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why would this actually be perfect …..

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Bao (2018) // Turning Red (2022) written & directed by Domee Shi

Food is super super important in Chinese culture, but especially in my family, food is how your parents show that they love you. –Domee Shi

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pouring one out for tatiana maslany in the club tonight fellas ✌🏼 😔 there’s a shrek fetishist with a cgi budget of $5.43 behind this she-hulk “tv series”, i just know it. whatever you did to The Mouse, ms maslany, you didn’t deserve this. praying for you bestie 🙏 

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Sarah Michelle Gellar as Daphne Blake behind the scenes of Scooby-Doo (2002) 

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All right, kid, here’s the deal. At any given time there are around 1500 aliens on the planet most of them right here in Manhattan. And most of them are decent enough. They’re just trying to make a living.

Men in Black (1997) dir. Barry Sonnenfeld

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upcoming movies i’m actually hype to see: The Hitman's Wife's Bodyguard, Free Guy, Morbius, Venom 2, Death on the Nile, Top Gun: Maverick (strictly for miles teller bae), and Dune (obvi, but also lowkey dreading that one) 

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I dont trust people who dont like 10 things i hate about you

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I am not ashamed of who I am or what I have done.

KEIRA KNIGHTLEY as ANNA KARENINA in ANNA KARENINA 2012, dir. Joe Wright

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— A llama?! He’s supposed to be DEAD! — Yeah. Weird…

THE EMPEROR’S NEW GROOVE (2000) dir. Mark Dindal

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Torn between wanting to see Chloe Moretz kicking ass in Shadow in the Clouds and not giving Max Landis an ounce more attention or exposure.

Though, if this article is anything to go by, he only has co-writing credit because of a first draft, and the rest was the director’s take: 

“The original script I received, the writer of that script [Landis] sometimes uses large-point font. So by the time we removed some of his stylistic flourishes, which involved large writing, the script was something horrendous. It was under 70 pages long. It was a very short script,” Liang shares. “So that was an issue that we had in the beginning. Part of the rewrite process was making sure that we give people their money’s worth. That way, they don’t go into the cinema and think, ‘Ah, I just watched a 55-minute episode of The Twilight Zone.’ That was a huge fear that I and the producers had through development.”

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Me, joining Snowpiercer discourse in 2020: HOW THE HELL ARE WE THIRSTING OVER CHRIS EVANS AND BRUSHING OVER MY MAN LUKE PASQUALINO KICKING ASS AND SAVING CHRIS REPEATEDLY AND TAKING GOOD CARE OF JOHN HURT ALL WHILE LOOKING FINE

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Star Wars: Episode V - The Empire Strikes Back (1980)

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TENET (2020), dir. Christopher Nolan

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In Time For Tenet

Guillermo del Toro famously said, you make one movie all your life. Watching through the filmography of any filmmaker, be they no-name director or filmmaker-auteur, I've found this applies to both. And as it happens, I really like Christopher Nolan's movie.

All of Nolan's films, from Memento to Tenet, contain the same rhythms and patterns, crests and troughs, crescendos and coda— and the ride is well worth embarking on every time. He is a man of lofty ideals & ideas, the ultimate ‘What if?’ man in cinema. He’s made pioneering filmic explorations into memory, dreams, space, and now time, and Tenet makes a hearty meal of its subject matter.

[ potential spoilers below ]

The action sequences in this alone are worth multiple viewings. We have been overfed action movies aplenty where what are supposed to be breathtaking car chase scenes feel dull by the pure virtue of us knowing what will happen before it does ( 6 Underground, anyone?). But here, where characters are moving backwards in time as well as forwards, anything could happen, and things seemingly do, with little rhyme or reason before we're given the behind-the-scenes peek. Stunning visual effects are seamlessly blended into the ‘inverted’ atmosphere where time flows in the opposite direction and birds fly backwards— all sewn together with a score by Ludwig Göransson that will have viewers clutching their armrests. Plane crashes never done before. The Tallinn car chase scenes alone are breath-stealing, a chilling moment of suspense where I felt true peril for Elizabeth Debicki's character. Nolan is not afraid of literally killing his darlings, and our favourite characters are never safe in his hands — and this, is the beauty of it all.

