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#Megamind is getting a spin off series.
usernose · 2 months
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I don't get the hate for the new megamind series, but then again, The Bad Guys fans were angry with the Hoilday animation looking shit, but either way it's still sad that the fandom would rather wait for another time until DreamWorks makes megamind in a better animation. This would probably be the only new content that DreamWorks is going to make of Megamind before they make the 3rd movie for The Boss Baby or some shit. I think some other DreamWorks fans would be glad to have anything from their film (Rise of the Guardian fans with their 5 books and one movie). At least be grateful that DreamWorks finally put out a megamind product.
Also, the original actors probably couldn't reprise their roles due to the scheduling conflicts, a thing that the fans have no control over.
Anyways, that's all I want to speak up about the Megamind series situation. Ungrateful fans tisk tisk. I just like the animation because it gives me nostalgia of the old DreamWorks spin-offs that I used to watch on Nicktoons.
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While also giving me the same vibes that were in the Megamind Game cutscenes
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By the by, regarding all the recent DreamWorks developments: KUNG FU PANDA 4 almost out, THE WILD ROBOT trailer out, the recent release of ORION AND THE DARK (still have to watch it, it's part of my animation ketchup alongside Pixar short SELF and a few other things), etc.
I have no reason to speak of this new MEGAMIND "movie" that's really just a pilot movie to a streaming series made by DreamWorks Animation TELEVISION. Not worth the energy, nothing for me to really talk about. I see some people on twitter all abuzz about it, with considerable fury. How DreamWorks fucked this up so bad! And how DreamWorks is so "inconsistent", how the WILD ROBOT is going to be an "apology" for this MEGAMIN- roflmao are you **serious**? Are you SERIOUS right now?
Different studio, number one... This would be like someone grilling Disney in spring 1994 for THE RETURN OF JAFAR, and suggesting that THE LION KING made up for that or whatever. Do these people hear themselves when they talk? DreamWorks' TV division has been making all sorts of lower-budget streaming fodder for years now, and they've only ramped it up in the recent years. These are the equivalents of the Disney DTV sequels and spin-off things.
But also, there are a concerning amount of animation fans out there who seem to look at DreamWorks - like any big studio - like it's one person. One author directing every movie. A "Mr. DreamWorks" fellow that directed everything from THE LAST WISH to TROLLS BAND TOGETHER to this MEGAMIND direct-to-streaming thing. If "animation is cinema" to you, then you ought to understand WHO is exactly working on these things... Not the buildings where they're being made. And think twice before you use THE LAST WISH as a meter that TROLLS 3 or *heck* any DreamWorks movie needs to live up to. Never mind that each filmmaker has their own aims. Maybe TROLLS 3 or whatever isn't made for *you* specifically, and that someone else out there really likes it. And that's fine. DreamWorks can make fantasy adventures about swashbuckling cats for general audiences, and movies for 6-year-old horse girls, and a lot in-between. Something for everyone!
I know, it's a bit hard for some people because animated features are literally branded like that. It's never Joel Crawford's PUSS IN BOOTS: THE LAST WISH, it's DreamWorks' PUSS IN BOOTS: THE LAST WISH. Ditto Walt Dohrn's TROLLS BAND TOGETHER or Kirk DeMicco's RUBY GILLMAN, TEENAGE KRAKEN, Mike Mitchell's KUNG FU PANDA 4. THE WILD ROBOT is getting an extra level of love because it's from a pretty well-recognized animated movie director, Chris Sanders. Some other directors in animated movie-making don't have that pedigree nor level of love, that household name status... They tend to be overshadowed by the studio name, the BRAND.
But I look past that. And each production has its crews, its circumstances. I can only imagine what the people working on the MEGAMIND thing had at their disposal, ya know?
I also get that a legit DreamWorks Animation theatrical MEGAMIND 2 is something a lot of fans wanted. I get that. It's okay to feel that, even as a direct-to-streaming movie and show, there was a downgrade in quality here. But like a lot of various fandoms, I feel it's expressed with the tact of a freaked out horse, kicking its back hooves all over the place. I generally tend to ignore things like this, I kinda know what I'm getting myself into. I grew up in the '90s, when it was not only Disney direct-to-video sequels everywhere, but tons of other stuff too. There was a FERNGULLY 2 and a SECRET OF NIMH 2 and BALTO 2 and a SWAN PRINCESS 3, 4, 5, 6 just kept going, and seemingly a gazillion LAND BEFORE TIME sequels. In addition to other weird random animated bin fodder. And I remember as a kid, them just mostly being... Whatever, for me. That's this MEGAMIND thing. It's not for me. I didn't bother with that BAD GUYS Christmas special, either.
Especially when there are other things for me to worry about in life. I just genuinely don't enjoy ranting about these things, or getting all upset about them. Even when I kinda want to (like with, say, TRON: ARES, a film I'm largely unhappy about), I have to tell my 31-year-old self "No... No..." I try to be fair in my criticism most of the time, especially when talking about - say - recent Disney Animation films or whatever. So yeah... No reason for me to dive into MEGAMIND TV Movie Thing. I guess this was my James Rolfe GHOSTBUSTERS No Review I Refuse moment, lol.
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a34trgv2 · 2 months
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The Problem With Bad Adaptations/Spin-Offs
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In today's entertainment landscape, there's definitely a surplus of adaptations and spin-offs of pre-existing IPs. While some are very well crafted and more than worthy additions to the franchise, others are, to put it simply, not. This post will dissect why bad adaptations and spin-offs do more harm to the IP than good and what aspiring creators can do to avoid these missteps.
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If you're assuming that this post is going to point to the executives who only care about money as opposed to quality, you're sorely mistaken. Executives need to be finance and business savy so that they can keep the company running. The real root cause of an adaptation/spin-off's shortcommings falls on the shoulders of the creators. They're the ones who went ahead with the creative decisions, they're the ones that put the whole thing together, they're the one's whose name is slapped under the director or creator's credit. The executives may care more about how the project rakes in profits, but it's the creator's responsibility to make sure it's entertaining to the audience.
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You know how many fans of books disregard the movie with the saying "the book was better" regardless if the movie was good or bad? Well, this saying is most predominantly used for bad adaptations because when they fail, the original book is used as evidence to support fans criticism. While changing things from the source material is a given with adaptations, the adaptation should make for an entertaining retelling of the original story with well rounded and fully developed characters, creative would building and really good acting. Films like Percy Jackson and The Olyimpians, Alexander and the Terrible, Horrible, No Good, Very Bad Day (what is up with that title being so long?!), and The Devil All The Time fail at all these essentials, and as such make for sloppy movies that don't do the books they're based on justice.
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Like adaptations, spin-offs should be worthy additions to the original IP. Yet often, a spin-off is mediocre at best and absolutely terrible at worst. By haing a spin-off turn out bad, the creators inadvertently justify the doubts of naysayers who felt the spin-off was unnecessary. Planet Sheen, for example, could've been a really funny show that expanded the Jimmy Neutron universe and provide some more creative ideas. Yet because it turned out to be so unfunny and unfocused, fans of Jimmy Neutron were made correct into thinking it was unnecessary. This badly made spin-off is now a permanent stain on the legacy of the original IP and creators have no one to blame but themselves.
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DreamWorks Animation has got to have the worst track record when it comes to their spin-offs and adaptations. With some notable exceptions such as She-Ra and the Princesses of Power, Dinotrux and the Dragons series, most of their shows are some of the worst cartoons ever made and do a great disservice to the original IP. Among them, Legends of Awesomeness is the worst offender and the pinnacle example of how NOT to make a spin-off. The animation is terrible, the writing is atrocious, the voice acting is very bad, and the characters are one note and annoying. The worst part about the show is Po and how he's completely out of character. Where in the movies he's a really nice guy with genuine love and respect for kung fu, the show makes him a lazy, unfunny and annoying cheat who lies and decieves his way to get what he wants. Unfortunately, DreamWorks Animation has not learned the right lessons as their recent spin-off, The Bad Guys: A Very Bad Holiday, was absolutely terrible and their new Megamind series looks, unsurprisingly, abominable.
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To anyone who's tasked with making a spin-off or adaptation, here's the mistakes you need to avoid in order to make a worthy addition to the IP. Firstly, don't assume your audience is already family with the source material, because more often than not, they aren't. Second, familiarize yourself with the IP and understand why it worked in the first place and how to apply those qualities to your work while still putting your personal stamp on it. Third, don't make changes to the story or characters because you were told to by the executives or because you think it would be funny or more digestible for the audience. Before you make any changes, consult your head writer and actors and ask them what they think. Lastly, consult the producer on how to work around budgetary limitations. If you're given a set budget, don't use that as an excuse to make your work visually dull. This is especially true with animation, where you can tell they had a small budget based on how flat and weightless the visuals are. My advice when making a spin-off based on a 3D animated movie is to hire art and animation directors with impressive resumes and who can deliver quality animation even under limited budgets.
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Making an adaptation/spin-off is hard, much like making any movie or TV show with an original story. That said, I think the creators of adaptations and spin-offs of established IPs have a responsibility to not only do the source material justice, but also make an entertaining product that reintroduces the IP to new audiences. When the adaptation and spin-off is mediocre or terrible, it angers fans and alienates newcomers. We could've had a whole new generation of fans of The Green Hornet by now. But because the 2011 movie staring Seth Rogan was so mediocre and underperformed financially, the IP was sent right back into obscurity with a reboot stuck in development limbo. To conclude, an adaptation/spin-off should be more than just an addition to the franchise; it should be a very good appetizer to an already great main course.
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monkey-network · 2 years
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Good Stuff: The Bad Guys
WARNING: *Spoilers*
Being Bad? Going Good? Both never felt this great.
