t enough, apparently. I subjected myself to this too, as if my unfit, cold-blooded, bug-fearing, scared of the dark ass doesn’t already have enough concerns about my survival odds in the great outdoors.

Really though, setting aside, this film maintains the sense of dread throughout and keeps you guessing what’s going on until the very end. Much like The Descent, the group dynamic and characters are realistic enough that it adds to the believability of a scenario I, in principle, know would never happen to the extent that I might keep away from vast, wooded spaces for a while just in case.

Dumbo (Tim Burton, 2019)

If film Twitter came across this post and saw I’d placed Dumbo in a higher tier than If Beale Street Could Talk I can only imagine the outrage. And sure, the latter is probably a much higher quality film. But sometimes a movie, for reasons you can’t quite put your finger on, gets you right in the sweet spot, and Dumbo did that for me. Maybe it was that the CGI elephant reminded me of my cat (I know, leave me alone), maybe I was emotional that day, I don’t know, all I know is that I cried like 5 times and was smiling for the rest of it-to be fair, the exploitation of animals for our entertainment is something that is still very much going on and that was something that was playing on my mind a lot whilst I was watching it. IRL Dumbos should be free too. Dumbo rights.

The VVitch (Robert Eggers, 2016)

This film taught me that there’s nothing wrong with joining a coven of young witches and getting naked and levitating around a fire. And that’s an important life lesson. Plus it gave us the quote “wouldst thou like to live deliciously?”, which is not only so perfectly creepy and simultaneously empowering that I had to get it tattooed but also, created ASMR. I just made that last bit up obviously but Black Philip getting his own ASMR Youtube channel?

The Descent (Neil Marshall, 2006)

For me, much like The Ritual, The Descent is a perfect horror film: it’s got the ghouls but the situation the characters find themselves in is also terrifying by its own merit. The reason The Descent made it onto my 50 Films list and the Ritual didn’t is because, let’s be honest, it’s 2020 and you can get mobile signal in most places. You could probably at least make a 999 call if you got lost in a forest. If you DID get stuck in an underground cave and it collapsed in on itself, you’d be pretty fucked; the idea of it makes me shudder and I will never set foot in an underground tunnel at any point in my life for any amount of money EVER after seeing this. Also, the women in this are great and the creatures in this are genuinely quite terrifying, especially the first time you see them.

Chicago (Rob Marshall, 2003)

Ah, Chicago, the last film on the God Tier™, proving that this list is in no particular order. Because WHAT A FIM. WHY DON’T PEOPLE TALK ABOUT THIS MORE?! Like don’t get me wrong, I know it deservedly won Best Picture in 2003 but I’m talking about right now! I mean, fucking Titanic is still out here getting referenced left, right and centre and yet Chicago gets paid dust! Can you tell I’m mad and that I think Titanic is hugely overrated?! Is that maybe coming across?!

ALL the songs are bops, Catherine Zeta-Jones is hot (I saw someone on Letterboxd say that Catherine Zeta-Jones in this film was their bisexual awakening and honestly, if I hadn’t already known I was a raging bisexual, same, because I FELT things in that All That Jazz opening) and Cell Block Tango is the revenge fantasy anthem I never knew I needed. Smart, tongue in cheek, beautifully shot and makes men look like little bitches which is probably why my dad hated it but what did I expect.

Good Tier

Zombieland: Double Tap (Ruben Fleischer, 2019)

Onto the first film of the good tier, Zombieland: Double Tap definitely exceeded my expectations. I was super worried about the prospect of a sequel as I love the first one so much and assumed it would be crap. Obviously, it doesn’t match up to the original because the original WAS so original, but it was still a fun, easy, witty ride. And I was SO glad they didn’t *SPOILERS AHEAD* kill off Tallahassee at the end because I really thought that was coming and it seemed so predictable and unnecessary. Highlight was the introduction of the lookalikes at Graceland.

Judy (Rupert Goold, 2019)

So, this is the first of two consecutive rants I’m about to go on about Oscar nominations and people’s reactions online. Prepare yourself.

I’ll start with the underlying message: just because you think something else deserves the praise more, doesn’t mean the film/album/*insert whatever artistic medium you wish here* that IS getting the praise is shit.

Like people are angry that Lupita Nyongo wasn’t nominated for best actress for her performance in Us which is COMPLETELY valid as she carried that film on her back. In the same vein, people are also angry that more women of colour haven’t been nominated for best actress. Also valid; I’ve yet to see The Farewell but I’ve heard great things about Akwafina’s performance and I love her so even though I haven’t seen it, I’m gonna take the general consensus that she should’ve been nominated too. The Oscars definitely has a problem with recognising the work of POC. BUT, because of this, people are angry that Renee Zellweger has been nominated for her performance in Judy, saying that it’s typical “Oscar bait”. I agree, it is typical Oscar bait. However, a lot of the people saying this will in the same breath say (or tweet rather) that they haven’t actually SEEN Judy.

How can you possibly say that Renee Zellweger doesn’t deserve any of the praise she’s getting when you haven’t even seen the film? Don’t get me wrong, the film itself is good but not outstanding (hence its place in this tier), but you can see Renee genuinely put her heart and soul into this film; it was powerful, and it was sympathetic but it was also nuanced and subtle where they could’ve just capitalised on all the sensationalised stories of the actions of a woman clearly deeply suffering in her final years and had it be full of shouting and screaming. The Wizard of Oz has always kind of felt like home to me because of the childhood nostalgia factor and so I’ve always been interested in Judy and I think Renee captured her heart and her spirit in a way she would be deeply honoured by. Maybe the film itself doesn’t deserve the acclaim it’s getting but I think Zellweger definitely deserves the nom and I think most people who’ve actually seen it wouldn’t contest that.

Joker (Todd Philipps, 2019)

Okay so second rant. I’m sorry. I have a lot of feelings. Most of them aimed at the annoying tendency of internet users, Film Twitter™ and Letterboxd users I’m looking at you in particular, to be wildly exaggerative.

There just seems to be no nuance online. It’s not just yeah, I didn’t like the film personally and the message could be perceived in a certain way by certain individuals, it’s I HATE THIS FILM AND IT’S DANGEROUS AND THE DIRECTOR FUCKING SUCKS. I noticed this trend when La La Land came out (which if I had watched last year would certainly be in God tier for me). It’s like, if a film initially receives a lot of praise and buzz, there’s almost this wave of compensatory vehement criticism in response that’s usually disproportionate to how controversial the film actually is. People didn’t like that Joker was popular because they didn’t like Joker so suddenly it’s the worst film ever and the possibility of it getting any critical acclaim is wrong. I even saw people berating Todd Philipps for channelling Martin Scorsese as he’s the only person to ever be influenced and take direction from one of the most dominant figures in film of the 20th and 21st century. I mean, what’s wrong with that?! If it was any other director, it’d be called homage. But because everything has to be seen through this malicious lens, its copying.