Where the film fails, or perhaps to use softer language, drops the ball a little bit, is in pacing. There is no time for the Protagonist, and for us by extension, to have a breather; if there is, it lasts all of several seconds before it’s onto the next micro-mission to fulfil. The tension holds throughout, without a moment's drop or boredom setting in at any point, but you certainly feel its 2 hour, 30 minute runtime. Without the characters having 'downtime' moments such as these, the pace feels frenetic, and means the big moments don’t land with as great an impact. In that same regard, the characters feel less fleshed out than their predecessors, Neil at times feeling like an infodump character more than anything else. In Inception, we end up intimately acquainted with Cobb, Mal, Eames, Ariadne and Arthur — even minor characters like Saito and Fischer, knowing all their wants, fears and desires, and as a result, rooting for these characters all the more. The Protagonist never seems to get this luxury, and even though we are rooting for him, it is not him we want to succeed so much as Tenet at large, to save the world.

Any time Nolan works with his own material (rather than say, the Batman franchise), he gives us a diabolical cube of a film and we are left assembling its pieces long after the credits end. Reddit rooms and forums aplenty will be throwing out new theories, scraps and piecings-together for months to come, and I for one can't wait to digest them all. Christopher Nolan’s films are cinematographically stunning and chronologically precise, an inverted bullet flying out of its bullseye target, never missing. We’re living in 2020 and he is living in 2080, sending us these films back into the past to enjoy. If there is a plot hole or characterization that is lacking, these can ultimately be sidelined in this thrillcoaster of a ride, because a story on this scale will always be difficult to juggle.

I've always loved a heist movie, whether it's well put-together or sloppily slap-dashed in discombobulated pieces. Sure, the former is always better than the latter, and it is what Christopher Nolan has given us time and time again, in ways that no other filmmaker has. I for one, am thankful.

Letterboxd rating: ★★★★

★★★★ :ϱniɈɒɿ bxodɿɘɈɈɘ⅃

.lυʇʞnɒʜɈ mɒ ,ɘno ɿoʇ I .ƨɒʜ ɿɘʞɒmmliʇ ɿɘʜɈo on ɈɒʜɈ ƨγɒw ni ,niɒϱɒ ɘmiɈ bnɒ ɘmiɈ ƨυ nɘviϱ ƨɒʜ nɒloИ ɿɘʜqoɈƨiɿʜƆ Ɉɒʜw ƨi Ɉi bnɒ ,ɿɘɈɈɒl ɘʜɈ nɒʜɈ ɿɘɈɈɘd ƨγɒwlɒ ƨi ɿɘmɿoʇ ɘʜɈ ,ɘɿυƧ .ƨɘɔɘiq bɘɈɒlυdodmoɔƨib ni bɘʜƨɒb-qɒlƨ γliqqolƨ ɿo ɿɘʜɈɘϱoɈ-Ɉυq llɘw ƨ'Ɉi ɿɘʜɈɘʜw ,ɘivom Ɉƨiɘʜ ɒ bɘvol ƨγɒwlɒ ɘv'I