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I'll admit, it felt Dreamworks had a recent streak of underwhelming features following How to Train Your Dragon 3. Not all bad, but I don't believe Spirit Untamed was on anyone's minds last year. Then The Bad Guys swerved in and that hope is alive again. I won't beat around things, I've been anticipating this since the trailer hit and I haven't felt this way since Captain Underpants. So with all that said, is the Bad Guys good or did it turn out bad? Well, enough about Bad Guy
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Let's run it back to The Good Guys club, so to speak
For an adaptation of the books, it is a mixed bag. They stick with mainly the first four books which are the most grounded; not kidding when I say this goes off the rails past that mark. They do Foxington better here than in the books; reminded me a lot of Barbara from the LEGO Batman movie. The Police Chief, voiced by Lois Griffin, is a welcome addition to the cast (y'know ACAB except Misty Luggens). The titular Bad Guys themselves are a hit and a miss. I liked that they were an already made team of thieves with a good rapport, but what's missing was their initial development from the books. You get why'd they would be a team, you love seeing them together, but it's not like Sly Cooper where, even in its beginning, you get to see the trio have their separate conversations or dynamics. Understandable because it's a movie, but still, the book did things better by having the bad guys not be as established a group and working from there. Then there's Professor Marmalade who is...yeah, spoilers ahead but...
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"Okay, so now the tier list looks like this"
Didn't even need to see any spoilers, Marmalade was a predictable bad guy, there was nothing to throw me off that he would be the bad guy, I never took him seriously as a bad guy, and they don't really do anything outside make a rift between Wolf and Snake. The books did better but then again, the books go off the rails faster than this movie. Like why not make everyone except Mr. Wolf joke about him being the twist villain? It falls in line the writing of the books but doesn't take away from the scale of Marmalade's plan nor makes Mr. Wolf look that stupid. Basically do what Captain Underpants did with Professor Poopypants. They set up a better twist ending to make up for this, but the villain himself was boring, wack, and this honestly bogged the plot down to a more predictable outing. What definitely saves this from being bad though...
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This movie is such a fucking vibe
Put an egg on this film because it'll sizzle and season itself with how much fun this overall is. The soundtrack fucking slaps. Every lackluster moment is picked up with three other great moments. The first ten minutes is one of the best openers in all of Dreamworks, Diane is a delight every time she's onscreen, I love that they subverted the notably cliched dance party finale, there's several moments that perfectly shows Mr. Wolf and Mr. Snake at his best, the titular Bad Guys themselves are just an enjoyable gang regardless of my gripes. It's on par with the Captain Underpants film where it could not have a sequel film or series in its future and I wouldn't mind because it's satisfying enough whether or not you read the books. And the animation is wondrous, possessing an unique energy that's a good blend of Sony's fast pace stuff and Disney's more grounded stuff. Hate to say it, but it feels like a CG anime at points, there no other film like this. It's like if Lupin the 3rd (part 2 Lupin, at least) directed a Zootopia spin-off and you can see that jazzy and kinetic flair at its best.
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And the art, people, is genuinely refreshing
The Bad Guys just fucks so hard. I have the feeling this'll be compared to Megamind, though if Megamind is the reserved but passionate older brother, Bad Guys is the middle sibling that's more lively but is responsible where it matters. It was a fresh movie from Dreamworks, one that builds & builds, ending with a breezy jovial feeling. It's not complex, but again, they make this such a vibe that it eradicated any doubt I could've had with this film. Screw it, I'm not rating this...
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I'm just glad a movie like this exists. I’m glad this exists.
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popculturebuffet · 2 months
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So, did you hear the news that the Moana series for Disney Plus is now being reworked into a Moana sequel coming this year? Thoughts seeing how between this, Zootopia 2, and Frozen 3 and 4, Disney's really emphasizing sequels a lot this decade with their currently being no announced original idea movies yet from their in-house animated movie studio?
Okay thoughts on Moana 2 first as i'm very glad someone asked this: I'm not against a Moana sequel, nor retooling the tv show into a movie. After all Toy Story 2 and A Goofy Movie, two of my faviorite disney films, were started as DTV projects.
The issue I have more is the timing: Not only was crunch probably involved but it just comes off desperate: Disney had a disapointing year, and thus wanted to bump up something they had close to ready that would put butts in seats. I'm also disappointed that LIn Manuel Miranda isn't coming back as his music was one of the best parts of the original. I will give the film a fair shake... but I do worry disney rushed a good film and it may suffer for it, and if it didn' then the animators did just to get more money.
As for the Sequelgeddon in general.. i'm not a fan of it. Part of it is that 2024 SEEMS rich in sequels: We have Inside Out 2, Kung Fu Panda 4, Megamind Vs the Council of Doom (Which is more a tv movie pilot for Megamind Rules but i'll still count it. ), Despicable Me 4 and now Moana 2. Last year had almost as many with Across the Spider-Verse, Trolls Band Together, Paw Patrol 2, and even more if you count the adult swim finale movies, but we also got Ruby Gilman, Nimona< Mutant Mayhem and Elemental to even things out. And yes 2 of those are based on existing ip but Nimona is visually stunning and it's own take on the graphic novel (if one by it's creator ND Stevenson), and Mutant Mayhem is an even more visually stunning spin on one of the best franchises around after it BADLY needed a new direction with Rise abandoned. There was a pop and life to most animated films last year i'm just not seeing as much in this crop with only Inside Out 2 really being a huge anicipated thing for me.
I'm also not saying sequels are inherently bad. Puss in Boots: The Last Wish, is a sequel to a film I barley paid attention to while I watched it and only saw due to word of mouth, but it's one of the best films of the decade. I"m saying, at least in trailers, most of these films feel uninspired. And I feel that way about frozens 3 and 4: You already blew your chance to expand this world with 2, unless Hans gets a pop number a film now you've lost me.
Zootopia 2... isn't NECESSARY.. but is a sequel i'll gladly watch (Same with Moana)> I really liked the first one, and with Nick and Judy's intense chemistry, the massive world and just how hard it can be to change systemic issues, ther'es tons of potetial for a sequel, especailly after George Floyd. Like I said sequels aren't INHERENTLY bad... but these feel like disney is desperate for a hit again instead of remembering their biggest hits have come from giving an original idea a chance.
I do HOPE these films will be good or at least decent. AT the very least i'm hoping we don't get another Ralph Breaks the Internet level of trainwreck as even Frozen 2 as just.. okay (And at least had two banger songs in it to help). But Disney needs to actually try something new and take a risk, something they struggle to do in the best of times and these are very much not their best.
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jf-madjesters1 · 2 years
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Its been 100 years....
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lilmissbacon · 2 years
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This might be a bit controversial but...
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I'm low-key kinda excited for this.
We shouldn't give this show so much hate before it even comes out. Especially when it has the chance of being good. I mean, that's what happened to Megamind and Rise of the Guardians; people assumed the worst and didn't bother to see it, leading them to become underrated and discontinued.
I get that they're making this just for some extra coin but let's be real, lord knows DreamWorks needs it. And I personally don't have a problem with milking a franchise as long as they do it well.
DreamWorks may be forcing the creation of this show but the creators themselves love the franchise just as much as we do. And as far as I know, most of them will be working on this.
I get the designs in this teaser are kinda lame/generic but once again, let's not judge a book by its cover. Their are gonna be other characters as the bio of this show says that a group of kids will discover the dragons. For all we know, this show could have more diversity than the trilogy. We haven't seen them yet.
And yes, the animation is a bit lacking but this is just a teaser. It could be just like the live action Aladdin teaser where the Will Smith genie just wasn't finished being animated yet.
If DreamWorks is willing to give Trollhunters – a Netflix series with no prier fanbase, from 2016 – good quality animation, then they'll give the continuation to a beloved franchise just as much care, if not more.
And let's be real, the reason so many dislike the concept of this series is because of the existence of Rescue Riders, which was just a completely separate spin off that was literally made for toddlers.
DreamWorks is amazing at making sequels, even good sequels to otherwise poor movies. The only bad sequel they ever made was Shrek the Third and even then, the worst it is, is boring.
Though, I haven't seen the Spirit sequel because, no.
I don't hold the highest hopes because there is still just an equal of a chance it could be bad, but that's still something. I'm not gonna throw this show into the trash before I even get a taste.
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a-kind-of-merry-war · 3 years
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Close Encounters
Oh, my.... is that... a Megamind fic?? Why I do believe it is!! 
Roxanne muses on an obsession from childhood, and a slightly embarassing tattoo. Megamind interrupts while she’s watching her favourite movie. A wardrobe malfunction requires two sets of hands to fix. Rated M, 7.5 words, contains alien pop-culture, swears, and being cut out of a really expensive dress.
Also available on AO3!
~ Look, Roxanne tells herself for the umpteenth time. You've always been into alien movies.
Still, she can't help but feel a little weird as she slides the DVD into the player. But dammit, this is one of her favourite movies and has been since she was a kid so she's going to watch it and she isn't going to feel guilty about it.
Much.
The DVD whirs as she heads into the kitchen and throws a packet of popcorn into the microwave. It begins to hum as she moves upstairs, shrugging off of her blazer as she goes.
Everyone has a weird obsession when they’re a teenager. It's expected. It's natural. She had friends who had gone through ghost hunting phases, tarot cards, cryptids. But none of those friends had found the object of their obsessions steadfastly following them into adulthood. Not literally, in any case.
It had started when she was a kid and her dad had brought a VHS collection of some old Sci-Fi show at a yard sale. She was immediately hooked. Next she tore through Star Trek, developing a deep fondness for the original series with its cheap sets and absurd acting. Her sisters thought she was mad, but she didn’t care.
There were times when she felt like her closest friends were extraterrestrials, secret agents and time travelers. In fact, during the first few months in college, she'd spent more time than she was ever willing to admit alone, binge-watching episodes of Doctor Who and The X-Files. They were comforting, like old friends, and they let her cling onto that hope - the hope of what if. What if there was something amazing out there, waiting for her. All she needed to do was reach out and find it.