I think one of the few very valid criticisms about Joker was that it further perpetuates the idea that psychotic people are dangerous, and I can totally see where they’re coming from. At the same time, we have to accept that whilst the majority of people who are psychotic aren’t a danger to anyone apart from themselves, most “dangerous” people don’t just become dangerous because they thought, fuck it, why not? A lot of people in the prison system ARE suffering with some kind of mental illness. The character’s psychosis doesn’t make him dangerous, it’s his underlying resentment and sense of entitlement that grows throughout the film that makes him dangerous, and I think a lot of people seem to miss this point. They say that the way the film ends implies Philipps is justifying the actions of the films protagonist. However, we KNOW the Joker is an unreliable narrator, he’s one of pop culture’s most infamous villains and that being said, both in film and in the real world, few villains see themselves as the villain. Joker is about why HE thinks he’s justified in doing what he does, not why he IS justified in doing what he does because he’s not, and that’s pretty clear from the moment he shoots someone in the head on live TV. Honestly, I think there’s a bit of wilful misinterpretation going on because people don’t like that film

I liked Joker. It was gritty, it was interesting, and sufficiently dark. I didn’t think it was the best film of the year but I understand why it got the praise it did. Obviously, it’s okay that people disagree and DON’T like it. But can we please get a bit more well-acquainted with the middle ground?

It: Chapter Two (Andres Muschietti, 2019)

Okay, essays over. Back to regular scheduled programming of less impassioned reviews. Though I will say I deserved better than my Letterboxd comment of “so you can just fucking roast Pennwyise to death?” getting absolutely 0 traction. One day my grand total of 5 followers, one of which is my sister, will recognise my brilliance (lol).

It’s hard to say how much I really liked this as I think my perspective of how much I did enjoy it is warped by how much I disliked the first one. Child actors really aren’t my thing and the only cast members I warmed to in the first one were Finn Wolfhard and Jack Dylan Grazer whereas the cast here were a lot more likeable, imo. Bill Hader, Jessica Chastain and James Ransone were all great, with the only let down being James Mcavoy; I love him, don’t get me wrong, but I just think he was really miscast in this role.

Another thing I enjoyed a lot more about this instalment was that due to the more episodic/anthology-like/Creepshow-esque structure with each character conquering different monsters from their past individually, the narrative felt like it had a lot more direction, and it didn’t drag as much despite it having a significantly longer runtime. I haven’t read the Stephen King novels and I don’t know much of the pacing issues are down to them so this is me coming at it from a screenwriting angle but it felt as if the climax of the first film just kept going on and on. Every time I thought it had finished there’d be another confrontation between the kids and Pennywise whereas Chapter 2 seemed to have a more definitive third act and I appreciated that.

Rocketman (Dexter Fletcher, 2019)

So, here’s one where I WILL agree with the general online consensus: if Rami Malek got nominated for playing Freddie Mercury last year and Renee got nominated for playing Judy Garland, why the fuck didn’t Taron Egerton get one for playing Elton John? Why didn’t Rocketman itself get a nomination when Judy did? Though I personally preferred Judy because I’m more interested in her story, technically and narratively Rocketman is the better film in my opinion. This was so cleverly edited and sequenced and told with such a brutal honesty on Elton John’s part (it was co-produced by his husband David Furnish and he was heavily involved in everything from the set to the script), that I can only come to the conclusion that the obligatory biopic nomination only comes when the focus of said biopic is no longer with us as a kind of honorary thing. Whilst something like Bohemian Rhapsody was much more of an easy watch (which just goes to show how glossed over Freddie Mercury’s life was in the film), the way the story was told, by the time we got to I’m Still Standing that happy ending felt so earned.

Aladdin (Guy Ritchie, 2019)

You can hate all you want, Prince Ali and Never Had a Friend Like Me are fucking bops and somehow they were even better in this incarnation of the film. I was initially hesitant about Will Smith being cast but rather than trying to impersonate Robin Williams he went his own route and it really worked. He was the highlight of the film. It was undeniably visually stunning too. Madonna’s ex did good.

Us (Jordan Peele, 2019)

Ah, I feel so conflicted when it comes to Us. Like, there were some really strong points and it’s definitely a good standalone horror movie. It’s just you can’t help but compare it to Get Out, and with that unsatisfactory exposition dump ending, I left feeling so disappointed. It seemed to me that Jordan Peele got in a bit over his head here with trying to tie such a vague social metaphor and the actual in-universe plot together, and so ended up leaving both a bit half-baked. He tried to OutPeele himself and for me, it didn’t work.

The doppelgängers were so scary as this ambiguous, vaguely threatening presence that if you are gonna give us a full blown, sit down explanation of why they exist it needs to be really bloody good. And this explanation didn’t make much sense. For example, *SPOILERS AHEAD* I imagine that the tethered just not being able to walk up the escalator into the “real world” was supposed to be some kind of metaphor for social mobility but it’s not fleshed out enough to work. In our world, there are REASONS why the idea of social mobility is flawed. In the film, it’s just like gee, if they chose to just walk up the escalator and go on this murderous rampage now, why couldn't they have decided to do it years ago back before they all lost their fucking minds? Why were they just copying the originals for all those years? HOW did they know what they were doing? See, the metaphor as I understand it is supposed to be that we depend on the oppression of others like us in order to maintain our social status, but not only is this kind of too general a statement to try and use a feature length film to make, I don’t really understand how this dynamic works within the narrative of the film. Technically, there's nothing to stop the tethered and the originals co-existing apart from the tethered deciding not to walk up the fucking escalator. We’re not talking a bourgeoisie-proletariat relationship here. The explanation of it all just being a “government project gone wrong” was too vague seeing as the plot working seemed prior to this to hinge onto something vaguely supernatural and the eventual plan of the doppelgängers seemingly had no purpose or application to the real world like the climax of Get Out did. It just left me feeling kind of like...why? Why did this all happen? When the ending and the twist was that predictable (the old Pretty Little Liars finale style twin switcheroo was blatantly obvious from the mother’s “it’s like she’s a different person” line near the beginning, let’s be real), I was expecting some final revelation that flipped my expectation on its head or at least felt helped things click into place. Instead, it seemed a bit hamfisted and like I was supposed to feel things were deeper and more significant than they actually were.

All that being said, I appreciate that if anyone other than the writer of Get Out had come out with this movie, I probably wouldn’t have these issues. Us was funny, it was fresh, and the concept of doppelgängers is something I’m so glad to see brought back into our modern pop culture database. The people are right, Lupita was incredible in this and it is a travesty that she didn’t get nominated. My sister, who was so creeped out by her vocal performance that she had her fingers in her ears every time Red spoke, still won’t let me attempt an impression of it. And that Fuck the Police sequence? Iconic.

On the Basis of Sex (Mimi Leder, 2019)

I apologise in advance for the shittiest “review” I’ll ever write, but honestly I can’t remember all too much about this film other than it being good. Ruth Bader Ginsburg, I’m sorry. You’re a cool lady.

If Beale Street Could Talk (Barry Jenkins, 2019)

EURGH, THIS WAS SUCH A BEAUTIFUL FIM. The score, the shots, the rawness. I imagine it’s devastatingly real. Like, *SPOILERS AHEAD* you think there’s going to be a happy ending but there’s not. It should be disappointing but it’s an honest choice. And side note: fuck those annoying middle aged white ladies in the seats behind me and my friend who lost their shit and started giggling every time the N-word was used, JFC. I hate living in a Tory stronghold.