.ɘlϱϱυį oɈ Ɉlυɔiʇʇib ɘd ƨγɒwlɒ lliw ɘlɒɔƨ ƨiʜɈ no γɿoɈƨ ɒ ɘƨυɒɔɘd ,ɘbiɿ ɒ ʇo ɿɘɈƨɒoɔlliɿʜɈ ƨiʜɈ ni bɘnilɘbiƨ ɘd γlɘɈɒmiɈlυ nɒɔ ɘƨɘʜɈ ,ϱniʞɔɒl ƨi ɈɒʜɈ noiɈɒziɿɘɈɔɒɿɒʜɔ ɿo ɘloʜ Ɉolq ɒ ƨi ɘɿɘʜɈ ʇI .γoįnɘ oɈ Ɉƨɒq ɘʜɈ oɈni ʞɔɒd ƨmliʇ ɘƨɘʜɈ ƨυ ϱnibnɘƨ ,080ς ni ϱnivil ƨi ɘʜ bnɒ 0ς0ς ni ϱnivil ɘɿ’ɘW .ϱniƨƨim ɿɘvɘn ,ɈɘϱɿɒɈ ɘγɘƨllυd ƨɈi ʇo Ɉυo ϱniγlʇ Ɉɘllυd bɘɈɿɘvni nɒ ,ɘƨiɔɘɿq γllɒɔiϱolonoɿʜɔ bnɒ ϱninnυɈƨ γllɒɔiʜqɒɿϱoɈɒmɘniɔ ɘɿɒ ƨmliʇ ƨ’nɒloИ ɿɘʜqoɈƨiɿʜƆ .llɒ mɘʜɈ Ɉƨɘϱib oɈ Ɉiɒw Ɉ'nɒɔ ɘno ɿoʇ I bnɒ ,ɘmoɔ oɈ ƨʜɈnom ɿoʇ ɿɘʜɈɘϱoɈ-ƨϱniɔɘiq bnɒ ƨqɒɿɔƨ ,ƨɘiɿoɘʜɈ wɘn Ɉυo ϱniwoɿʜɈ ɘd lliw γɈnɘlqɒ ƨmυɿoʇ bnɒ ƨmooɿ ɈibbɘЯ .bnɘ ƨɈibɘɿɔ ɘʜɈ ɿɘɈʇɒ ϱnol ƨɘɔɘiq ƨɈi ϱnildmɘƨƨɒ Ɉʇɘl ɘɿɒ ɘw bnɒ mliʇ ɒ ʇo ɘdυɔ lɒɔilodɒib ɒ ƨυ ƨɘviϱ ɘʜ ,)ɘƨiʜɔnɒɿʇ nɒmɈɒઘ ɘʜɈ ,γɒƨ nɒʜɈ ɿɘʜɈɒɿ( lɒiɿɘɈɒm nwo ƨiʜ ʜɈiw ƨʞɿow nɒloИ ɘmiɈ γnA

.blɿow ɘʜɈ ɘvɒƨ oɈ ,ɘϱɿɒl Ɉɒ ɈɘnɘT ƨɒ ʜɔυm oƨ bɘɘɔɔυƨ oɈ Ɉnɒw ɘw miʜ Ɉon ƨi Ɉi ,miʜ ɿoʇ ϱniɈooɿ ɘɿɒ ɘw ʜϱυoʜɈ nɘvɘ bnɒ ,γɿυxυl ƨiʜɈ Ɉɘϱ oɈ ƨmɘɘƨ ɿɘvɘn ɈƨinoϱɒɈoɿԳ ɘʜT .ɘɿom ɘʜɈ llɒ ƨɿɘɈɔɒɿɒʜɔ ɘƨɘʜɈ ɿoʇ ϱniɈooɿ ,Ɉlυƨɘɿ ɒ ƨɒ bnɒ ,ƨɘɿiƨɘb bnɒ ƨɿɒɘʇ ,ƨɈnɒw ɿiɘʜɈ llɒ ϱniwonʞ ,ɿɘʜɔƨiᆿ bnɒ oɈiɒƧ ɘʞil ƨɿɘɈɔɒɿɒʜɔ ɿonim nɘvɘ — ɿυʜɈɿA bnɒ ɘnbɒiɿA ,ƨɘmɒƎ ,lɒM ,ddoƆ ʜɈiw bɘɈniɒυpɔɒ γlɘɈɒmiɈni qυ bnɘ ɘw ,noiɈqɘɔnI nI .ɘƨlɘ ϱniʜɈγnɒ nɒʜɈ ɘɿom ɿɘɈɔɒɿɒʜɔ qmυboʇni nɒ ɘʞil ϱnilɘɘʇ ƨɘmiɈ Ɉɒ liɘИ ,ƨɿoƨƨɘɔɘbɘɿq ɿiɘʜɈ nɒʜɈ Ɉυo bɘʜƨɘlʇ ƨƨɘl lɘɘʇ ƨɿɘɈɔɒɿɒʜɔ ɘʜɈ ,bɿɒϱɘɿ ɘmɒƨ ɈɒʜɈ nI .Ɉɔɒqmi nɒ Ɉɒɘɿϱ ƨɒ ʜɈiw bnɒl Ɉ’nob ƨɈnɘmom ϱid ɘʜɈ ƨnɒɘm bnɒ ,ɔiɈɘnɘɿʇ ƨlɘɘʇ ɘɔɒq ɘʜɈ ,ɘƨɘʜɈ ƨɒ ʜɔυƨ ƨɈnɘmom 'ɘmiɈnwob' ϱnivɒʜ ƨɿɘɈɔɒɿɒʜɔ ɘʜɈ ɈυoʜɈiW .ɘmiɈnυɿ ɘɈυnim 0Ɛ ,ɿυoʜ ς ƨɈi lɘɘʇ γlniɒɈɿɘɔ υoγ Ɉυd ,Ɉnioq γnɒ Ɉɒ ni ϱniɈɈɘƨ mobɘɿod ɿo qoɿb ƨ'Ɉnɘmom ɒ ɈυoʜɈiw ,ɈυoʜϱυoɿʜɈ ƨbloʜ noiƨnɘɈ ɘʜT .liʇlυʇ oɈ noiƨƨim-oɿɔim Ɉxɘn ɘʜɈ oɈno ƨ’Ɉi ɘɿoʇɘd ƨbnoɔɘƨ lɒɿɘvɘƨ ʇo llɒ ƨɈƨɒl Ɉi ,ƨi ɘɿɘʜɈ ʇi ;ɿɘʜɈɒɘɿd ɒ ɘvɒʜ oɈ ,noiƨnɘɈxɘ γd ƨυ ɿoʇ bnɒ ,ɈƨinoϱɒɈoɿԳ ɘʜɈ ɿoʇ ɘmiɈ on ƨi ɘɿɘʜT .ϱniɔɒq ni ƨi ,Ɉid ɘlɈɈil ɒ llɒd ɘʜɈ ƨqoɿb ,ɘϱɒυϱnɒl ɿɘɈʇoƨ ɘƨυ oɈ ƨqɒʜɿɘq ɿo ,ƨliɒʇ mliʇ ɘʜɈ ɘɿɘʜW