That all changed after she'd made friends - specifically, once her British roommate had realised that “going to the library” actually meant “watching Daleks try to destroy the world” and had insisted she move her binge sessions into their room.
Soon, there were “I Want to Believe” posters above her bed. She saw every alien film that came out - and all the ones that had come before she was old enough to “get it”. She loved Contact, with its promise of great, unimaginable things, and the Alien series, even though she'd never been good with horror. She found herself drawn to the movies where the aliens weren't some unimaginable evil come to destroy the planet. There were enough things trying to destroy the planet as it was: panicking about some unknown alien threat felt redundant.
Avatar came out the year she graduated, while she was travelling. She and Fiona, the roommate, watched it in a tiny theatre in some small town in Florida. This was what Roxanne wanted - adventure, freedom, new worlds begging to be explored. She had blushed during the sex scene. Fiona teased her about that for weeks.
It was just after Avatar that she...well. She did what any graduate in their early 20s would do with a wad of birthday cash and an obsession.
If someone asked now, someone from her new life in Metro City, she'd say that she “lost her mind”. She knows that she should be calling it a regrettable decision, blaming it on the folly of youth, but honestly...she doesn’t regret it all that much. If it ever came out, she’d spin some tale about being young, impressionable, stupid, and say that of course she regrets her choices. She’d add something about believing we should learn from our mistakes instead of pretending they didn’t happen.
That would give her a good excuse not to get the damn tattoo covered up.
Before she moved to Metro City, before she was Roxanne Ritchi: Reporter, she didn't really care. But in the city, plagued with its rather unique troubles, she realised some things were better left under wraps. She stopped wearing bikinis, only bought one-pieces, and avoided anything too low cut in the back or arm. She dodged the crop-top phase of 2018 like a pro.
And now, standing upstairs in her room, finally free of her tailored-to-death work clothes, she lifts one arm and peers in the mirror at the little symbol that adorns her ribcage. It's about the size of a credit card, perhaps smaller, perfect for being hidden away and forgotten. She runs a finger over the black lines - it feels like it’s not even there. She wonders what everyone would say if they knew. She wonders what he would say.
But no one in Metro City will ever know. In fact, no one knows - no one apart from Fiona, and that was only because she needed someone to hold her hand and convince her that her bad idea might have actually been a pretty good idea. He will certainly never know.
The thought is… disappointing.
The whole thing is disappointing, really. Here she is, living the reality of all those films and TV shows she loves so much, while being stuck in a normal job in a normal apartment doing… normal things. Normal-ish.
She tries not to dwell on what sort of situation she would need to find herself in for Megamind to see it in the first place. She certainly isn’t going to start wearing crop-tops to work, and there’s only one other scenario in which him - or anyone, for that matter - might catch a glimpse of her bare ribcage.
She’s trying not to dwell on it. Trying, and failing.
Fiona still teases her about blushing during Avatar. She’s never actually told her friend - her best friend - about these new and lurid little imaginings, but she assumes Fiona knows regardless. She’s always been able to tell when Roxanne is crushing on someone.
From downstairs, the microwave pings, breaking her out of her thoughts. She throws on a pair of leggings and a baggy sweater and heads back down.
However weird her life may be, however guilty she feels about it - Close Encounters is still an excellent film.
An hour and a half later, she's curled up on the sofa, knees tucked up to her chin and the half-eaten popcorn abandoned beside her.
Every time she watches this movie, she promises herself she isn't going to cry, but now it's nearly over and she can feel her eyes welling up. Even the five notes - the little tune they use to communicate with the aliens - is making her feel teary. She wipes her eyes with her sleeve and gives a noisy sniff.
And Megamind bursts through the patio doors.
~
“Miss Ritchi, prepare to-”
She's crying. She's sat on the sofa and she's crying and there's smudged makeup around her eyes and she looks so sad and—
This is unprecedented.
“Megamind!” She scrambles for the remote, pauses whatever it is she was watching and hastily wipes her eyes with her sleeve, smudging her make-up even more. “Sorry, I'm just…”
She's blushing, now, and her eyes are red and watery. Evil Gods - what's happening? Has something terrible happened, did someone die, did…did she break up with her insufferable superhero boyfriend?
“I...uh…are you...okay, Miss Ritchi?”
She sniffs and wipes at her eyes again with an exaggerated blink, trying to quell the tears.
“I'm fine! Really, I'm okay…” She stands up, “Uh...kidnapping?”
Megamind peers at her. He furrows his brow.
“Miss Ritchi, I have no intentions to kidnap you in this...in this state!”
She seems insulted. “I mean, I was going to go and fix my makeup, but—”
“What? No! Obviously, you're upset and…”
And what? And he would never kidnap her if she was feeling vulnerable? That he'd never want to be the thing that pushes a ‘bad day’ into a ‘shit day'? That he's come to her apartment, just a few times, to find her weepy or upset or asleep and he's simply turned around and called the whole thing off?
He doesn't need to finish that sentence, thankfully, because she cuts him off with a laugh, loud and jarring.
“Upset? No, no: I'm not upset!”
“But…” he gestures vaguely at her face, “the crying!”
“Oh!” It's like she's only just realised that there's tears falling from her eyes, “No, it's just...this movie always makes me cry!”
“Then...why watch it?” He asks, baffled.
“Because it's one of my favourite movies,” she says with a laugh, “and, you know, the crying is kinda nice. It's cathartic.”
“I… can't say I understand. Is this a human thing? I was under the impression that crying was bad? Something to be avoided?”
“Hah! It's a Roxanne thing. Loads of people watch movies that make them cry. Not everyone, I guess, but it's not weird or anything.”
“Uh-huh…”
“It's not like it's because I'm sad,” she continues, fiddling with the sleeves of her jumper, “it's just...it’s happy, sort of, and bittersweet and emotional so it really… gets to me. Like I said, it's my favourite movie.”
He isn't convinced. "You're crying because the movie is happy?"
She nods. "I guess? It's not a traditional happy ending, but… it's important. To me." She trails off, and he can't help but notice a pale blush spreading across her cheeks.
"What movie is it?"
Now she looks downright panicked.
“Look: I'm fine," She blurts out, the blush deepening, "let me run upstairs and put something more suitable on and then… kidnapping, right? That's why you're here, after all.”
“O...kay?” She's dodging the question, but he finds himself drawn along by her enthusiasm, so simply nods lamely and watches her skip up the stairs.
Finding himself alone in her apartment, he cautiously sits on the very edge of the couch and looks back to the TV. The remote lies next to him. Well, if she isn't going to tell him what she was watching…
He flicks the movie back on.
It's old - late 70s, he guesses. The scene playing appears to be some sort of military base, with personnel hurrying around in the dark. He hadn't pegged Miss Ritchi as a fan of military movies. He pulls the bowl of popcorn towards him and starts to absent-mindedly nibble on it when something unexpected appears on the screen.
A spaceship. It's comical, really, and extremely typical of a human's understanding of spacecraft; a standard flying saucer, covered in blinking lights and flashing neons. It's not a shape particularly well suited to space travel; he should know, after all.
He continues to watch, and now there's various humans milling about; some dressed in flight suits, some in variously inaccurate historical garb. There are reunions, apparently, between these people and those on the military base.
So Roxanne is watching some sci-fi movie? That's… unexpected. And she's crying, too. Is she… scared? That would explain the crying; he's not sure about the physiology of so-called "happy crying" but is well aware that humans cry when afraid. He's seen it himself, many times. Did she lie to spare his feelings? A horrible pit opens in his stomach and he freezes, one hand hovering above the popcorn bowl. Is she scared… of him?
It shouldn't be surprising. She should be afraid of him. Not just because he's a villain who threatens to throw her to the piranhas every few days, but because… he's scary. He knows he is; he's so other compared to the humans, even compared to Metro Man. It's natural to be scared of him. Watching scary movies isn't as strange as watching sad movies; he watches scary movies himself, although they very often fail to have the desired effect.
Maybe he should just… leave. This, clearly, is why she was hesitant to tell him what she was watching. She didn't want him to know that the idea of an alien threat upset her so much. She's always being brave, needlessly brave. He turns away from the television and takes a deep, calming breath.
CRASH.
From somewhere upstairs comes an enormous bang and the distinct sound of glass shattering.
He jumps up, sending the popcorn flying. All pretense that he might leave is gone, and before he’s thought about what he’s doing he’s leaping up the stairs and throwing the door to her room open and—
Roxanne is standing in the middle of her bedroom, pieces of broken mirror scattered around her feet, her hair a wild halo around her head.
“Megamind!” She flings out her hands - a gesture warning him not to come closer, not to step on the glass - and he realises that the dress she must have just put on is still open, revealing far, far more of her skin than he’s ever seen before. He can see her bra. He swallows, feeling his ears getting hot.
“Ah! I’m sorry; I heard the crash, I thought…”
And then he spots it.
~
Roxanne grabs her new deep purple dress out of the wardrobe then sets to work on fixing her smudged makeup. With horror, she realises that she didn't turn the TV off; just paused the DVD. Which means he could sit down, means he could see what she was watching, see what was making her cry…he's going to think she's completely insane. He's going to think she's some creepy alien fan-girl. She wouldn't be at all surprised if she goes downstairs and finds the DVD playing and the apartment empty. She makes a mental note to hurry.
Makeup fixed, she pulls off the sweater and yanks the purple dress over her head. She tugs at the zip underneath her arm, and—
It catches on the fabric.
Shit.
She tugs again, but the zipper is caught and it won't budge. She tries to pull it down, but that makes it worse. She swears under her breath, aware that she's wasting time, and decides to abandon the dress. She tries to pull it up over her head, but it barely gets over her chest, and the design means there’s no way she can wriggle it down over her knees.
Shit shit shit.
She pulls back into a reasonable position and catches herself in her mirror. Her hair’s a mess, her face is red, and staring at her in the mirror is the cheeky black outline of an alien face neatly framed between the two sides of her dress.