Cam (Daniel Goldhaber, 2018)

So, as I said, I’m a fan of the whole doppelgänger thing. It freaks me out. The point in this film where the protagonist is approaching her bedroom door whilst she watches HERSELF livestreaming from inside that same bedroom had my heart in my mouth wondering what she was going to encounter on the other side. And you see, the ending of this was a lot more ambiguous than the ending of Us, so I should’ve had less questions. Whilst I’ve seen other people saying it WAS unsatisfactory and that they felt like we were owed more of an explanation, I liked the simplicity of the answer we got and the wiggle room it leaves for our own interpretation. The way I see it, given that we were told by the fan the protagonist meets with in the motel room that *SPOILERS AHEAD* it was a case of some kind of software copying these women’s likenesses to steal their viewers and thus their profits, is that Cam is a kind of a commentary on the capitalist exploitation of women’s bodies and the demand for (and desensitisation towards) sexually violent content; we don't necessarily need to know who is behind the virtual cloning, which is terrifyingly believable given how realistic some of the deepfakes I’ve seen are, because it doesn’t matter. We're basically told money is the motive and we know the kind of lengths some people will go, and someone DID go to in Cam, to in order to make a shitload of money and that’s as true in real life as it is scary. On the other hand, if you want to believe there’s a more supernatural presence behind the events of the film, there’s enough left to the imagination that you can go down that route too. Some films are better left un-exposition dumped and this is the proof. My one criticism, is that, like many films, it would be even better if directed by a woman; I’ve seen people say that its portrayal of online sex work isn’t entirely accurate and though I can’t say with certainty that women working in this industry weren’t consulted in the first place, I imagine a female director would not only be more likely to listen to their concerns but could translate the confusion and fear that comes with being expected to makes oneself sexually desirable to get ahead in the world but then shamed and used for doing so even more viscerally. A few tweaks and it’d be God Tier.

Colette (Wash Westmoreland, 2019)

The costumes, sets, and Keira were so, so stunning. Also it was just an inspiring, beautiful story. The navigation of womanhood, so called “deviant” sexuality and self-expression against the backdrop of early 20th century Paris with a load of Edwardian era tailoring thrown in, it’s everything I could possibly want and more; 10/10 moodboard content.

The Boy (William Brent Bell, 2016)

I can’t believe this film was made in 2016, and it almost makes me move it down to mid tier based on the fact that a lot of the allowances I made for cheese factor I made on the assumption it came out earlier in the decade. BUT, that being said, I was creeped out for a good portion of this film. Most horrors I watch and I’m probably a bit too chilled (a head comes off or some witchy ass ghost screams into the camera and my only thought is some kind of judgement of the SFX), and yet I felt like watching this behind my hands. I don’t know what it is about dolls and puppets, Chucky was my childhood fear even though I never actually watched the film, but something about the uncanny valley of it all makes me just spend the whole time they’re on screen silently praying they don’t start moving or talking. So in a way, given the resolution of the film *SPOILERS AHEAD*, the premise of The Boy was actually a lot scarier to me than the reveal of what was really going on. Someone hiding in my walls? NBD. That demons are real and that they live inside creepy old dolls? Terrifying. Why does everybody I debate this with disagree!? You can't call the police on a demon! At least with a human being you can stick them with the pointy ending of something! Regardless, I enjoyed the journey and trying to work out how things would end and if there IS anybody secretly living inside my house right now, even if you are a supposedly dead murderous family member (last time I checked I didn’t have any of those so I should be all good), kindly vacate. Thanks.

Oprhan (Jaume Collet-Serra, 2009)

So the fact that this film is based on a real life case makes this all the more terrifying. It was a bit campy and tacky at times but the shot of *SPOILERS AHEAD* Esther taking off her makeup in the mirror and revealing her true age will always be iconic. Plus I love Vera Farmiga, even though I did struggle to see her as anyone other than Norma Bates.

First Reformed (Paul Schrader, 2018)

A hauntingly beautiful film with a lot of room for interpretation. There were so many gorgeous shots and so much subtext, this is proper 10/10 media studies essay material.

The Invitation (Karyn Kusama, 2015)

I would say the concept and implications of this film, which don’t fully hit you til the final shots, are a lot better than the film itself. It feels very realistic though and is definitely tense.

As Above, So Below (John Erick Dowdle, 2014)

I was so stoned when I watched this that a lot of the allegory and Dante’s inferno references went straight over my head, and it just seemed absolutely balls to the wall wild. I couldn’t buy that the characters would just KEEP GOING either when things began to get terrifying, like people in horror films really out here making the most nonsensical decisions and it drives me mad. But anyway, it was definitely entertaining and there’s a lot more to it in terms of plot and mythology than most similar quality horrors and I appreciate that

Climax (Gaspar Noe, 2018)

Climax is an interesting one that I think I’ll have to watch again to judge how much I truly like it. As with Us, I know it’s a good film, but I think my expectations of what it was going to be left me slightly disappointed. See, when I read about the premise I assumed that the horror was going to come from seeing the perspective of the characters on said acid trip and that leaves so much room for any kind of terrifying visuals you want whether that be something based in realism or fucked up creatures of the imagination. Buuuuut, it wasn’t that at all; at no point does Climax take place from the first person perspective of any of the characters. Similar to Darren Aronofsky’s Mother, the horror comes from not being able to do anything but watch as everyone starts losing their minds and the situation gets increasingly more dire. It’s pure stress; the acting is so unnervingly good that you really do feel like you’re watching some unintentionally horrific incident take place. That’s not a bad thing-I like it when films make me feel something intense, whether that emotion be positive or negative. It was just a different viewing experience to the one I had precipitated.

Mid Tier

Nativity (Debbie Isitt, 2009)

I find Mr.Poppy hilarious. Does that make me a child? Probably. I’m not really one for Christmas movies but this one’s alright.

Scary Stories to Tell in the Dark (André Øvredal, 2019)

I get that it’s based off a book so it’s not exactly like the “monsters” were a secret in the first place, but for those of us who didn’t read the Scary Stories to Tell in the Dark books as a kid, my main beef with this film was that they basically revealed all of said monsters in the trailer. Like how It: Chapter 2 spoiled the scene with Beverly in the old lady’s apartment but with EVERY. SINGLE. CREATURE. The only one that wasn’t was the “jangly man” and the only takeaway I have from him is the “jangly in the streets, but is he jangly in the sheets?” Letterboxd comment I read afterwards. Like the creature designs are the selling point of this film and by showing us them all before we’ve even seen it, any anticipation that would’ve built up from their reveal was kind of gone. Plus, it definitely felt like the writers were trying to ride on the hype train of “It” when they wrote this-only they made it even more childish. I mean, I know it was classed as PG-13 in the US which is maybe part of the reason it was so tame but the Woman in Black was a 12 when it was released here and it could be the bias of my 13 year old brain but I remember that being terrifying to watch in the cinema.

Also, I found it weird how *SPOILERS AHEAD* a couple of the main characters died and there didn’t really seem to be any consequences? Idk, maybe that’s because I found them all a bit one dimensional but I’ve seen others make the same criticism so I don’t think so.

Don’t get me wrong, this wasn’t a BAD film. It just wasn’t super good.

