#Steve Harron

[chernobog13]

SHOWDOWN!

Image by Steve Harron.

[filmaticbby]

Aries: Tarantino, F. F. Coppola, Andrea Arnold, Eric Rohmer, Edgar Wright, Ruben Östlund, Josh Safdie, David Lean, Andrei Tarkovsky, Michael Haneke, Martin McDonagh

Taurus: Wes Anderson, Orson Welles, Sofia Coppola, Lars von Trier, Terry Zwigoff, George Lucas, Robert Zemeckis, John Waters, Frank Capra

Gemini: Fassbinder, Hideaki Anno, Makhmalbaf, Agnès Varda, Alex Garland, Clint Eastwood, Yorgos Lanthimos, Aaron Sorkin, Ken Loach, Alexander Sokurov, Giuseppe Tornatore

Cancer: Abbas Kiarostami, Wong Kar-wai, P. T. Anderson, Mike White, Ari Aster, Ingmar Bergman, Krzysztof Kieślowski, Paul Verhoeven, Robert Eggers, Béla Tarr, Mel Brooks, Ken Russell, Sidney Lumet, Kinji Fukasaku

Leo: Alfred Hitchcock, Greta Gerwig, Alain Robbe-grillet, Kubrick, Wes Craven, Taika Waititi, Luca Guadagnino, Christopher Nolan, Polanski, Sam Mendes, Richard Linklater, Nicolas Roeg, James Cameron, Pablo Larraín, M. Night Shyamalan, Iñárritu, Gus Van Sant, Peter Weir, Wim Wenders, Maurice Pialat

Virgo: Tom Ford, Joe Wright, Paul Feig, Dario Argento, David Fincher, Brian De Palma, Baz Luhrmann, Tim Burton, Friedkin, Takashe Miike, Noah Baumbach, Werner Herzog, Elia Kazan, E. Coen

Libra: Julie Dash, Almodóvar, Jacques Tati, Ang Lee, Michelangelo Antonioni, Ti West, Walerian Borowczyk, Nicolas Winding Refn, Satoshi Kon, Kenneth Lonergan, Michael Powell, Jacques Tati, Steve McQueen, Denis Villeneuve

Scorpio: Mike Nichols, Barry Jenkins, Charlie Kaufman, Céline Sciamma, Tsai Ming-liang, Jean Rollin, Scorsese, Louis Malle, Luchino Visconti, François Ozon, Julia Ducournau

Sagittarius: Sion Sono, Cassavetes, Raj Kapoor, Steven Spielberg, Eliza Hittman, Terrence Malick, Ozu, Alfonso Cuarón, Gregg Araki, Larry Charles, Judd Apatow, Kathryn Bigelow, Lenny Abrahamson, J. Coen, Jean Luc Godard, Diane Kurys, Ridley Scott, Lynne Ramsay, Woody Allen, Fritz Lang

Capricorn: Larry Clark, David Lynch, Harmony Korine, Damien Chazelle, David Lowery, Mary Harron, Sergio Leone, Todd Haynes, Pedro Costa, Gaspar, Noe, Fellini, Joseph Losey, Miyazaki, John Carpenter, Steven Soderbergh, Michael Curtiz, John Singleton, Vertov

Aquarius: Jim Jarmusch, John Hughes, Darren Aronofsky, Jodorowski, Michael Mann, Derek Cianfrance, Alex Payne, Truffau, Eisenstein, Tone Hooper

Pisces: Pasolini, Sean Baker, Paul Schrader, Bernardo Bertolucci, Benny Safdie, Jacques Rivette, Bunuel, Luc Besson, David Cronenberg, Spike Lee, Rob Reiner, Mike Mills, Sebastián Lelio, Jordan Peele, Ron Howard, Robert Altman

[melodymunson]

Get to know me

My name is Melody. I'm 33. I've been a Stranger Things since early 2017 and an Eddie Munson stan since May 2022. Writing requests for Steddie x reader, Steve x reader, Eddie x reader, Steve x Robin x reader are open! (Platonic Robin and Steve only.)