This will not do.
There’s a pair of nail scissors sat on her dressing table. She could just...cut the dress off. But it’s basically brand new, and it cost so much money: way more than she’d ever usually spend on a dress. And it’s a nice dress.
Okay, no. Cutting it off is the last resort.
She hops around the room, desperately tugging at the zip, muttering under her breath - come on, come on…
It moves. Just a fraction. Yes, yes! She gives it one huge tug - but it’s stuck again, and totally off-balance she stumbles backwards and crashes into the mirror which topples over and smashes, the glass shattering and skittering across the floor. She freezes. Fuck.
He's there in seconds. He comes bursting into the room in an obvious panic and she throws out her arms to stop him stepping on the glass – a pointless gesture, she realises, as he's wearing those damn leather boots.
He's there, standing in the doorway, breathing heavily and panic in his eyes and for a moment, neither of them say anything. He just… stares. And then, suddenly, he seems to realise that he's staring.
“Ah! I’m sorry; I heard the crash, I thought…”
He stops. His eyebrows twitch. His mouth hangs open around a half-finished sentence.
He’s seen it. There’s no way he hasn’t seen it. She could just… ignore the situation. Pretend she has no idea why he's suddenly found himself speechless, pretend there's absolutely nothing out of the ordinary about the few inches of skin currently on show.
“I… the dress… the zip’s caught,” she hazards, “I tried to get it up and I… fell. Into the mirror.”
He blinks. “Oh. Right.”
“I… ah… I’m kinda stuck, actually.”
"Oh?"
Roxanne sighs, knowing what she’s going to have to do next. "Look…" She says, "This is… I know this is weird but…" Oh god, oh god, "… Can you… help?"
"… help?" His voice is suddenly very small, very quiet.
She can feel her own face flushing now. "It's just… It was a really expensive dress and right now my only other option is to use my nail scissors to cut it off and I… I really don't want to do that. If I can help it."
"But… ah… you want me to help?"
She shrugs. "If… if it's not weird?" She spots the look on his face, and suddenly starts backpedaling. "I mean, you don't have to. It's… it's fine, I can probably figure it out myself…"
He swallows, heavily, then takes a cautious step forwards. An unseen shard of glass cracks beneath his boots and he winces - they both wince.
“So, the - the zip?” He hazards, and she can see where his ears are turning purple, the colour spreading across his cheekbones.
She nods silently, sure that if she actually speaks she’ll say something to only further incriminate her, and raises her arm, giving him access to the zip. He edges forwards, cautiously at first, then when it's clear she isn't going to jump away, with a little more certainty. He gently takes each side of the dress in his fingers and examines the fabric where the zip is stuck. The little alien - just three lines of black ink, indelible on her skin - peers back at him. He doesn’t say anything. Neither does Roxanne.
"The fabric here is caught in the zip," he mutters, finally, "we need to fix that…"
He pulls the two sides together again, aligning the zip, then gives it a tug. To Roxanne's shock, it moves; but not far enough.
“I need to..” He huffs through his nose, concentrating, “I need to get a closer look. Do you… I mean, can I..?”
Roxanne nods, silently, and then gently - oh so gently - he’s moving the fabric around to see where it's bunched in the zip. His fingertips - just his fingertips - brush against her skin. It sends a little shiver down her spine, making her heart race.
“It’s caught, here…”
He starts to fiddle with something - he’s too close for Roxanne to tell what, trying desperately to ignore the feeling of his fingers fluttering against the sensitive skin. He gives the zip another, cautious tug down - but it doesn’t move at all. He makes a little annoyed noise that’s almost cute.
“Um,” Roxanne begins, feeling a little silly, “is it…”
“Completely defective?”
She smiles. “I was going to say ‘fucked’, but - sure. Is it defective? Completely?”
He laughs. He actually laughs, and the sound only furthers the flush creeping up her neck.
“Well…”
“Shit.”
“You mentioned something about… scissors?”
Roxanne groans, instinctively moving away a little as she buries her head in her hands. “Fuck.”
He laughs again - which still sends her reeling - but doesn’t let the dress go, still peering at the zip.
“Actually…”
“What?”
“Well, I mean - I’m no stranger to, you could say… clothing malfunctions. If you can cut this along the seams, rather than where the fabric is caught… it’s salvageable, certainly.”
“Salvageable? Megamind, I can barely sew a button…”
“Oh, no! I meant… that is, if you want to…”
“... if I want to what?”
He takes a breath. “I’m sure Minion would be more than happy to assist. He’s bored of capes and spikes, though he would never tell me that, of course.”
Roxanne blinks. “Minion?”
“Oh, yes, quite the tailor.”
“You’re telling me that Minion makes all your… your capes, and suits, and things?”
“Well; yes! Of course! Who else would? I may be brilliant in most ways, Miss. Ritchi, but textiles are a little out of my grasp.”
Roxanne thinks. “I thought you just, I don’t know, had some sort of… Supervillain store you got all this stuff.” Saying it out loud, it sounds catastrophically stupid. “...Online, maybe?” She hazards.
“Hah! No, that would be far too easy. And far too traceable! No, Minion is more than capable… and, yes. He should be able to fix the dress. I mean. If you want him to - I understand, that might be somewhat odd?”
“No, I… Like I said, it was an expensive dress…”
“Well, then.” He takes a step back. “Where are the scissors?”
Roxanne takes stock, for a moment. She truly doesn’t want to ruin the dress… but surely this is a step too far. The film she can wave off, the tattoo cannot be ignored - no matter how hard they’re both trying - but giving Megamind her dress? So his henchman can repair it? It’s a step towards…
Towards something. She doesn’t know what. She wants to know what. She thinks of the tattoo, of twenty-something-year-old Roxanne, her obsession with things beyond her world. She wonders what that woman would say if she saw her like this: in her bedroom, alone, with an alien man offering to cut her out of her dress.
Oh, to hell with it.
“On the dresser,” she says, gesturing towards it with her head.
“Right.”
He picks his way across her room, avoiding the glass that still litters the floor, and finds the scissors amongst the mess of toiletries, make-up and various bits of junk on top of the dresser. Her heart is beginning to thunder in her chest, her fingers twitching nervously at her side.
He grabs the scissors, fiddling with them, snipping them open and shut.
“This will be easier if…” he mutters, and then, as Roxanne watches, he places the scissors back down and begins to remove his gloves.
Roxanne swallows as the black leather slides away to reveal long, slim blue arms. She realises, all at once, that she’s never actually seen him without his gloves on. It feels lewd, almost. Wrong. She resists the urge to avert her eyes, as if he’s undressing in front of her.
The first glove is removed and he flexes his slender blue fingers before moving to the other. She realises with a start that she’s staring, and quickly looks away, hoping he won’t notice the heat creeping up her neck.
When the act - dull yet obscene - is finally over, he picks up the scissors once more and walks to her side, taking another look at the fabric, looking for the best seam to cut.
“Here…” he says, and Roxanne can’t tell if she’s talking to himself or to her, “I can cut below the zip, then I can cut through the fabric of the zip itself, as that will need to be replaced anyway…”
His fingers play on the seams, the touch feather-light. He peels back the fabric again to better see the zip, and Roxanne can see the focus on his face. She rarely sees him like this - not up close, anyway - when he’s given a task to fixate on.
“Is that okay, Miss. Ritchi?”
She blinks. She’s barely been paying attention - too distracted by watching him work, by his skin on hers.
“I… yes?”
“Good. Okay, hold still: I don’t want to stab you…”
She snorts. “That makes a change.”
He freezes, then straightens himself so he can look her in the eye. He takes a moment - like he’s composing himself - before speaking.
“Miss Ritchi—”
“Roxanne.”
“What?”
“Call me Roxanne. Please. Considering the circumstances it only seems right.”
He looks at the scissors in his hand, then to her dress, then back to her face. “If anything,” he says, “this seems like a circumstance in which I should be calling you Miss Ritchi.”
“We’ve known each other for too long for you to call me Miss Ritchi, Megamind. It’s fine.”
“I’m don’t thi—”
“It’s fine.” He looks chastised - almost hurt. Guilt bites at her. “Sorry. I… you were going to say something?”
“It’s irrelevant.”
“No, it’s not. What was it?”
“Miss - ah - Roxanne. If you’re uncomfortable with me being here… I can go. It’s fine. I’m sure you’re capable of this,” he gestures at the scissors in his hand, “yourself. You can just… leave the dress somewhere and I’ll have a brainbot pick it up later. Or not, if you’d prefer.”
She frowns. “Megamind, I asked you for help.”
“Yes, but… you can change your mind. Tell me to leave. I don’t want you to think…” he trails off.
“Think what?” He doesn’t respond. “Think what, Megamind?”
“That I’m a threat.”
“What?”
"When you left I… I turned the movie back on." He says it like a confession. Roxanne’s stomach drops. Shit.
"Ah…" She chews her lip, "Look, I can explain…"
He shakes his head. "You don't need to explain anything, Miss Ritchi. I understand."
"You… you do?"
"It's… understandable. The way you… ah… the way you feel."
This is not what Roxanne is expecting. "You don't think I'm, you know. Weird? Or… creepy?"
He frowns. “I… what? No, no of course not. It’s… it’s only natural. I mean... ” He appears to be thinking, choosing his words carefully, “Considering what you’ve been… what I’ve put you through…” He rubs his hands together, nervously. “I understand.”
She blinks. “What?” She’s starting to feel like a stuck record.
“You don’t have to pretend, Roxanne. You don’t have to lie to me. And you don’t have to be brave, either.”
Roxanne has no idea what he’s talking about. “Brave?” She repeats, weakly.
He sighs, like she’s being deliberately obtuse. “I saw what you were watching. And, honestly, you claim that you were happy, or… or something, but I saw how upset you were, too. And… humans get upset when they're worried, or sad, or…” he looks away, looks at the floor, “scared.”