.llɒ Ɉi ʇo γɈυɒɘd ɘʜɈ ƨi ,ƨiʜɈ bnɒ — ƨbnɒʜ ƨiʜ ni ɘʇɒƨ ɿɘvɘn ɘɿɒ ƨɿɘɈɔɒɿɒʜɔ ɘɈiɿυovɒʇ ɿυo bnɒ ,ƨϱnilɿɒb ƨiʜ ϱnilliʞ γllɒɿɘɈil ʇo biɒɿʇɒ Ɉon ƨi nɒloИ .ɿɘɈɔɒɿɒʜɔ ƨ'iʞɔidɘႧ ʜɈɘdɒzilƎ ɿoʇ liɿɘq ɘυɿɈ Ɉlɘʇ I ɘɿɘʜw ɘƨnɘqƨυƨ ʇo Ɉnɘmom ϱnilliʜɔ ɒ ,ϱnilɒɘɈƨ-ʜɈɒɘɿd ɘɿɒ ɘnolɒ ƨɘnɘɔƨ ɘƨɒʜɔ ɿɒɔ nnillɒT ɘʜT .ɘɿoʇɘd ɘnob ɿɘvɘn ƨɘʜƨɒɿɔ ɘnɒlԳ .ƨɈƨɘɿmɿɒ ɿiɘʜɈ ϱniʜɔɈυlɔ ƨɿɘwɘiv ɘvɒʜ lliw ɈɒʜɈ noƨƨnɒɿöӘ ϱiwbυ⅃ γd ɘɿoɔƨ ɒ ʜɈiw ɿɘʜɈɘϱoɈ nwɘƨ llɒ —ƨbɿɒwʞɔɒd γlʇ ƨbɿid bnɒ noiɈɔɘɿib ɘɈiƨoqqo ɘʜɈ ni ƨwolʇ ɘmiɈ ɘɿɘʜw ɘɿɘʜqƨomɈɒ ’bɘɈɿɘvni‘ ɘʜɈ oɈni bɘbnɘld γlƨƨɘlmɒɘƨ ɘɿɒ ƨɈɔɘʇʇɘ lɒυƨiv ϱninnυɈƧ .ʞɘɘq ƨɘnɘɔƨ-ɘʜɈ-bniʜɘd ɘʜɈ nɘviϱ ɘɿ'ɘw ɘɿoʇɘd noƨɒɘɿ ɿo ɘmγʜɿ ɘlɈɈil ʜɈiw ,ob γlϱnimɘɘƨ ƨϱniʜɈ bnɒ ,nɘqqɒʜ blυoɔ ϱniʜɈγnɒ ,ƨbɿɒwɿoʇ ƨɒ llɘw ƨɒ ɘmiɈ ni ƨbɿɒwʞɔɒd ϱnivom ɘɿɒ ƨɿɘɈɔɒɿɒʜɔ ɘɿɘʜw ,ɘɿɘʜ Ɉυઘ .)⸮ɘnoγnɒ ,bnυoɿϱɿɘbnU მ ( ƨɘob Ɉi ɘɿoʇɘd nɘqqɒʜ lliw Ɉɒʜw ϱniwonʞ ƨυ ʇo ɘυɈɿiv ɘɿυq ɘʜɈ γd llυb lɘɘʇ ƨɘnɘɔƨ ɘƨɒʜɔ ɿɒɔ ϱniʞɒɈʜɈɒɘɿd ɘd oɈ bɘƨoqqυƨ ɘɿɒ Ɉɒʜw ɘɿɘʜw γɈnɘlqɒ ƨɘivom noiɈɔɒ bɘʇɿɘvo nɘɘd ɘvɒʜ ɘW .ƨϱniwɘiv ɘlqiɈlυm ʜɈɿow ɘɿɒ ɘnolɒ ƨiʜɈ ni ƨɘɔnɘυpɘƨ noiɈɔɒ ɘʜT