My former tumblr username was MelodyLangdon

About me: I’m a passionate concert-goer, a horror convention junkie, and a Halloween lover.

My favorite series are SAW, Texas Chainsaw Massacre, American Horror Story, Scream, Nightmare on Elm Street, Paradise City, South Of Nowhere, Rob Zombie’s Firefly family trilogy, and Hemlock Grove. I love thrillers and horror books and my favorite authors are Richard Laymon, Jack Ketchum, Megan Hart, Anne Rice, JRR Tolkien. My top favorite bands of all time are Type O’ Negative, Bullet For My Valentine, Otep, Manson, Rammstein, Motionless In White, Ice Nine Kills, Arch Enemy, Kittie, David Bowie, Motley Crue, Poison, Butcher Babies, Children Of Bodom, Apocalyptica, Raven Black, Straight Line Stitch, Depeche Mode, The Cure, and Ghost. Metal, punk rock, nu metal, thrash metal are my favorite music genres. The Soska Twins, Eli Roth, and Mary Harron are my favorite directors. My top favorite movies are American Mary, American Psycho, American Satan, 10 Things I Hate About You, Girl Next Door, Strangeland, Mistress Of The Dark. The coolest celebs I’ve met are Twiggy Ramirez, Tobin Bell, Manson, Otep, MIW, Butcher Babies, Elvira, Bill Moseley, Sid Haig, and Felissa Rose. My favorite actors are Keanu Reeves, Joseph Quinn, Joe Keery, Heath Ledger, Cody Fern, Bill Skarsgard, River Phoenix, Blake Lively, Megan Fox, Susan Sarandon, Amber Tamblyn, and Margot Robbie. 

I follow back any active Stranger Things blog/fan who interacts with me and is 18+. Ask box/inbox open to questions/asks. Minors, creeps, bots, and anyone who’s intolerant towards women, any racists, any anti- POC/WOC and anyone exclusive of any part of the LGBTQIA+ will be blocked no exceptions. Intolerant of intolerance and my blog is a safe space.

My favorite Stranger Things characters are Eddie Munson (obviously). Steve Harrington, Robin Buckley, 001/Henry Creel/Vecna, Joyce Meyers, Dustin Henderson, and Argyle.

Favorite ships and couples of ST: Steddie, Chrissy/Eddie, and  Nancy/Eddie/Steve/Robin (the fruity four).

I write and take requests for Chrissy/Eddie/reader, Chrissy/Eddie, Eddie/reader, Steddie/reader, Steve/reader, Robin/reader/Steve (platonic Steve+Robin ONLY), Chrissy/reader, and Eddie/reader/Corroded Coffin groupie.

Works in progress/completed: My first Eddie/reader fic was rockstar Eddie x reader headcanons. I have also published 2 Steddie/reader holiday fics on ao3, an Eddie/Chrissy/reader oneshot, Stobin/fem!reader, and a cheerleader reader/Eddie 3 part series. My ao3 username is MelodyLangdon. My next fics to be published will be an Eddie/reader/Corroded Coffin groupie. Rockstar Eddie/fem reader fic series in progress.

18+ only and preferably 21+ following me/interacting + reading my fics. No exceptions.