And then it all clicks into place - his hesitance, his uncertainty, the way he’d balked when she’d joked about him not stabbing her. For the second time, she feels horribly guilty. Guilty, but - confused. Almost amused. How could he possibly think she was scared of him when he can see the evidence of her borderline obsession staring him in the face?
“I don’t…” she starts, unsure, “Megamind, how… Why would I…” She stutters, tripping over her own words. "We can't… You can't just…" She starts wringing her hands in the air, "You can't just say that, while ignoring the… the fucking elephant in the room!"
Megamind seems unfamiliar with the phrase. It pulls him out of whatever thought he was having. "The what now?"
"The… oh, Jesus Christ, Megamind. The fucking…" She raises her hands to cover her face, her palms pressed against her eyes. "The tattoo!" She sighs, finally. "We both know you've seen it. I promise you, Megamind, I’m not scared of you. I’m not… trying to be brave, or spare your feelings. But how could you stand there, and see it, and still think that?”
“Well, ah - coping mechanisms, you know, and…”
She raises her eyebrows. “And?”
He sighs. “And… and the piece is fully healed, but the ink shows signs of spread. There’s patchiness, a sign of wear, where your clothes rub against it, which is typical of a piece that’s roughly…” he does a quick calculation, “ten years old? Give or take?”
She stares at him, dumbstruck, and he continues.
“You could have gotten the tattoo itself several years ago, before… all this, but haven’t been able to have it covered since coming to Metrocity. That would make sense, of course, as you’re you, and if word got out that you had… this tattoo, even if it was an old tattoo, then that would be… well, it wouldn’t be particularly good for your public persona, I think we can both agree.”
“I… yeah.”
“So.” He folds his arms across his chest like he’s just won the argument, “Like I said. There’s… an explanation. If one is needed.”
Roxanne chews on her lip. “That’s not… that’s not it, though. That’s not why I’ve not gotten it covered. I mean - there’s other cities out there, you know. I could have gone to another state…”
“I… suppose.”
“I’m not… all these things you think about yourself, Megamind, they’re not—” she suddenly realises she’s about to be horribly offensive, considering his career choices, and attempts to reign herself in, “You are scary. Sometimes! But it’s not because you’re an alien, it’s because of, you know, the death-rays and the laser guns and the continual attempts to kidnap me and take over the world! And even then, Megamind, even with all of that… I still trust you.”
“... Oh.”
“And, honestly? The tattoo? I can’t stand acting like it isn't there and like it isn't super weird, so if you're gonna say something or…" She swallows, "… or realise that I'm a complete lunatic and leave, then…do it now. Get it over with."
“You’re a lunatic?”
“I - well - well, yes! Probably!” She throws her hands into the air in frustration. “Megamind, you walked in on me sobbing because of a movie about aliens, and then - as if you needed further proof that I’m mad - discovered that I have an alien tattoo!”
“It is a little…”
“A little what? Weird? Creepy? I swear, Megamind, I never came to Metro City expecting this to happen, if that’s what you’re—”
“...Flattering.”
She chokes back whatever she was about to say next, the words suddenly forgotten. She feels her face turn red.
“Roxanne, I… I’ve been here - here on Earth, I mean - since I was a baby. It’s all I’ve known. And being like me…” he still has the scissors in his hands, and he begins to fiddle with them. “People are scared. Disgusted. Confused, angry, horrified… They see the head, and the skin, and the eyes, and, shit…” he chuckles, and Roxanne realises this is the first time she’s heard him swear, “and all the things that come with my biology that virtually no one knows about, and... perhaps they’re right to be scared. I’m not normal. I understand that.”
“But you’re not—”
“But I am. I don’t fit in, certainly not like your perfect boyfriend does. I’ve come to peace with that. That’s why I’m here, after all. It’s why I do what I do.”
There’s too much to unpack there - too much raw truthfulness - but Roxanne hooks on to the one thing she knows isn’t true.
“He isn’t…” She pauses. May as well spill all the secrets. “He isn’t my boyfriend.”
This seems to hit him harder than the sudden revelation that she’s a secret alien fan-girl. “He what?”
“He’s not my boyfriend. Honestly, I don’t want him to be, either. He’s annoying. Don’t tell him I said that," she adds, quickly.
“But—”
“I also don’t want to talk about it,” she says, as Megamind gapes at her, utterly lost. “You can ask me later. Okay? Not today.”
“I… yes. Okay. Yes.”
“What were you saying?” She prompts, softly, “before I uh… before I told you my second biggest secret?”
He shakes his head, with a small laugh. “I was saying… I know that I’m alien. People are scared of me. But…”
“But?”
“... it was worse. Thinking that you were, too. Not because of the death threats and the traps and the kidnappings, but because of… of me.”
Roxanne smiles. “Well… I don’t. The opposite, really. Is it… is it weird?”
“That depends.”
“On?”
“On who you ask. I assume… no one else knows about the tattoo?”
“No one apart from the person who came with me when I got it,” she says, shaking her head.
“And they’re..?”
“She’s good at keeping secrets. And lives three and a half thousand miles away. She won’t tell anyone.”
“Right.”
He looks unsure, and she feels awkward, exposed, just standing there. “You’re sure it’s not creepy? Or… disrespectful? I don’t want it to be, I don’t know… offensive? When I got it I wasn’t exactly planning on meeting any actual aliens…”
That makes him smile. “No, I suppose you weren’t. It’s fine. Did you… did you want to meet actual aliens?”
“Well, yes,” she says, “but I never anticipated one being so… close.”
He smiles, and she bites her lip. There’s a soft pause - not awkward, not stilted. Just there.
“Oh!” He says, suddenly remembering, “Your dress - do you still need me to…”
“Oh! Right!” She shakes herself out of the comfortable thought, trying to ground herself back in the present, “Yes, if that’s okay?”
“Yes, right…”
She’s struck with a thought. “Wait!”
He freezes, immediately. “Yes?”
“I assume you were here to kidnap me?”
He looks a little surprised.
“Well, yes, that was rather the point of bursting in through the top-floor balcony. However…” he peers at his watch, which lights up in neon blues as he raises his wrist, “I fear the time window may have passed…”
Roxanne raises her eyebrows. “There was a time window? What were you even planning?”
He lowers his wrist and straightens his back, smugly. “Roxanne, really. You’ll have to wait and see. It’s easily rearranged.”
She rolls her eyes at the familiar, easy banter but doesn’t comment on his stubbornness.
“Fine,” she says. “Um. Do what you need, then.”
She gestures vaguely and he approaches once more. Roxanne finds herself holding her breath as his hands hover above the dress. This time, he doesn’t speak, just begins to work at the stuck fabric. He pulls the zip aside and she bites back a gasp as the cool metal of the scissors glides across her skin. Megamind goes still, for a second, clearly reacting to her instinctual response.
“Perhaps…” He’s muttering to himself, one hand still holding the zip, the other the scissors. He’s close enough that Roxanne can feel his breath on her skin. She hopes he can’t see the goosebumps that are raising on her arms, glad he can’t hear the way her heartbeat is absurdly picking up.
He’s never been so close.
And then, instead of pressing the edge of the scissors to her ribcage like he’d done before, he plucks at the fabric, pulls it away, and slides two fingers beneath it, his skin brushing - pressing - against the sensitive skin below.
Roxanne’s skin is on fire. Every inch of her - from the place where Megamind’s fingers are pushed against her skin to the tips of her fingers - is suddenly alert, tingling. Until now, she’d been happy enough to push any lingering thoughts of him to the back of her mind, to pretend it was nothing more than a foolish infatuation - like being a teenager again. But now she can’t ignore it, and she can’t pretend her body isn’t reacting to his touch, that she isn’t lighting up from the inside.
He begins to work, cutting through the fabric of the zip, using his fingers to protect Roxanne’s skin from the blades. He moves slowly, meticulously, avoiding the expensive fabric of the dress. As he moves lower, Roxanne can feel her heartbeat in her wrists, in her neck. The end of the zip is nestled in the curve of her hip, and his hands are drifting ever-lower. She wonders if he too is silently panicking, if he’s holding his breath like she is, standing deliberately still, too far into the task to stop now.
Neither of them speak - him working, her watching - and soon his hand is resting against her side, the heel of his hand leaning lightly against her hip and his fingers still held to her skin. The moment when he cuts away the bottom of the zip, snipping into the thick material in sharp right angles, lasts an age. She’s desperately aware of how close he is, how if he only moved a little further south his fingers would be slipping beneath the soft satin fabric of her underwear.
That thought sends a hot little rush to her core, and there’s a tightness in her stomach. She flexes her free hand - the one facing away from him - trying to distract herself. It would not do to throw herself at her would-be kidnapper.
And then it's over, and he’s moving back up, silently slicing through the material. He cuts through the final few inches and - with a low, long sigh - leans back, the destroyed zip in one hand and the scissors in the other. Roxanne quickly grabs the sides of the dress, holding it together, trying to retain at least a modicum of dignity.
Her face must be scarlet, she knows, her breathing heavy. His breathing is odd too - she was right, she realises: they were both holding their breath.
Finally, Megamind backs away, and she can properly look at him. She wants to say - wants to do - but she doesn’t know what. Before she can move, he speaks.
“There. You should be able to, um…” He’s blushing furiously, twisting the zip around his naked fingers. “That is…”
She’s not used to him like this. Usually he’s in control, sure of himself and what he’s doing next, even when his plans have failed and his inventions are burning around him. But now he’s stuttering and hesitant, utterly unsure.
Roxanne attempts to take control of the situation, despite feeling as flustered as he looks.
“Thank you,” she mutters, and her faux confidence falters almost immediately, making her voice sound low and hoarse. She clears her throat and tries again. “I… thanks.”