Charlie’s Angels (Elizabeth Banks, 2019)

I’ve never seen the 2000s Charlie’s Angels so I really don’t have anything to compare to, but I don’t think this was THAT bad. I was fairly entertained throughout and I enjoyed Naomi Scott and Kristen Stewart’s characters. My main issue was the unnecessary inclusion of Noah Centineo, and that weird ass montage at the beginning of stock video shots of girls just...doing miscellaneous things. Why, Elizabeth Banks, why!?

Toy Story 4 (Josh Cooley, 2019)

In some ways, I see why Toy Story 4 was narratively necessary: co-dependency had been a running theme throughout and we needed to see Woody (I feel stupid saying this considering he’s a fucking toy but allow it) realise that he can exist independently of Andy, and that there’s more to life than pleasing somebody else. The way Toy Story 4 ended felt like a satisfying conclusion to his character arc, and as well as the animation being top tier, Forky was a hilarious addition to the cast. However, I don’t think it carried the emotional weight of the 3rd Toy Story, which I think people had accepted as the last instalment and had used to say goodbye to the franchise, and therefore the sceptic in me thinks that the obvious purpose of this addition was a cash grab. I don’t doubt that a lot of people worked incredibly hard on it-I’m just saying that the propelling force behind the film probably wasn’t “the people need to see Woody’s character growth” and that was quite apparent throughout.

Doctor Sleep (Mike Flanagan, 2019)

There were some really beautiful scenes in Doctor Sleep; the astral projection sequences in particular were magnificent and I loved Rebecca Ferguson as the villain. Stylistically, though I didn’t find out he was the director until I was writing this up, you can definitely tell it’s Mike Flanagan, and like I’ve said, he does horror very tastefully. Unfortunately, I just wasn’t all that interested in the premise and I wasn’t hugely invested in grown up Danny Torrance either. The execution was great and the return to the Overlook was brilliant, of course, but the story just wasn’t for me and nothing much sticks out as being a particularly intriguing plot point.

Mary Queen of Scots (Josie Rourke, 2019)

What to say about Mary Queen of Scots other than...yeah, it was alright. I mean, I really should’ve liked it more than I did, because these specific events were part of the Edexcel A-Level history curriculum (Can I get some Rebellion and Disorder Under the Tudors students representation up in here!?) and I usually love seeing history translated onto screen, plus it centred around Margot Robbie and Saoirse Ronan. It was just very...meh. I feel like there’s so much more complex a story here than was told. Both women were undoubtedly a lot more complicated than this film made them out to be and I think to reduce Mary Queen of Scots to a Mary Sue-ish heroine was a disappointing choice. Plus, if we’re gonna talk historical accuracy (which all the racists came out of their caves to discuss at the time), Mary and Elizabeth never actually met; I’m sure there was a more creative way to explore their dynamic than by forcing an interaction that never actually happened.

Apostle (Gareth Evans, 2018)

There were elements of this film I really liked; the mythology behind the cult, I.E what the townsfolk actually worshipped when you stripped away all the secrecy was pretty interesting. However, I felt it depended too much on atmosphere and not enough on plot, and I didn’t warm to any of the characters.

Searching (Aneesh Chaganty, 2018)

It’s difficult because technically, Searching is obviously an ingenious film. My issue is the way it ended, which was imo, super anti-climatic, and honestly pretty predictable in that it seemed like the writers just went out of their way *SPOILERS AHEAD* to make the culprit the person viewers would’ve ruled out by default for shock value, and then work out WHY that person was the culprit from there. I was expecting something a lot darker to be behind the protagonist’s daughter’s disappearance-irl, these situations usually are-and so maybe it’s just me being a bit of a sadist but I was disappointed by how things resolved themselves.

Deliver Us from Evil (Scott Derrickson, 2014)

So, this isn’t boring. It’s interesting to have a horror navigated through the lens of something as procedural as a police investigation. But ultimately, the acting isn’t great, there’s very few scary moments, and it’s a little cheesy. As horrors go, it’s pretty shallow-it is what it says on the tin.

Dumplin’ (Anne Fletcher, 2018)

I watched this right at the beginning of the year and I can’t remember all too much about it, but I remember not hating it? See, looking at the cast, Odeya Rush and Dove Cameron are both in it which would suggest I’d come away hating MYSELF instead but yeah...I got nothing.

Lights Out (David F.Sandberg, 2016)

The concept is very scary, the execution not so much, and the actual storyline is a little cheesy. I found myself just being like OH MY GOD, IT’S BELLA’S DAD FROM TWILIGHT! And then *SPOILERS AHEAD* getting mad that they did Charlie Swan dirty like that by killing him off in the first 10/15 minutes.

The Goldfinch (John Crowley, 2019)

So I LOVED the book of The Goldfinch. I read it after the Secret History and even though most people seem to prefer the latter, the former hit me right in the sweet spot. The length was almost one of my favourite things about it; I felt by the end that I came to know the character so well he felt like someone I knew in real life. When I heard Ansel Elgort was cast as Theo, I was really happy; I’m not necessarily a huge fan of him as an actor, I've only ever seen him in shitty teen-y dramas which I forced myself to like at the time E.G. The Fault in Our Stars and Divergent, but he looks kind of exactly how I pictured Theo looking. Almost like an Evanna Lynch as Luna Lovegood situation. And then honestly, the actual film came around, and I found myself much preferring the young Theo sections. I get that Theo is quite a muted character and I hate to properly slate anyone’s performance, but Ansel as him felt a bit flat. The casting in general was pretty whack; I love Nicole Kidman but she didn’t feel right as Mrs.Barbour and it seemed that they added a lot to her character to the detriment of Hobie’s character who was a much bigger part of Theo’s life in the book. Also, can we talk about Finn Wolfhard as Boris? I’m sorry, but that accent was godawful. Really bad. Boris’ accent was always supposed to be kind of ambiguous but this was just butchered Russian. Another gripe that my friend and I, who also read the book, had with the Vegas section of the film (which was otherwise probably the best part) was that they never properly explored the complexity of Boris and Theo’s relationship. Obviously I’m not saying that I want 2 minors to shoot a sex scene but it could have been referenced when they reunite as adults because the kiss on the head when they part in Vegas seemed misleadingly platonic. It was heavily implied in the book that there was some kind of love that went beyond friendship between the two and I didn’t get that in the film at all.

Ultimately, when you try and adapt a book as long as the Goldfinch, you’re always going to have some pacing issues and people complaining that things were left out or that X or Y character didn’t have enough screen time. But in ways, I think the fault here was trying to stay TOO faithful in the limited time available. They definitely could have focussed less on certain relationships and more on others, and when it comes down to it, I think we lost a lot of the grittiness of the original book for the sake of pretty visuals.

Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

Don’t get me wrong, this would 100% be in shit tier if it wasn’t for the last hour or so of the film and all the Manson lore which is so disappointing because I love Tarantino films and I love that era. As for the first couple of hours, I loved the vibe and I love Margot Robbie, and I think it was very respectful towards the Tate family (if anything radiated through the screen more than anything else it was Sharon Tate’s sweetness), but I just wasn’t that invested in Leo or Brad’s characters-it all just felt a bit pointless. I really like Brad Pitt and even that couldn’t really save it for me. Maybe if you took away the remaining 2 hours and 20 minutes of Leo DiCaprio making vague allusions to his own career to a girl only slightly younger than the combined age of all girlfriends past I’d enjoy it more but then I don’t think there’d be much footage left. I guess we should just be grateful that Tarantino managed to refrain from unnecessarily sprinkling the N-word into every other line of his script this time, right?