My newest fics: 

Steve/fem!reader/Robin https://archiveofourown.org/works/47570095

Older rockstar Eddie x younger fem!reader https://archiveofourown.org/works/47570314/chapters/119891428

My profiles/socials: https://bento.me/melodymunsonharrington

Masterlist: https://melodylangdonmasterlist.blogspot.com/2020/03/fanfics-masterlist.html

Moodboards: https://melodylangdonmasterlist.blogspot.com/2023/03/moodboards-for-stranger-things-fics.html

More moodboards: https://melodylangdonmasterlist.blogspot.com/2023/03/cody-fern-character-moodboards-for-fics.html

[internationalrealestatenews]

[ad_1] Cervera Actual Property is increasing to Palm Seashore. The brokerage, headquartered in Brickell and a longtime gross sales powerhouse for Miami's waterfront apartment towers, is opening workplaces on the island and over the bridge in West Palm Seashore, based on a press launch. Led by founder and Chairman Alicia Cervera and her daughters, managing accomplice Alicia Cervera Lamadrid and CEO Veronica Cervera Goeseke, the agency will open its workplaces at 250 Value Avenue in Palm Seashore and 600 South Dixie Freeway in West Palm Seashore by mid-March, a spokesperson confirmed. The agency owns the 1,700-square-foot workplace house in West Palm Seashore, and signed a three-year lease for the 1,000-square-foot Value Avenue workplace, based on a spokesperson. “We see fertile territory,” stated Cervera Lamadrid. For Cervera's specialty of promoting preconstruction condominiums, West Palm Seashore definitely has lots to supply. Hundreds of items are deliberate for the town's waterfront hall, catering to an inflow of luxurious consumers pushed by company relocations to the realm and the shortage of a state earnings tax. Since November, Steve Ross' Associated Firms launched gross sales for its deliberate South Flagler Homethe place costs vary from $5.9 million to $72.5 million for the penthouse, and Shorecrest, the place costs are $1.3 million to $9 million. Terra and Sympatico Actual Property are planning Cipriani-branded condos with costs beginning at $2 million. Cervera Lamadris stated the brokerage is angling to signify one of many many initiatives deliberate for West Palm Seashore. “Our hat is within the ring,” she stated. Whereas acknowledging West Palm Seashore's apartment increase, she emphasised the will of Cervera's brokers to maneuver into the market. Cervera tapped Julie Harron to guide the Palm Seashore workplace, and Susana Diaz Martinez to guide the West Palm Seashore workplace. Harron joins the brokerage after relocating from Chicago, the place she nonetheless hangs her license with Jameson Sotheby's Worldwide Realty. She is presently working with K2 Company Mobility to relocate a number of govt groups from Illinois to South Florida, based on the discharge. Harron stated she sees consumers coming to Palm Seashore from Chicago, New York, Dallas, London and Singapore. “There is a excessive stage of progress from the banking trade, funding trade, legislation corporations,” she stated. Cervera's growth is the most recent in a string of brokerage strikes, as corporations purpose to say dominance on the extremely fascinating Palm Seashore and West Palm Seashore turf. Earlier this month, compass relocated its island workplace to Value Avenue, signing a 10-year lease. Final 12 months, Serhant introduced growth plans in Palm Seashore County, and The Company expanded to Palm Seashore. Corcoran bulked up its management in its island workplace, including Marcia Van Zyl as senior managing director for South Florida and Ryan Fitzpatrick as regional vp for Palm Seashore. [ad_2] Supply hyperlink

[90smovies]

[headcanonsandmore]

Book!Ron meets Film!Ron

Book!Ron: Wow, mate; are you a model or something? 

Film!Ron [going a little red]: No. But I get asked that a lot. You’re not too bad yourself. 

Book!Ron: Thanks! [chuckling] Well, Hermione seems to think so...

Film!Ron: Oh; you two still together? 

Book!Ron: Yep. We’re like the perfect fit for each-other; it’s great! (pause) Wait... are you and film!Hermione not together? 

Film!Ron: Er.... well.....you see, she treated me like a petulant child for years. She was nicer when we were in first and second year, and then in fifth. But it seemed like her personality wasn’t there the rest of the time. She just didn’t seem to respect me, you know? It wasn’t a good foundation for anything. Eventually, our other friends sat me down and said they were worried about me being in a bad relationship.  

Book!Ron [looking shocked]: Oh. I’m.... I’m sorry to hear that, mate. 