She wonders what he’d do if she asked him to stay, what he’d do if she simply pulled off the dress right in front of him, what he’d do if she kissed him.
She doesn’t do any of those things.
“I’ll just get changed,” she says, trying to keep her voice even, “and you… can wait downstairs?”
“Yes! Yes, I will… do that. Yes.”
His eyes are wide, pupils expanded and dark, ears purple. He heads back to her dresser, putting down the scissors and picking up the gloves. As he moves back to the door, he steps on a shard of glass that crunches loudly beneath his boot, making them both jump. The sound seems to startle him, and he dashes from the room. She can hear him thundering down the stairs.
As soon as he’s gone, she sighs, relaxing. That was… new. She wants to chase the feeling, but fear gnaws at her. What if she read him wrong - what if his reaction to their closeness was just concern. He’d seemed anxious enough when they’d been speaking, worried that she was scared of him: it would make sense if he’d spent the past ten minutes paralysed with fear, not with the excitement currently flowing through her own veins.
She shuffles out of the dress, carefully pulling it over her head and placing it down on the bed. She moves between the shards of mirror that still litter the floor and grabs the sweater and leggings she’d thrown off earlier, tugging them back on quickly, trying not to let herself think about doing anything rash. She slips on her slippers to better protect the soles of her feet from the glass, grabs the now destroyed dress and then, after another deep breath to steady herself, follows Megamind downstairs, intending to find the dustpan so she can clear up the glass.
To her surprise, Megamind is already using it - or rather, a brainbot is using it, darting around her living room and sweeping up spilt popcorn while making happy little beeping noises.
“Ah…”
Megamind and the brainbot both spin to look at her. Megamind is looking a little guilty. His gloves, she notes with disappointment, are back on his hands. The absurdity of the little scene is enough to break her from her thoughts.
“What happened?”
“There was an… accident. When I heard the crash, I came running…”
“And spilled my popcorn all over the floor?”
“Something like that.”
She shakes her head. This, somehow, is the least unusual thing that’s happened to her today. The brainbot, now finished with its job, floats past her with a nod and a bowg, then deposits the popcorn in the trash can in her kitchen. She can’t help but watch, fascinated, as it hovers back towards Megamind, ready for the next instruction.
“Well done, number fifteen!” He coos, patting the brainbot on its glass domed head like it’s a well-behaved puppy, “Very nice. Now, I need you to go up to Miss Ritchi’s room to clear up some smashed glass. Understood?”
The brainbot bounces in the air a couple of times, then zooms up the stairs, still trilling. Megamind spots Roxanne’s expression.
“It’s perfectly safe,” he says, “don’t worry.”
“Actually,” she says, “I was going to tell you off for calling me ‘Miss Ritchi’ again.”
“Oh, that?” He laughs, “No, that’s just programming. They’re - ah - programmed to respond to certain names. You’re hard-wired into the code as ‘Miss Ritchi’, I’m afraid.”
“Really? Why me?”
“Well, you spend more time around them than anyone else, other than myself or minion. Makes kidnappings go smoother, you know. Less likely to… ah… target the wrong person.”
“Has that happened?”
“Nearly happened. Once.”
She frowns. She doesn’t like the thought of him kidnapping someone else, and it has nothing to do with concern for some poor unsuspecting soul who doesn’t know him like she does.
“Right,” she’s unsure of what else to say. “So, ah…”
There’s another crash from upstairs, and then the Brainbot returns, the dustpan full of shards of mirror. They both watch as it quickly tosses the glass into the trash can, then zooms back upstairs.
“I should go…”
“You can stay—”
They speak at the same time, cutting one another off.
“If you want—”
“I mean, if you’ve got somewhere to be—”
They both fall quiet. On the TV, the credits of the film are silently playing. Roxanne grabs the remote and pauses the DVD, then twiddles it in her hands, feeling uncharacteristically nervous.
“I don’t…” Megamind starts, voice quiet. Roxanne turns, and he tries again. “I don’t have somewhere else to be.”
“Okay. So…”
“Ah… what was it? The film?” He gestures at the TV.
This is ground Roxanne is more familiar with. “Oh! It’s, ah, Close Encounters of the Third Kind.”
He doesn’t seem to recognise the name. She frowns.
“From the 70s? Alien abduction, flying saucers, you know…” she hums the little five-note tune, “dah-dah-dah-bum-bum.”
“And it’s your favourite?”
She wiggles her shoulders in a so-so way. “One of them.”
“Are all your favourites about, ah…” He falters, falling silent.
Roxanne finishes the sentence for him. “Aliens?”
He nods, silently.
“At the risk of sounding like a weird fan-girl,” she says, slowly, “...yes.”
He doesn’t look scared, at least.
“If you like,” she says, quickly, before she can change her mind, “and it’s not too weird… stay. And we can watch one. Together. If that’s not…”
“Something a weird fan-girl would say?”
She feels herself blush. “I was going to say ‘uncomfortable for you’, but… yeah.”
“Well I…”
He hesitates, and in the moment of silence the Brainbot appears again. It makes that trilling little noise at them both again, before disposing of the last of the glass, dropping the dustpan and hovering expectantly in front of its master. Megamind seems to take advantage of its sudden reappearance.
“What a good little bot you are!” He says, once more petting it on the top of its glass dome, the lights inside flashing. “Well done!”
It bowgs again, its long metal legs twisting in the air, claws grabbing at nothing.
“I…” Roxanne watches. Megamind sets his shoulders - he appears to have made a decision. “Daddy’s got some more work to do here, okay? You go home, and tell Minion not to wait up.”
The Brainbot chirps.
“Yes, yes, I know what he’s like. Tell him it's fine. Oh, and one more thing…”
He takes the ruined dress from Roxanne’s unresisting hands and passes it to the bot, who takes it gently in its metallic claws.
“Give this to Minion, alright? Tell him I’ll explain later.”
The Brainbot spins, and then it wooshes away, out the still-open balcony door and away across the city.
“So…” Now he’s made a decision, he seems very certain - there’s swagger back in his step. “Which would you recommend?” He says, lowering himself down onto the couch.
He talks confidently, but Roxanne can’t help but note how close to the edge he’s sitting - how unused he is to this sort of casual friendliness. It’s like he’s anticipating that she’ll kick him out at any moment.
“Let me think...” she turns away from him, back towards the kitchen, where she reaches into the cupboard and grabs another bag of popcorn, throwing it into the microwave.
She mentally skims through her favourite films, wondering what might be best. And then…
But no, she can’t. She shouldn’t.
She peers over her shoulder at the alien man sitting on her couch, legs crossed, fingers twitching on the armrest. It wasn’t so long ago that those fingers had been pressed to her skin, gently tracing down her ribcage, cool and soft and tempting.
...Fuck it.
The microwave pings. She grabs the popcorn, along with another bowl, and strides towards the couch.
“Tell me...” she says, handing him the bowl and popcorn then reaching towards her little collection of DVDs. “Have you ever heard of Avatar?”
Megamind pauses, pouring the popcorn into the bowl. “I can’t say I have.”
Roxanne prays that she isn’t blushing. “Well, then,” she says. “Let’s start there.”
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Rules:
You can only have one answer to each question.
The questions are aimed generally at every single movie or TV Show you’ve ever saw in your life, so take your time and have fun.
Tag five people to learn about some more memorable movie experiences.
Tagged by @i-own-loki  
Favourite movie: I don’t have a clear favourite, more like a bunch of movies I love for different reasons. I’ve mentioned several in my responses below. One I haven’t mentioned is UP. For an animated movie, it packs a huge emotional punch: within the first ten minutes I’d laughed out loud and sobbed my heart out. Outstanding.
Favourite TV show: Northern Exposure. It was warm, whimsical, and utterly wonderful in every way with some of the most endearingly flawed, lovable, and surprising characters and relationships. It was completely unique and influenced many other shows I love. If you enjoyed Sense8 for its diversity and empathy, and Jane The Virgin, Galavant, Moone Boy, or the English movie Saving Grace for their warmth, humour, and magical realism, give it a go.
Favourite TV Show episode: It’s hard to choose between The Musketeers S03E06 Death of a Hero, which was a simply superb piece of storytelling, and OUAT S03E11 Going Home. If forced to choose, I’ll go with the latter because of the emotional punch it packed. Snow & Charming giving up their daughter again, Emma being ripped apart from her family, her moment of admission of her feelings for Hook, Regina giving up Henry and gifting Emma happy memories, Emma and Henry driving away and everything fading behind them. It was devastating and brilliant, and I almost wish OUAT had ended there so Emma didn’t have to suffer again.
Two characters who never canonically met but you still ship them: Season 2 Hook from OUAT and Season 1-2 Athos of The Musketeers. Drowning their bitterness and self-loathing in alcohol and sex until Emma and Sylvie come along and make them want to be better men.
Favourite battle scene: The final battle in Rogue One, from the moment the rebels landed on Scarif to the moments they all died. Way to rip my heart open. Stupendous. 
Favourite kiss: Emma and Hook’s first kiss in Neverland. That shit was hot! Turns out none of us could handle it.
Favourite sex scene: I generally prefer sex scenes that are left to my imagination. For example, Darius and Grace in Salvation S01E08 From Russia With Love - the whole set up was perfect: talking about what they’d miss most, dancing to Ella Fitzgerald, "Permission granted.”, “For then or now?” It turns out they didn’t actually have sex, but it sure as hell seduced me! 
One iconic move: Sandy pulling the cigarette out of her mouth, grinding it into the ground with her stiletto, then kicking Danny in the chest in Grease. “ You better shape up, up, up, up...”
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A plotline you hated: The Rumbelle relationship in OUAT, especially from Season 3 onwards. I hate how abusive relationships are increasingly being portrayed as romantic (think Twilight, Fifty Shades, etc.) and how stalking and emotional abuse is being dressed up as the kind of passion to be aspired to. It pains me that young impressionable women are growing up romanticising relationships with narcissists. I loved how Big Little Lies blew that crap apart. 