Also.

SO. MANY. FEET.

But then again, this did result in Brad publicly mocking Tarantino’s foot fetish during his speech at the SAG awards so...I’ll allow it. Sometimes kink shaming is okay. Especially when it’s this guy:

Isn’t it Romantic (Todd Strauss-Schulson, 2019)

I guess as romantic comedies go it wasn’t AWFUL because it was self-aware but still just not my cup of tea and it didn’t really make me laugh. Plus, I feel like it did just follow the plot of a conventional rom-com in the end so...what was it all for, you know?

Green Room (Jeremy Saulnier, 2016)

I think my disappointment with this film was a case of too high expectations. It wasn’t as gory as I hoped, in fact, there was very little on screen gore at all. I was just expecting something very messed up and I didn’t get that. But then again we did get Maeby from Arrested Development singing a fuck Nazis song so I guess that was a nice surprise?

Shit Tier

Birdbox (Susanne Bier, 2018)

First the disappointment of the Goldfinch, and now Birdbox (although they were chronologically the other way round but for the sake of this review, let’s just ignore that). It really is a bad year for bird films.

It’s weird because when this first came out I remember everyone hyping it up and making memes about it and stuff and then I actually watched it and dear god, it was boring. Honestly, who paid you lot to pretend you cared enough about it enough to make content? And where can I get in on this action?

I mean it didn’t start off terribly but then they killed off SARAH FUCKING PAULSON and somehow managed to make SANDRA FUCKING BULLOCK unlikeable. How does one do that? The mind baffles.

Pet Sematary (Kevin Kolsch & Dennis Widmyer, 2019)

The kid acting was bad, the leads were meh and there wasn’t one creepy moment. This should be SO MUCH MORE hard hitting than it actually was given the subject matter and it just fell completely flat. I will say, though, *SPOILERS AHEAD* that the ending was appropriately doom and gloom and even though I’ve seen lots of others say they hate it it was probably the only thing I actually liked.

The Lion King (Jon Favreau, 2019)

Seth Rogen and Billie Eichner were the only good things about this which is sad because I fucking love Donald Glover and I was so excited when he was cast as Simba. Like, it was pretty but empty and unnecessary and I’m not one of these people who think CGI remakes always have to be this way-I loved Dumbo and I liked the live-action Jungle Book too! I just think the people who made this cared too much about good CGI and realism and less about heart. There was no personality whatsoever and it’s such a waste when you think about the fact that they had Donald and Beyonce on board.

Red Sparrow (Francis Lawrence, 2018)

Eurgh, I hated this. I think Jennifer Lawrence is stunning and I usually love her films but every shot of her in this felt so male-gaze oriented, even the ones which were sexually violent, which I found to be completely unnecessary in the first place. At times it felt almost torture-porn-y which was not what I expected at all seeing as the marketing made it seem like some kind of female empowerment movie.

It Comes at Night (Trey Edward Shults, 2017)

I literally can’t remember fucking anything from this film. Clearly there is a very, very fine line between atmospheric and boring.

Warm Bodies (Jonathan Levine, 2013)

Maybe it’s because I watched this about 6 years too late and the whole human-girl-falls-in-love-with-supernatural-creature hype train has long since left the station but I couldn’t even finish it. Cutesy necrophilia ain’t for me, sorry Nicholas Hoult. Still love ya. You’ll always be Tony Stonem to me xoxo

Million Dollar Baby (Clint Eastwood, 2005)

I’m pretty sure this movie won a lot of awards so I’m sure this is a very unpopular opinion but the way this film ended was so...depressing. SO depressing. Did it have to be THAT depressing? The Always Sunny in Philadelphia episode outsold.

This is the range Oscar winning actress Hilary Swank wishes she had.

Would You Rather (David Guy Levy, 2013)

Started off well but became cheesy and predictable as it went on. The acting wasn’t great either plus there was another unnecessary attempted rape scene here too.

Christmas with the Kranks (Joe Roth, 2004)

So I watched this movie in the run up to Christmas because my best friend and her mum were referencing it like it was this cult classic (which I guess for some reason it is?) and I’m sorry to her and her mum but what the hell is this shit?! It’s not even so bad it’s good. It’s just bad.

The plot, the characters, EVERYTHING, it’s ridiculous on every level. I wasn’t into it enough to suspend my disbelief that anyone’s neighbours would actually care THAT much that they weren’t celebrating Christmas. Go on your damn cruise, take me with you whilst you're at it, ease my seasonal depression! I wouldn’t mind so much if it was funny or if the protagonists were likeable but it wasn’t and they’re not. Nobody’s actions made any sense. It didn’t put me in the Christmas spirit at all it just made me angry that Jamie Lee Curtis’ agent made her do this shit. She’s a scream queen goddess and she deserves better.

ANYWAY.

I’m now realising that I should have started on shit tier and worked my way up to god tier because now this post has ended on the rather sour note of me getting worked up over Christmas with the Kranks, lol. As always, these are just my opinions and I love to hear other people’s; when it comes to something like this, it’s all a matter of preference and there really isn’t a right or wrong answer, so I’m open to discussion!

With the Oscars less than a week away now I rushed a little to get this out on time, so apologies in advance if anything doesn’t make any sense or there’s any typos, I will look back over it at some point over the next couple of days to check.

But if you read to the end thank you! And stay tuned for my overview of Paris Haute Couture Week S/S 2020 if that’s something you’re interested in as that will most likely be next post!

Lauren x

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apriki · 4 years

Text

RISE OF SKYWALKER

IT HAS BEEN SEEN MY FRIENDS... LET’S GO

IT WAS A LOVE STORY ALL ALONG!!!!!!!!!!!!!!!!!!!!!!! YOU. GUYS. I AM SO... ALIVE RIGHT NOW I

okay that opening scrawl i laughed so hard... THE DEAD SPEAK!!

‘supreme leader kylo ren’ will never not be funny

OKAY OPENING WITH KYLO I SCREAMED.... HIS BEAUTIFUL FACE

I LOVE HIM SO MUCH I CANNOT EVEN BEGIN TO EXPLAIN TO YOU.... HOW MUCH

okay and his ruthless hell bent search for this silly macguffin.... we love a demonic legend

and ALSO his determination to kill the past!!!!!! HE HAS LITERALLY BEEN CIRCLING THIS THE WHOLE SERIES

look, i am biased because kylo is my favourite and he has been the one thing that’s been consistently written and done across this trilogy and i’m very spoiled because i got everything i wanted here

but KYLO REN. KYLO REN!!!!!!!!!!!

laughed my ASS off at the snoke in the tube and palpatine being like ‘surprise bitch.... bet you thought you’d seen the last of me’

laughed decidedly LESS at ‘i’ve been every voice you’ve ever heard in your head’

look this isn’t going to be a review.... just my thoughts really and this decidedly isn’t a comparison with the last jedi which it seems like everyone wants to do in a weird victorious kind of way

but kylo killing snoke/his abuser in tlj was a terrifying powerful moment to watch and i loved it fiercely and still do, and for kylo to see that he hadn’t done that at all.... and that evil still abides.... fucking nightmare, honestly

and that’s when i started getting a feeling in the back of my head because look he is so determined to kill the past