Film!Ron: Don’t worry about it. We split up amicably enough. I think she’s mainly focused on her work now. I’m doing okay, though- [spots someone nearby] Oh; Harry, Luna! 

Film!Harry: Hi Ron! 

Film!Luna: Ronald! 

(They both kiss Film!Ron, and intertwine their fingers in his) 

Book!Ron [mouth falls open in shock]: ...

(Thought @queerqueenoftears might like this)

[justanotherfilmfanatic]

Captain American Psycho

[valewton]

“Until recently, though, the genre was assumed to be an almost uniformly masculine discourse, just as its audience was presumed to be predominately white and male. ... Even while Steve Neale concurs that the horror is ‘centrally concerned with the fact and the effects of difference,’ he nevertheless argues that the genre’s discourse, particularly in its depiction of the monster, is structured around the disavowal of castration anxiety. However, in making this claim he fails to account for the interest in the genre clearly also holds for female spectators-an appeal that, as Rhoda Berenstein demonstrates here in her essay on marketing strategies of classic horror films, is quite pronounced. Indeed, women have been central to the production of horror as well as its consumption, from the Gothic novel to the contemporary best sellers of Anne Rice and Stephenie Meyer. Significantly, while women have found it difficult throughout the history of the cinema to become directors, they are noticeably prominent in contemporary horror film production. Following on the earlier work of Stephanie Rothman (The Velvet Vampire [1971]; Terminal Island [1973]) and Amy Jones’ take on the slasher film, The Slumber Party Massacre (1982, written by Rita Mae Brown), one might cite Kathryn Bigelow’s Near Dark (1987), Katt Shea Ruben’s two Stripped to Kill movies (1989, 1992), Kristine Peterson’s Body Chemistry (1990), Fran Rubel Kuzui’s Buffy the Vampire Slayer (1992), Antonia Bird’s Ravenous (1999), Claire Denis’ Trouble Every Day (2001), Mary Harron’s American Psycho (2002), Marina de Van’s Dans ma peau (In My Skin [2002]), Catherine Hardwicke’s Twilight (2008), and Karyn Kusama’s Jennifer’s Body (2009).”

-Barry Keith Grant, Introduction to The Dread of Difference: Gender and the Horror Film 

[thenotsolittlemisspeculiar]

Actors with Chameleonic Range 🦎

(Source)

Johnny Depp

Sweeney Todd: The Demon Barber of Fleet Street (2007), Dir. Tim Burton

Fantastic Beasts: Crimes of Grindlewald (2018), Dir. David Yates

Alice in Wonderland (2010), Dir. Tim Burton

Charlie and the Chocolate Factory (2005), Dir. Tim Burton

Fear and Loathing in Las Vegas (1998), Dir. Terry Gilliam

Pirates of the Caribbean series, Dirs. Gore Verbinski/Rob Marshall/Espen Sandberg/Joachim Rønning