] wolɘd ƨɿɘlioqƨ lɒiɈnɘɈoq [

.ɿɘɈɈɒm Ɉɔɘįdυƨ ƨɈi ʇo lɒɘm γɈɿɒɘʜ ɒ ƨɘʞɒm ɈɘnɘT bnɒ ,ɘmiɈ won bnɒ ,ɘɔɒqƨ ,ƨmɒɘɿb ,γɿomɘm oɈni ƨnoiɈɒɿolqxɘ ɔimliʇ ϱniɿɘɘnoiq ɘbɒm ƨ’ɘH .ɒmɘniɔ ni nɒm ’⸮ʇi ɈɒʜW‘ ɘɈɒmiɈlυ ɘʜɈ ,ƨɒɘbi & ƨlɒɘbi γɈʇol ʇo nɒm ɒ ƨi ɘH .ɘmiɈ γɿɘvɘ no ϱniʞɿɒdmɘ ʜɈɿow llɘw ƨi ɘbiɿ ɘʜɈ bnɒ —ɒboɔ bnɒ ƨobnɘɔƨɘɿɔ ,ƨʜϱυoɿɈ bnɒ ƨɈƨɘɿɔ ,ƨnɿɘɈɈɒq bnɒ ƨmʜɈγʜɿ ɘmɒƨ ɘʜɈ niɒɈnoɔ ,ɈɘnɘT oɈ oɈnɘmɘM moɿʇ ,ƨmliʇ ƨ'nɒloИ ʇo llA

.ɘivom ƨ'nɒloИ ɿɘʜqoɈƨiɿʜƆ ɘʞil γllɒɘɿ I ,ƨnɘqqɒʜ Ɉi ƨɒ bnA .ʜɈod oɈ ƨɘilqqɒ ƨiʜɈ bnυoʇ ɘv'I ,ɿυɘɈυɒ-ɿɘʞɒmmliʇ ɿo ɿoɈɔɘɿib ɘmɒn-on γɘʜɈ ɘd ,ɿɘʞɒmmliʇ γnɒ ʇo γʜqɒɿϱomliʇ ɘʜɈ ʜϱυoɿʜɈ ϱniʜɔɈɒW .ɘʇil ɿυoγ llɒ ɘivom ɘno ɘʞɒm υoγ ,biɒƨ γlƨυomɒʇ oɿoT lɘb omɿɘlliυӘ

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MY 10 FAVORITE MOVIES TO WATCH DURING CHRISTMAS

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TENET: The Hand Gesture & Code Word 

+ Neil inspiring The Protagonist to create the gesture for Tenet in the future