(let the past die)

that he will kill himself as well to do it. that has always been kylo’s character since the very beginning. SO!!!!!

also the structural integrity of palp’s hideaway.... not great

palps: kill rey heh heh

kylo: i am absolutely not gonna do that but okay

omfg when kylo was like ME AND MY KNIGHTS OF REN ARE GOING HUNTING

i cannot explain to you how HILARIOUS the knights of ren are to me

they do nothing! they say nothing! they just stand around and look stupid in their stupid helmets..... i laughed every single time they were on screen

it’s like kylo’s uselessness manifests into what 6? 7 more useless things. the Knights of Ren

‘we’re going hunting’ are you TWELVE YEARS OLD

this film felt like it was going a million miles an hour, all the time, and that started for me in that first scene in the falcon which was going all over the place? for some reason?

anyway THERE’S A MOLE IN THE FIRST ORDER and i know it is hux but i kind of wanted it to be kylo on the side.... though i know he is not capable of any such subterfuge. about as subtle as a wrecking ball... and my SON

loved the comraderie with poe and finn. i liked the lived-in feeling of the relationships between the rebellion characters this time around

felt like they had that new alien dude in the falcon for no reason and for two seconds like... why

(to sell toys, of course. the same reason why they have a new tiny droid)

but that of course is just the first in a long line of new and underdeveloped characters in this movie. but you know what? i can accept this because the core emotional story was strong and also, it’s star wars? a big sprawling mess is what it has always, always been. ANYWHOMST

REY IN THE FOREST LEVITATING!!!!

the white outfit!!! how at one she is with nature??? SORRY IT WAS BEAUTIFUL

and okay the specific framing of rey and rey’s power in this movie as not only a part of the force but so specifically as a woman using the force... like the power of empathy! the power of healing!!! IT WAS BEAUTIFUL WHATEVER

when she called leia her MASTER? MY HEART

THE POWER OF WOMEN!!!

on the flip side, doesn’t it kind of feel like poe has a problem with women?

like as soon as he started riffing with rey i was like GET A JOB STAY AWAY FROM HER

but in hindsight i feel kind of better about them and their interactions... more on that later

FINN! finn in this movie was WONDERFUL

(except it annoyed me how they had the whole ‘there’s something i want to say to you’ and never had him say it... like even if he was going to say he loved rey okay just don’t leave it hanging like that?)

FORCE FUCKING SENSITIVE!!!!!!

look i really think they did they best they could with a really difficult job in incorporating leia and previous footage into this movie. it wouldn’t have felt right without her and the scenes were a bit clunky but again, a very very difficult thing to do

LEIA AND REY’S RELATIONSHIP..... MY HEART HURTS

i love that rey’s storyline has depth and motivation and kylo’s storyline is literally revolving around rey like she’s the sun

like i literally love this. MORE OF THIS!!!

FORCE BOND STILL EXISTSSSSSSSS

KNEW IT CALLED IT CLAIMED IT LOVE IT

the soft gasp rey does whenever kylo is about to show up for forceskype i love this song

the knights of ren standing around while kylo’s helmet got fixed omfg they are the stupidesttttt

kylo: maybe i don’t want to wear the helmet

the knights of ren: maybe shut the fuck up

Let’s Go To Burning Man

i actually kind of liked seeing these people doing their own cool cultural thing. like again this movie went at lightspeed but i did enjoy that. what’s better than this? just aliens being dudes

when rey talked to that little girl and she asked her last name i was like LOLLLL HERE WE GOOOOOOOO

as soon as lando showed up it was like ‘oh it’s lando’

‘i offered you my hand’

‘I’LL OFFER YOU MY HAND AGAIN’

WHY DID HE SAY THIS... LIKE IT WAS A PROPOSAL

I WAS SCREECHING SORRY... WOW.

i have never really found C3PO funny but um he was going off in this movie... when they all looked at him and then he looked away I CACKLED

and the mind wipe like whew man... one day we’re gonna have a conversation about Droids And The Uncomfortable Conclusions About Droids in these movies

but also, i wish they’d had the guts to stick with it and not restore his memory because, what a symbol for the past dying and the end of a saga? like 3PO has been there since the start!! the star wars live in his memory banks ???? and R2 as well i suppose

don’t think too long about this cause then you realise that for some reason they’re still using like 80 year old iphones and R2 and 3PO should be decommissioned for scraps

WHEN HE TOOK THE NECKLACE OFF HER I FOUND IT HOT I FOUND IT SEXY I FOUND IT UMMMM

the sand was a cool visual thing but then THE SNAKE

it felt so GREEK HERO MYTH but then rey stops the script!!

AND DOESN’T FIGHT IT

AND SHE HEALS IT!!!!!!!!!!!!!!!!!!!!!!!!!!!

as soon as rey healed that snake i was like

‘kylo ren is that snake’

blah blah dagger blah

the sith language and being forbidden actually interests me. i want more proper sith lore

basically i want a revan and bastila movie. make it so

keri russell was WASTED in this movie

but that one scene with her and rey where they had Mutual Respect was so much better and more important than anything she did with poe

poe is like... sure i guess. i mean i liked him better in this movie than tlj and i liked him more as the movie when on but hmmst

but hey if i get to have a kylo then the poe people can have i poe. i begrudge no one

except, uh.... hux people. y’all really got done this movie huh. ouch

double as bad cause there was literally no point to the new general character. should have just been hux and then had him die in the final battle?

but i laughed when he was like ‘i don’t want you to WIN. i want kylo to LOSE’

THAT’S KING PETTY

omfg when kylo was like ‘where are you’ and then saw the vader mask and was like ‘oh you’re in my room’

SCREECHED

KYLO’S EVIL BOARD MEETING

LAUGHED MY ASS OFF

WHEN HE SMACKED THAT DUDE TO THE ROOF

sorry the first order is a startup. not even an ‘evil’ one especially because they’re all just a bit evil

when kylo reacted to that guy saying ‘we should take more children’ and the small thread winding through this movie about children being indoctrinated and rey and ben stopping THAT cycle.. important to me and i wish it had been bigger but i was glad it was there

all kylo did in the first half of this movie was chase after his girlfriend and tell her how they were meant to be together and that he wasn’t going to kill her even though he should. i love one stupid man

kylo flying his ship at rey deliberately wanting to ‘push her’ and her jumping over it and crashing the whole damn thing

and then him just getting up and walking out of the wreck not a scratch on him

like some kind of hero in a romance novel in his stupid cape lmfaoaoooo... you love to see it

THE PUSH/PULL WITH THE TRANSPORT?