Edward Scissorhands (1990), Dir. Tim Burton

Black Mass (2015), Dir. Scott Copper

Dark Shadows (2012), Dir. Tim Burton

Christian Bale

The Fighter (2010), Dir. David O. Russell

American Psycho (2000), Dir. Mary Harron

Vice (2018), Dir. Adam McKay

The Dark Knight Rises (2012), Dir. Christopher Nolan

The Machinist (2004), Dir. Brad Anderson

Harsh Times (2005), Dir. David Ayer

The Big Short (2015), Dir. Adam McKay

American Hustle (2013), Dir. David O. Russell

Rescue Dawn (2006), Dir. Werner Herzog

Daniel Day-Lewis

My Left Foot (1989), Dir. Jim Sheridan

❓

Gangs of New York (2002), Dir. Martin Scorcese

Lincoln (2012), Dir. Steven Spielberg

There Will Be Blood (2005), Dir. Paul Thomas Anderson

My Beautiful Laundrette (1985), Dir. Stephen Frears

The Crucible (1996), Dir. Nicholas Hytner

Phantom Thread (2017), Dir. Paul Thomas Anderson

The Boxer (1999), Dir. Jim Sheridan

Helena Bonham Carter

The King's Speech (2010), Dir. Tom Hooper

Alice in Wonderland (2010), Dir. Tim Burton

Planet of the Apes (2001), Dir. Tim Burton

Big Fish (2003), Dir. Tim Burton

Fight Club (1999), Dir. David Fincher

Harry Potter and the Deathly Hallows – Part 2 (2011), Dir. David Yates

Dark Shadows (2012), Dir. Tim Burton

Sweeney Todd: The Demon Barber of Fleet Street (2007), Dir. Tim Burton

Mary Shelley's Frankenstein (1994), Dir. Kenneth Branagh

Gary Oldman

The Fifth Element (1997), Dir. Luc Besson

Bram Stoker's Dracula (1992), Dir. Francis Ford Coppola

Léon: The Profession (1994), Dir. Luc Besson

❓

True Romance (1993), Dir. Tony Scott

Sid and Nancy (1986), Dir. Alex Cox

The Silence of the Lambs 2 (2001), Dir. Ridley Scott

Darkest Hour (2017), Dir. Joe Wright

Harry Potter and the Prisoner of Azkaban (2004), Dir. Alfonso Cuarón

Jared Leto

Requiem for a Dream (2000), Dir. Darren Aronofsky

Suicide Squad (2016), Dir. David Ayer

Panic Room (2002), Dir. David Fincher

Prefontaine (1997), Dir. Steve James

Mr. Nobody (2009), Dir. Jaco Van Dormael

Dallas Buyers Club (2013), Dir. Jean–Marc Vallée

American Psycho (2000), Dir. Mary Harron

Chapter 27 (2007), Dir. Jarrett Schaefer

Blade Runner 2049 (2017), Dir. Denis Villeneuve

Tilda Swinton

Suspiria (2018), Dir. Luca Guadagnino

Snowpiercer (2013), Dir. Bong Joon-ho

Okja (2017), Dir. Bong Joon-ho

Constantine (2005), Dir. Frances Lawrence

The Grand Budapest Hotel (2014), Dir. Wes Anderson

Orlando (1992), Dir. Sally Potter

The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe (2005), Dir. Andrew Adamson

Doctor Strange (2016), Dir. Scott Derrickson

Only Lovers Left Alive (2013), Dir. Jim Jarmusch

[dannyreviews]

Film Lifetime Achievement Award Winners for 2018/19

Here is this season’s lifetime achievement honorees.

Academy Awards: Cicely Tyson, Lalo Schifrin, Marvin Levy, Frank Marshall and Kathleen Kennedy

Golden Globes: Jeff Bridges and Carol Burnett

BAFTA Awards: Thelma Schoonmaker, Elizabeth Karlsen and Stephen Woolley

SAG Awards: Alan Alda

American Film Institute: Denzel Washington

Venice Film Festival: David Cronenberg, Zhang Yimou and Vanessa Redgrave

Berlin Film Festival: Charlotte Rampling and Arthur Cohn

Cannes Film Festival: Alain Delon

Cesar Awards: Robert Redford

Kennedy Center Honors: Philip Glass

Zurich Film Festival: Donald Sutherland and Judi Dench

Twin Cities Film Festival: Steve Zahn

San Sebastian International Film Festival: Judi Dench, Hirokazu Kore-eda and Danny Devito

Camerimage: Witold Sobociński (R.I.P.)