Favourite soundtrack: Monsters Inc. for the sheer joy of it.
Favourite quote: Dr Ian Malcolm in Jurassic Park: “Your scientists were so preoccupied with whether they could, they didn't stop to think if they should”. Replace the word ‘scientists’ with ‘politicians’ ...
A character you think would have been better if they were from the opposite sex: None that spring to mind, but I’m looking forward to seeing Jodie Whittaker as the first female Doctor Who. 
A character you think should have died for the sake of the story: all the male clones in Orphan Black. Tatiana Maslany and the other four seasons were amazing, but I wish we could have skipped the whole mess that was Season 3.
A side character you think should have been the protagonist: I'd absolutely love to see a spin-off from Doctor Who called The Adventures of River Song (no, we can’t call it The Time Traveller’s Wife!). I loved every appearance by Alex Kingston in that role. In every role, frankly. She’s a goddess.
A protagonist you think should have been a side character: Dawson. Urgh, he was so annoying. It should have been Pacey’s Creek.
A completely unnecessary and annoying character death: Dr. Mark Greene in ER. I mean, seriously... WTF?! Heartless bastards. How could you do that to Elizabeth? To us?!
Favourite plot twist: Jamal’s brother Salim unexpectedly coming good and sacrificing himself to give Latika the chance to get away in Slumdog Millionaire. The moment I realised what he was going to do, I was an emotional wreck. That's one hell of a redemption.
The type of character you always go for and love: The anti-heroes. The guys (and gals) who dance to their own tune and don’t play by the rules but have their own code and always come through for their people: Spike, Hook, Han & Indi, Hawkeye Pierce, Baloo, Flynn Rider, Megamind, Grue, Merida, Sarah Manning, Anne Bonny, etc.
A movie you would love to watch in another genre: An Annamis & Constagnan-centric Bollywood version of The Musketeers (the BBC TV series, not the movie - being a rebel here! - with the original cast) would be hugely fun! I think it would translate beautifully: the moustaches, the costumes, the choreogaphed sword fights...
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randomrichards · 5 years
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MOVIES (THAT MIGHT BE) WORTH CHECKING OUT IN JUNE 2019:
June 7:
DARK PHOENIX
We begin with the last part of the X-Men prequel series.
Led by a young Professor Charles Xavier (James McAvoy), a small group of young mutants have grown from students to superheroes. They can even travel to space to rescue astronauts. But one interstellar mission goes wrong when telekinetic psychic Jean Grey (Sophia Turner) absorbs a mysterious energy. She not only survives, but she’s become more powerful. But this power begins to corrupt her mind, which attracts the attention of a mysterious woman (Jessica Chastain). Soon she becomes the destructive force known as the Dark Phoenix. Now her friends and mentors must decide how to stop her. Charles and Jean’s boyfriend Scott “Cyclops” Summers (Tye Sheridan) try to save her from the corrupt energy. Metal-bending holocaust survivor Erik “Magneto” Lehnsherr (Michael Fassbender) believes the world can only be saved by killing Jean. We also see the return of fan favourites including Peter “Quicksilver” Maximoff (Evan Peters), Raven aka Mystique (Jennifer Lawrence), Hank “Beast” McCoy (Nicholas Hoult) and Ororo “Storm” Munroe (Alexandra Shipp).
Dark Phoenix saga is considered one of the most beloved X-Men stories of all time. It was the story that made Jean both a complex character and one of the most powerful characters in the Marvel Universe. Fox Studios tried their hand at the story in X-Men: The Last Stand. The results were less than stellar. If they fail the second time, there will be hell to pay from the fans.
That’s where Simon Kinberg comes in. This will be his directorial debut after writing previous X-Men movies. This is a mixed bag. On one hand, he wrote one of the best X-Men films; Days of Future Past. But he also wrote the Last Stand as well as the underwhelming X-Men: Apocalypse. It also doesn’t help that he wrote Fan4Stic and This is War. So, we’re just going to have to wait and see if it will live up to the legendary story.
LATE NIGHT
Mindy Kaling draws inspiration from her early years as a TV writer for Saturday Night Live and The Office for this career-driven comedy.
It looks like Molly Patel (Kaling) is on her way to becoming a tv writer when she gets her first writing gig as staff writer for “Tonight with Katherine Newberry.” But she already feels out of place as the token hire in a room full of white male Harvard grads. It doesn’t help that the host(Emma Thompson) is a real hard ass. Unfortunately, Katherine has her own problems. She’s plummeting in the ratings and if she doesn’t turn it around, she will be gone in a year. In desperation, Katherine seeks advice from her writers to spruce up her image. It looks like the beginning of a beautiful friendship.
Many will notice parallels between Late Night and the Devil Wears Prada. Like the later, Late Night centres on a naïve young woman dealing with an over demanding boss in their attempt to achieve her dream job. As you may already know, The Devil Wears Prada was a surprise hit thanks to Streep’s unique portrayal of feared fashion magazine mogul Miranda Priestly and there were a few attempts to replicate it. The result is hit and miss at best.
For this to succeed, both the writing and the performances must click. The script needs to have a clear understanding of the business it’s portraying. With this in mind, Kaling has an advantage with her experience as both a tv writer of The Office and the creator of The Mindy Project. But writing for a weekly sitcom is a little different from writing for a daily late-night show.
The most important character to get right is the boss. The writing must make this character entertaining, with many hilarious lines for the actor to deliver. Plus, the audience must buy that this character has earned respect in the business. As for the actor, she not only have to deliver a hilarious performance, but must also bring some humanity into this archetype. Not only did Streep provide a unique spin to the Boss from Hell with Priestly, but she also made the character human. If anyone can provide the same quality, it’s Thompson.
THE SECRET LIFE OF PETS 2
Illumination takes us back to their surprise hit about what pets do when the humans aren’t allowed.
While the first film centres on one storyline, this one seems to be divided the film into multiple stories. The first plot centres on canine protagonist Max (Patton Oswalt replacing Louis C.K.). He has gotten used to new dog Duke (Eric Stonestreet), but now he faces the idea of his owner Katie (Ellie Kemper) getting married and having a kid. But on the plus side, they get to go on a road trip to the countryside. But that goes downhill when Max gets terrorized by a turkey. In desperation, he seeks guidance from stern top dog Rooster (Harrison Ford) to overcome his fears.
Meanwhile, Max’s friends are having their own adventures. Max’s toy is left in a cat lady’s room and Max’s love Gidget (Jenny Slate) disguises herself as a cat to get it back.  At the same time, deranged bunny Snowball (Kevin Hart) has gone from freeing pets to playing superhero for a little girl. But he seizes the opportunity to be a real superhero when a dog named Daisy (Tiffany Haddish) calls on him to rescue a white tiger named Hu from a circus.
When Illumination introduced the world to Gru and his Minions with Despicable Me, it felt like the animation world has a new voice. With a collection of memorable characters, fast-paced visual gags and a unique, hipster-esque look, the film seemed like a breath of fresh air, especially compared to the similar film Megamind. Since then, the film has presented one hit film after another, especially the Secret Life of Pets. Then audience members began losing patience for Illumination for two reasons. First reason was the Minions. At first, they became fan favorites of Despicable Me.[1] But then they were everywhere, from carnival prizes to memes. Overexposure set in and no one could stand them anymore.
Another problem was that Illumination played it too safe with their movies. They play it too safe with their budget, creating each film with a much lower budget than most animated movies. While it’s miracle for an animated film to be made on a low budget, the result is less impressive animation and more rehashed character designs. Just as unimpressive is the storytelling, which most often uses tired tropes with little refreshing spin on it. The Secret Life of Pets itself was accused of being a Toy Story rip off. Apart from the Despicable Me movies, Illumination Movies are considered mediocre at best.
It’s important for filmmakers to grow as artists to avoid becoming stale and complacent. But I’m not holding my breath in this case. I will say this film may serve as a good afternoon out for the family.
June 12:
ROLLING THUNDER REVIEW: A BOB DYLAN STORY
Coming to Netflix is this rockumentary from Martin Scorsese. Need I say more?
Scorsese had already made a documentary about Bob Dylan with No Direction Home. Now he narrows his focus to Dylan’s 1975 Rolling Thunder tour.
As if I need to defend interest in this movie. It’s Martin Scorsese after all.
June 14:
AMERICAN WOMAN
Sienna Miller plays Deb, a blue-collar woman struggling to make ends meet in a small Pennsylvanian town. She faces her worst nightmare when her teenage daughter goes missing, leaving Deb with her grandson. The film takes place over 11 years as Deb raises the baby and tries to find closure with her daughters’ disappearance.
American Woman’s already garnering acclaim from its premier at last year’s Toronto International Film Festival, especially from Miller’s performance as a desperate mother. It looks like the film will hook us into the desperation of a woman trying to keep a roof over her head. We may also see a realistic look at the struggle of living in poverty. In these moments, we may also see the strength that allows people like Deb to survive in such environments.
Sadly, it looks like this one will be swept under the radar unless Miller gains awards consideration.
THE DEAD DON’T DIE
Jim Jarmusch takes an unexpected turn into Zombie comedy with The Dead Don’t Die.
The little town of Centreville finds its peaceful existence threatened when zombies rise from the grave. That’s the plot in a nutshell. What could make this film stand out is the quirky characters including Bill Murray as Police Chief Cliff Robertson, Tilda Swinton as katana-wielding mortician Zelda Winston and Iggy Pop as a coffee-loving Punk Zombie. Also, among the cast are Adam Driver, Steve Buscemi, Danny Glover, Selena Gomez, Carol Kane, Rosie Perez, RZA, Chloe Sevigny and Tom Waits.