THEIR POWERRRRRR

and then rey with her fuckin LIGHTNING

as soon as that happened i was like, oh lol rey palps then....

but also, THE LOOK OF WONDER BUT ALSO VICTORY ON KYLO’S FACE

ADAM DRIVER SIR

okay to be honest the whole soujourn to the like space swiss village is kind of a blur to me

keri russell was wasted, did i say that already?

although okay that bit when poe was like ‘were you a stormtrooper? were you a scavenger?’ maybe give him his rights

when kylo said WE’RE TWO PARTS OF THE SAME BEING

A DYAD

TWO WHO ARE AS ONE

two? WHO ARE? AS ONEEEEEE

NEITHER WHOLE WITHOUT THE MOTHERFUCKING OTHER I

‘i never lied to you’ AND HE NEVER HAS AND NEVER FUCKING DIDDD!!!!!

all the stormtroopers getting knocked back and kylo steadying himself with the force lol... it’s these little things ok

JODIE COMER?

rEy PaLpAtInE

I LAUGHED MY ASSSS OFFFFFFF

like... sure jj. sure

look, i have always understood and respected the choice to make rey ‘nobody’ (like anakin was! the force just makes who it needs to create the balance!) but if rey was going to be anyone i guess.... this is the best choice?

and i think there IS merit in the story going from ‘person burdened with legacy vs person with no legacy’ to ‘person with a legacy of good turning evil and person with a legacy of evil turning good’

i gotta think longer and more about this but. besides its inherent silliness i do not hate this ‘twist’

this movie jumped from planet to planet like a ping pong ball! it felt a bit jarring but my mum pointed out that the galaxy IS big and they’ve never really done this before and i was like hmmm Points Were Made

THE FIGHT ON THE OLD DEATH STAR

KYLO DODGING REY’S SWIPES AND NOT EVEN PULLING HIS SABER UNTIL HE HAD TO

THEN ONLY FIGHTING DEFENSIVELY

and her DESPERATION

ALMOST LIKE SHE’S FIGHTING HERSELF

BECAUSE THEY ARE TWO HALVES! OF ONE WHOLE!

and then oh my god

‘you can’t go back to her (leia). just like i can’t’

and the VICTORY in his eyes and the acknowledgment of the truth in hers

because THEY ARE THE SSSAAAAAAMMMMMMMMEEEE

when rey SCREECHED and force threw finn back.... oh fuck

(sidebar the way finn was so determinedly THERE for rey this whole movie... even when she said about the sith throne... his faith in her didn’t waver im verklempt)

WHEN HE DISAPPEARED AND REY LOOKED BACK HORRIFIED

because he can’t go! because the fight is what they have and what she’s clinging on to!

AND THEN HE WALKED UP OUT THE WATTTTEERRRRRRRRR

absolute romantic nonsense.

AND THEN

SHE KILLED HIM

SHE KILLED HIM!!!!!!

SHE KILLED KYLO REN WITH HIS OWN DAMN CRUCIFIX SWORD

I COULD NOT

BE LEEEEAAAF

THIS HAS BEEN MY DREAM ENDGAME SINCE THE START AND IT’S HERE TWO THIRDS THROUGH THE FUCKING LAST MOVIE?

A GIFT. LICH RALLY A GIFT TO MEEEEE

leia gave her LIFE for her SON I...

this was the only moment in the movie where i started to get some tears cause like... IT WAS JUST SO MUCH

AND REY.... TOOK LEIA’S ENERGY THROUGH THE FORCE...

AND SHE PUT HER HANDS ON HIM

AND SHE HEALED HIM

SHE’S A SCAVENGER

SHE FIXES BROKEN THINGGGGSSSSS

HE DIED BECAUSE SHE KILLED HIM

AND HE LIVES BECAUSE SHE HEALED HIM...

WHEN. WILL. YOUR. FAVES?????????

‘I WANTED TO TAKE YOUR HAND. BEN’S HAND’

take my hand? take my whole life too

IIRENGOWENRGKLJEWNGFKJBKJBKJBKJLB

ALL THE BEAUTIFUL WINDSWEPT CLOSE UP SHOTS OF KYLO’S BEAUTIFUL WINDSWEPT FACE IN THIS MOVIE. I WAS BREATHLESS

KYLO STNADING ON THE EDGE OF THAT SEA WITH THE WIND GOING AND HIS LEG OUT LIKE THE STUPID BYRONIC HERO HE IS

HEATHCLIFF? HEATHCLIFF ON THE MOOR?

HAN’S HAND ON BEN’S FACE

HE CALLED HIM. DAD

‘kylo ren is dead’

OHHHHHH BABBBBYYYYYY

look i loved the crossguard saber but i understood why it had to go

and like ben shedding the persona he had built as a defence mechanism... rey killed that part of him? powerful too powerful

i know i have rose coloured glasses because i care about the core story of kylo/rey enough and i’m passionate enough about it but okay the way they are entwined with one another on the journey to identity is the greatest thing a silly blockbuster series has maybe ever given me

it’s tam lin. IT’S FAIRY TALE NONSENSE AND I LOVE IT

i 100% know in my bones they wanted the scene with han to be leia but they obviously couldnt have that so that was fine. when ben turned his head around and heard her and felt her.... DONT LOOK AT ME

the most emotional moment in this movie was when chewie heard about leia and broke down and collapsed and screamed

us too buddy. damn

rey stealing kylo’s ship and yeeting away lmfao

and when she went back to ach-to and burned it and was like IM STAYING HERE 4EVA >:(

she’s literally the exact same stupid reckless as kylo and i love

rose was wasted in this movie. very annoying

i DID laugh when they said ‘we should pull a holdo manoeuvre’ like of course that’s the one thing jj took from tlj. ohhhh jj

loved finn meeting the ex stormtrooper lady. i always felt like the one weakness of tlj is that it dropped this thread of finn’s indoctrination that i thought was being woven alongside rey and kylo’s issues with their childhoods in force awakens. the look of wonder on his face when she said that the whole battalion defected.... and saying the force lead them to do it like it lead him... and you could see john boyega feeling that with his whole heart!!!

i laughed at palps’ fleet of star destroyers that like all have death star capabilities now? so dumb

and also, a star destroyer is basically an aircraft carrier.... do you think the people who make star wars realise the empire is america? no...??? alright imma head out

missed opportunity for a shot of jar jar or a gungan when the galaxy fleet showed up like those towboats at dunkirk. to be HONEST

where did sheev palps find that stadium of goons? are they on retainer?

yeah so palpatine’s lair is the underworld and rey is eurydice and ben is orpheus. YEAH. YEAHHHHHHHHH

LEIA WAS TRAINED AS A MFING JEDI

THAT FLASHBACK WAS EVERYTHING FUCK

LEIA’S SABER!!!!!!!!!

i have Questions about leia ‘seeing her son dying at the end of her journey’ like ?

BUT HER PUTTING AWAY THE SABER TO PROTECT BEN!!!!

THIS FAMILY

fuck. benjy solo in that jumper.... USING A BLASTER LIKE HIS DAD.....

THE X WING AND THE TIE FIGHTER PARKED NEXT TO EACH OTHER!!!!!!!!!

PALPATINE CALLING THEIR BOND ‘AS POWERFUL AS LIFE AND THE FORCE ITSELF’

NOT FOR GENERATIONS HAS THEIR BEEN A DYAD LIKE THEM!!!

FUCKING

DESTINED

BITCH

THEY ARE EACH OTHER’S DESTINY? WOW SORRY.... WOWOWOOWOOWOWOOWOWOW

ben versus his idiot knights of ren.... yeah i love my son

sorry rey had a vision of her AND kylo sitting on the throne but the throne is.... one seat? what are the logistics here? her on his lap? him on her lap? both of them sitting on an armrest like awkward kids taking a photo with santa?