Rome Film Festival: Martin Scorsese and Isabelle Huppert

Maine International Film Festival: Dominique Sanda

Odessa international Film Festival: Jacqueline Bisset 

Locarno Film Festival: Bruno Dumont

Rose d’Or Awards: Joanna Lumley 

SAG-AFTRA Foundation: Marsha Hunt, Norman Lloyd, June Lockhart, Barbara Perry, Harrison Ford and Lady Gaga

Antalya Film Festival: Ferzan Özpetek, Cem Yılmaz and Bela Tarr

Iran Cinema Celebration: Dariush Mehrjui

Australian International Movie Convention: Bryan Brown

Deauville Film Festival: Morgan Freeman

Toronto Film Festival: Harry Belafonte

Ulster Tatler Awards: Ciaran Hinds

Ischia Global Film and Music Festival: Quincy Jones

Comic-Con Lifetime Achievement Award: Nichelle Nichols

California Independent Film Festival: Doug Jones

Emile Awards: Clare Kitson

Heartland Film Festival: Hal Linden

St. Louis International Film Festival: John Goodman

El Gouna Film Festival: Sylvester Stallone

Haifa Film Festival: Zbigniew Preisner

Cinema Audio Society: Steven Spielberg

Asian World Film Festival: Lisa Lu

Lumière Festival: Jane Fonda

European Film Awards: Ralph Fiennes, Costa-Gravas and Carmen Maura

Critics Choice Awards: Michael Moore

Ojai Film Festival: Malcolm McDowell and Ellen Kuras

Hridaynath Award: Khayyam

Stockholm International Film Festival: Gunnel Lindblom and Mary Harron

Art Directors Guild Awards: Jeannine Oppewall,  Ed Verreaux, William F. Matthews and James Fiorito

Los Angeles Film Critics Association: Hayao Miyazaki

Heartland International Film Festival: Gale Ann Hurd

Arpa International Film Festival: Ed Asner and Edward James Olmos

Videocitta Festival: Ennio Morricone

Animafest: Suzan Pitt

Beaufort Film Society: Paul Sorvino

Chicago International Film Festival: William Friedkin

Fort Lauderdale International Film Festival: Gary Ross

Screen Producers Australia Awards: Michael McMahon

Hollywood Film Awards: Nicole Kidman

Equity Lifetime Achievement Award: Julia Blake and Terry Norris

International Film Festival Of India: Dan Wolman

Top Mexican Fest: Spike Lee and Terry Gilliam

Malatya Film Festival: Şener Şen, Perran Kutman and Osman Sınav

NYC Horror Film Festival: Tony Todd

Tallinn Black Nights Film Festival: Liv Ullmann and Ivars Seleckis

Society of Camera Operators: Harrison Ford

Palm Springs Women in Film & Television: Beverly D’Angelo and Kaye Ballard

Toronto Film Critics Association Award: Tantoo Cardinal

Bette Davis Lifetime Achievement Award: Michael Douglas

Director’s Guild Award: Don Mischer

Make-Up Artists and Hair Stylists Guild Awards: Susan Cabral-Ebert and Robert Louis Stevenson

Annie Awards: Andrea Romano, Ralph Eggleston and Frank Braxton (posthumously)

American Society of Cinematographers: Robert Richardson and Jeff Jur

Women in Film and TV: Juliet Stevenson

Nigerian Film Corporation: Femi Odugbem

International Film Festival of Kerala: Majid Majidi

London Film Critics Awards: Pedro Almodovar

Zuma Film Festival:  Femi Odugbemi

AARP's Movies for Grownups Awards: Shirley MacLaine

West Bengal Film Journalist Association: Buddhadeb Dasgupta

ICG Publicists Awards: Jamie Lee Curtis

Capri Legend Award: Nick Nolte

L.A. Italia Fest: Franco Nero and Andy Garcia

British Film Institute: Olivia Colman

Canadian Screen Awards: The Kids In The Hall, Deepa Mehta and Mary Walsh

Governor General’s Performing Arts Awards: Colm Feore and Sandra Oh

[chernobog13]

Godzilla vs. Hedorah, aka Godzilla vs. The Smog Monster (1971).

Image by Steve Harron.

[possiblydistasteful]

I just stayed up all night making a list of 100 Movies I Wish Everyone Would Watch because this is what I do with my life now. If anyone is curious I’m putting them below the cut.  I have very good taste. That last part is a lie. 