This is probably the least likely film for Jarmusch to make. He’s usually known for droll character studies. His films do have humor, but it’s usually low key. The trailers make this film seem like a broad comedy. I suspect this could be a trick by the trailer considering I see a few of Jarmusch’s trademarks; droll acting, eccentric characters and roles played by musicians.
I suspect that Jarmusch loved how George A. Romero inserted satirical commentary into the Zombie Genre because you can see similar elements in this film. Both films have zombies copying activities they’ve done in life. In this case, we see zombies holding cell phones and drinking coffee. It would be interesting to see what satire Jarmusch puts into the film.
MEN IN BLACK: INTERNATIONAL
We return to the intergalactic secret agency, though without Agents J and K.
A young woman (Tessa Thompson) has found the MIB Agency after decades of searching. This impossible accomplishment impresses Agent O (Emma Thompson) so much that O recruits her under the name Agent M. Her first assignment takes her to London, where she’s teamed up with leader High T (Liam Neeson) and fellow Agent H (Chris Hemsworth). Their case brings him face to face with the Hive, a gang of shape-shifting aliens. Cue an array of giant laser guns, flying cars and noisy crickets.
A spin off to such a successful franchise is a huge gamble. The chances of success are very slim[2], especially when the original films starred one of the most charismatic actors of all time. Yes, Hemsworth, Neeson and the Thompsons have a lot of charm, but filling the shoes of Will Smith and Tommy Lee Jones is a daunting task. The film seems to have potential with a variety of environments, creative weapons and creative alien designs. Plus, it looks like the little alien Pawny (Kumail Nanjiani) could be a potential scene stealer.
There is hope in the form of Director F. Gary Gray. He’s proven his skills as an action director with The Fate of the Furious as well as underrated gems like The Italian Job and Set it Off. He’s also proved he can direct comedy via Friday. With this resume, it seems fitting for him to direct a movie like this. It may not hold a candle to the original, but at least this film looks like it will be entertaining.
June 21:
ANNA
Luc Besson really loves himself some lady killers, doesn’t he?
This time the lady killer is Anna Poliatova (Sasha Luss), a former Russian model turned Government assassin. There’s not much known about the plot beyond her boss (Helen Mirren) sending her to a job in Paris. It’s certain to involve Luke Evan’s character. It also looks like the film will be structured around an interrogation between Anna and Cilian’ Murphy’s agent.
But let’s be honest, you don’t really watch a Luc Besson film for the plots. You watch it for the badass action scenes and eye-catching visuals. The trailer certainly delivers on these, with one standout fight scene in a dining room, cultivating in Anna killing bodyguards using broken plates..
The question is if the plot is engaging enough for us to sit through two hours? Or should we just wait for the dining room fight scene to appear on YouTube? Unfortunately, his films have been lacking in quality in recent years. This one could turn it around, but I suspect this is another example of a director letting his style run amok at the expense of storytelling.
CHILD’S PLAY
Chucky returns to the big screen after a couple straight to video sequels.
Many of you know the story like the back of your hand. Single mother Karen Barclay (Aubrey Plaza) buys her son Andy (Gabriel Bateman) a Chucky toy. Then one night, Andy’s babysitter’s found dead outside of her home. And as everyone knows by now, it turns out the Chucky Doll (now voiced by Mark Hamill) is possessed by a serial killer who’s determined to pass his soul into Andy.
Like many horror fans, I’m tired of all the remakes of horror classics. Everyone knows they are lazy cash grabs. They are especially unnecessary we are seeing a growing number of original horror movies.
I will admit I find the idea of Chucky connected to the technology ala Alexa interesting. To think of him manipulating the environment present opportunities for more original kills.
This film will mark the first time Chucky’s not voiced by Brad Dourif. I have high hopes for Hamill, but like Freddy Krueger, you can’t imagine anyone else playing these characters because the original actors made the characters their own. You only hear Chucky’s voice at the end of the latest trailer, and it sounds a lot like Dourif’s. But it’s not enough to judge Hamill’s performance. I’m still not holding my breath.
THE COMMAND (or KURSK)
On one Saturday morning of August 2000, an explosion sends the 2000 K-141 Kursk to the bottom of the sea. Now Mikhail Averin (Matthias Schoenaerts) and fellow German sailors fight for survival. Meanwhile, Mikhail’s wife Tanya (Lea Seydoux) fights to get the Government to save her husband. British Commodore David Russell (Colin Firth) offers his men and equipment to rescue them but the bureaucracy led by Vladimir Petrenko (Max Von Sydow) prevent them from doing so.
Drawing from Robert Moore’s non-fiction book A Time to Die, The Command brings an unflinching portrayal of Government negligence putting innocent lives at risk and average people putting up a fight for those they love.
Director Thomas Vinterberg has had a fascinating career. He’s started out as one of the founding members of Dogme95, a film movement that involves making films as realistically as possible. Not only were you required to shoot improvised and on location, but you couldn’t even move the set pieces or use film lighting. This led to his most acclaimed film Festen (or the Celebration), an unflinching drama about a party where the staff helps a man reveal that his father molested his sister and drove her to suicide. But in recent years, he has flipped between sticking to his roots with the recent film the Commune and his Oscar-nominated film the Hunt and period dramas like Far from the Madding Crowd and this film. He’s proven himself just as skills with conventional films as he is with his Dogma.
This film has a better chance of gaining attention since it’s an English-speaking film. But this may be another film only show in arthouse theatres.
TOY STORY 4
Pixar returns to the film that jump started the revolution of CGI animated classics.
Woody (Tom Hanks), Buzz (Tim Allen) and their friends are enjoying their new roles as Bonnie’s toys. Now Emily’s new toy includes Forky (Toby Hale), a neurotic toy made from a spork, popsicle sticks and googly eyes. Woody makes it his duty to protect Bonnie’s new favourite toy. But Forky would rather be a disposable utensil than a toy. During a road trip, Forky hops out the window to freedom and Woody jumps out to get him back. Of course, they end up lost and need to talk a long journey back. Their long walk leads them to Grand Basin, a small town where a carnival’s taking place. That’s where he reunites with his old flame Bo Peep (Annie Potts), who enjoys an independent life alongside other antique toy. He also encounters arrogant Canadian stunt toy Duke Caboom (Keanu Reeves) and a creepy doll Gabby (Christina Hendricks), who’s determined to keep Woody at an old antique shop alongside her creepy Dummy henchman.
Meanwhile, Buzz is at Grand Basin to look for Woody. His attempts are undermined by the carnival, especially two hostile plushies Bunny (Jordan Peele) and Ducky (Keegan-Michael Key).
When Toy Story came out, it revolutionized the animation industry. Not only was it the first CGI-animated film, but it put Pixar on the map as a force to be reckon with. It also set a standard in storytelling for the later films to reach, which it kept surpassing with each sequel. Then it hit its highest peak with the third movie, which served as the perfect send off.[3] It’s exciting to return to the series. Albeit, there are some reservations about making a fourth movie, especially with how perfect Toy Story 3’s ending was. But with Andrew Stanton (co-writer of the original trilogy and the Director of Finding Nemo and Wall-E) co-writing the script alongside Stephany Folsom, I have a lot of hope for this one. And many want this to succeed.
WILD ROSE
A Scottish woman becomes a Nashville country singer. A feel-good premise like this is sure to make audiences curious.
The singer in question is Rose-Lynn Harland (Jessie Buckley), a troubled ex-con struggling to feed her family in Glasgow. Now she faces many struggles to get back on her feet and achieve her dream. Considering the fact many country singers were ex-cons, it looks like she’s off to a good start.
Audience members love themselves an underdog story and this one seems like an entertaining one. Plus, Buckley’s garnering acclaim for her performance. If this film gets enough attention, this could be a sleeper hit.
June 28:
OPHELIA
Based on the novel by Lisa Klein, Ophelia retells the story of Hamlet from Ophelia’s point of view. This can either be compelling or blah. It depends on whether the writing can go beyond just being “Hamlet...but with Ophelia” and present a whole new perspective on the tragedy and bring new dimension to the characters. There have been successful attempts with Paula Vogel’s Desdemona: A Play about a Handkerchief and especially Tom Stoppard’s Rosencrantz and Guildenstern are Dead.
The question is, does Semi Chellas have what it takes to pull this off? The only real standouts in her resume are writing for Mad Men and the Romanoffs, which fit into the character-oriented drama like Ophelia. Director Claire McCarthy seems to do a lot of films of people traveling to foreign countries. Beyond that, nothing really stands out about her work.
What she does have going for her is an astounding cast including Clive Owen, Naomi Watts and Daisy Ridley taking on the title role.
YESTERDAY
What if you woke up one morning and found you were the only person who remembered the Beatles? That is what happens to struggling musician Jack Malik (Himesh Patel) when he goes through the classic trope of getting knocked upside the head and waking up in a world where weird shit like this happens. He takes advantage of this opportunity to claim credit for the songs and garner worldwide fame.
What does concern me is the premise can fill two hours of screen time. To me, this seems like it could fill a half-hour short film. It all depends on how engaging the characters are, especially Jack. If we can’t relate to him, it’s all over. There is hope with co-writer Richard Curtis, whose created classic romantic comedies including Four Weddings and a Funeral and Bridget Jones Diary as well as co-creating Blackadder and Mr. Bean. But he’s also written mediocre romantic comedies like About Time, so there’s no guarantee.
And then there’s director Danny Boyle, the man whose energetic directing style has provided such modern classics in every genre, whether they be anti-drug dramas (Trainspotting), biopics (127 Hours) or even an underdog story from India (Slumdog Millionaire). But his films have become more hit and miss lately, with no real standout since Steve Jobs.
There’s strong credibility but no guarantee.
[1] Most of this is because unlike other sidekicks, they contributed more to the plot beyond random gags.
[2] There are a few spin offs that succeeded both critically and commercially. Among them are Creed, Deadpool and Finding Dory.
[3] Plus, it’s the only sequel to win the Oscar for Best Animated Feature.
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