I THOUGHT ABOUT THIS FOR LIKE FIVE MINUTES COMPLETELY DISTRACTED

THE LITTLE SHRUG BEN DID WHEN HE GOT THE LIGHTSABER AND WAS LIKE ‘YEAH SORRY NOW YOU’RE GONNA DIE’

I SCREAMED. IM LOVE HIM

rey giving ben the saber through the force bond!!

ACROSS SPACE??? LOVE THAT TRANSCENDS THE WORLD

palpatine taking, SPECIFICALLY, the power of rey and kylo’s BOND to strengthen himself because it is THE STRONGEST THING IN THE FUCKING UNIVERSE???????? CANONICALLY????????

REY AND BEN FIGHTING WITH LUKE AND LEIA’S SABERS

FUCKING... I FUCKING....

when palps like flicked ben away sorry i laughed... i mean i was like REALLY? FOR THE BIG FINALE HE’S GONE? but i understood why and that rey is the hero etc etc

THE JEDI SPEAKING TO REY! OBI WAN! QUI GON FUCKIN JINN

yoda is there too

AND THE POWER OF THE JEDI FLOWING THROUGH HER!!!!!

god her power.... SHE AMAZES MEEEE

(initially i thought ben was gonna kill palps for rey because of the whole The Sith Live in My Killer thing and then she’d have to kill him but HOISTED ON HIS OWN PETARDDD)

palpatine:

and the power was too much and it killed her ooooof

(the power of being a legacy... of channeling all that has some before!!! these movies get so ridiculously meta sometimes. best believe we’ll talk about THIS)

BUT HERE COMES BEN

BENJY BOYYYYY

his hair JUST long enough to be scraggly and devastating

literally dragging a broken leg

ADAM DRIVERS PHYSICALITY IN THESE MOVIES (WELL ALWAYS) (BUT SPECIFICALLY IN THIS ROLE)

and he knows

WHAT HE HAS TO DOOOO

HE FINALLY FOUND SOMETHING HE LOVED ENOUGH TO DIE FOR

I JUST CAN’T BELIEVE THIS

when he held her body holy shit... HOLY SHIT, GUYS

FULL CIRCLE????CVMSDFJNVDSLKFJVLDKJFVLKJDBFV

A PIETA.... A FUCKING PIETA

OH MY GOD THIS MOVIE

and his heartbroken face.... stumbling back to her... oh my good goddd

and then

‘I KNOW WHAT I HAVE TO DO BUT I’M AFRAID TO DO IT’

HE DIED FOR HER

HE GAVE.... HIS LIFE..... FOR HER.....

I CANNOT BE LIEVE THISSSSSS

HE GAVE UP HIS LIFE!!!!! HIS FUCKING LIFE!!!

he fought.... his whole life.... and he gave it up....

THAT’S LOVE? THAT’S FUCKING TRUE LOVE HOLLYL SKDJBVDKBF

REVAN AND BASTILA!!!!! REVAN AND BASTILA!!!1

and then she was alive again!!! ROMEO AND JULIET OKAY WOW

AND

THEY

KISSED

I’M SORRY I DID FREAK THE FUCK OUT

HIS SOFT EYES

(super spoilery shot coming up here but)

OH MY GOD

FOR FUCK’S

SAKE.

i’m sure people will be mad about how little kylo like... talked in this movie but like sorry this was perfect

she saved his life! and she saved the world! and he quietly gave his life to her, for her?

this humble act of love? PURE LOVE?

WHAT WONDERFUL AND TERRIBLE THINGS THEY ARE CAPABLE OF.

THAT THEY PUSH EACH OTHER TO

THIS TRILOGY WAS MADE FOR ME AND ONLY ME. THERE’S NO OTHER EXPLANATION

and her look of JOY and she said, ‘BEN’

look. i have been on the record for YEARS as saying my dream endgame would be for rey to kill kylo and for him to be forceghost with her always

AND SOMEHOW UMMMM THIS IS BETTER?

1. SHE DID! KILL HIM! AND THEN BROUGHT HIM BACK

2. AND THEN HE WILLINGLY DIED FOR HER?

3. AND NOW SHE CARRIES HIM WITH HER ALWAYS??????

when his body faded and leia’s did too..... wo OOOOOOOOOOWWWW

SHE TOOK

HIS FUGGIN

LAST NAMMMEMELRKNWELKJBNLKJBFLKJBFKLRBJKLERJB

I’M SORRY THIS MOVIE WAS MADE FOR ME. KYLO REN WAS BREWED UP F O R MEEEEEEE

listen. there is a video game where a lady’s boyfriend gets killed and his soul goes into a sword and she carries the sword around with her

THAT IS THE RISE OF SKYWALKER

I CARRY YOUR HEART I CARRY IT IN MY HEART BITCH??????

THE FUCKING ORANGE SABER!!!!!!!!!!!!!!!!!!!

and look. ben’s story is allowed to be just about rey and rey’s is allowed to be bigger than just him. that’s EQUALITY. that’s JUSTICE

look i know it’s very douchey of me but i wrote this paragraph about a character of mine in a book i wrote and it is like..... LIKE IT’S JUST KYLO REN OKAY

he was never gonna be someone who could settle down and live like a quiet life of monkhood or whatever luke was doin on ach-to....

okay when finn poe and rey hugged at the end okay I DID FEEL SOMETHING IN MY COLD DEAD HEART

FINN JUST LOVES THEM! SO MUCH! THERE IS SO MUCH LOVE IN THAT BOY’S HEART

and probably up until that moment i hadn’t really cared about having a Trio in the new movies like we had han and leia and luke but that hug had me feeling like... okay... Friendship IS Great

okay back to kylo, i tweeted this but i’ll repeat here: my favourite arc in media has always been snape’s, to me it is the perfect ‘redemption’ arc (and yes this will make people scrunchy-nosed angry, so i will point out: redemption to me has always meant redemption in the eyes of the reader/viewer, not in-world, this is true for anakin/vader too, who also has a nearly flawless ‘redemption’ arc) but now it’s kylo solo ren ben

I LOVE HIM. I LOVE HIM SO MUCH I CAN’T STAND IT A LITTLE

HE FELL IN LOVE? AND IT SAVED HIM

HE WAS LOST AND HE FOUND HIS OTHER HALF

AND HE DIED BECAUSE SHE WAS STRONG ENOUGH TO CARRY IT ALL

CARRY THE LEGACY WHEN HE COULDN’T!!!

IT’S JUST SOSSOOSOOSOSOOSSO

i want a funko pop of ben in his comfy jumper running to fuck sheev palps the fuck up

i don’t even LIKE funko pops

naboo has a lot to answer for. literally all of these problems come from naboo

sure this movie was a big ole mess and i surely can’t wait for the good old disk horse

but i’m riding this high for as long as i can

because it was always about LOVE! LOVE CAN IGNITE THE STARS

so sure, this movie pandered terribly. but i am one of the people it pandered to and i am HAPPY INDEED

remember when maz kanata was like ‘your parents aren’t coming back but there is someone who still could’ YEAH IT WAS BEN!!!!!

#star wars #star wars spoilers #rise of skywalker spoilers #SPOILERS

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