DISCLAIMER: This is not a list of 100 movies that I think are the best examples of the craft (although some of them certainly are). This is a list of 100 personal favourites that have moved me personally, deeply influenced me, or I just plain wish more people would see them (for good or for ill). Sorry for including 1 Roman Polanski film, rest assured I’m praying he dies a horrible and painful death asap (and he can take Woody Allen with him).

The Cabinet of Dr Caligari - Robert Wiene (1920)

M - Fritz Lang (1931)

Frankenstein - James Whale (1931)

Double Indemnity - Billy Wilder (1944)

It’s a Wonderful Life - Frank Capra (1946)

Rope - Alfred Hitchcock (1948)

Un Chant D’Amour - Jean Genet (1950)

The Night of the Hunter - Charles Laughton (1955)

Throne of Blood - Akira Kurosawa (1957)

Touch of Evil - Orson Welles (1958)

Some Like it Hot - Billy Wilder (1959)

La Jetee - Chris Marker (1962)

Lawrence of Arabia - David Lean (1962)

Lord of the Flies - Peter Brook (1963)

Rosemary’s Baby - Roman Polanski (1968)

Midnight Cowboy - John Schlesinger (1969)

Cabaret - Bob Fosse (1972)

Jesus Christ Superstar - Norman Jewison (1973)

The Exorcist - William Friedkin (1973)

Phantom of the Paradise - Brian de Palma (1974)

The Omen - Richard Donner (1976)

Logan’s Run - Michael Anderson (1976)

Carrie - Brian de Palma (1976)

Suspiria - Dario Argentino (1977)

Watership Down - Martin Rosen (1978)

Possession - Andrzej Żuławski (1981)

An American Werewolf in London - John Landis (1981)

The Thing - John Carpenter (1982)

First Blood - Ted Kotcheff (1982)

The Dark Crystal - Jim Henson, Frank Oz (1982)

A Nightmare on Elm Street - Wes Craven (1984)

Fright Night - Tom Holland (1985)

Re-Animator - Stuart Gordon (1985)

A Nightmare on Elm Street Part 2: Freddy’s Revenge - Jack Sholder (1985)

The Fly - David Cronenberg (1986)

Night of the Creeps - Fred Dekker (1986)

Withnail & I - Bruce Robinson (1987)

I’ve Heard the Mermaids Singing - Patricia Rozema (1987)

The Lost Boys - Joel Schumacher (1987)

Maurice - James Ivory (1987)

Hellraiser - Clive Barker (1987)

Willow - Ron Howard (1988)

Who Framed Roger Rabbit - Robert Zemeckis (1988)

Akira - Katsuhiro Otomo (1988)

The Adventures of Baron Munchausen - Terry Gilliam (1988)

Archangel - Guy Maddin (1990)

Misery - Rob Reiner (1990)

Thelma & Louise - Ridley Scott (1991)

Terminator 2: Judgement Day - James Cameron (1991)

Fried Green Tomatoes - Jon Avnet (1991)

The Crying Game - Neil Jordan (1992)

The Adventures of Priscilla, Queen of the Desert - Stephan Elliott (1994)

Interview With the Vampire - Neil Jordan (1994)

In the Mouth of Madness - John Carpenter (1994)

Cold Comfort Farm - John Schlesinger (1995)

Sense and Sensibility - Ang Lee (1995)

Matilda - Danny DeVito (1996)

Lilies - John Greyson (1996)

Romeo + Juliet - Baz Luhrmann (1996)

The Hanging Garden - Thom Fitzgerald (1997)

Dark City - Alex Proyas (1998)

EverAfter - Andy Tennat (1998)

The Prince of Egypt - Brenda Chapman Steve Hickner Simon Wells (1998)

Following -  Christopher Nolan (1998)

The Blair Witch Project - Daniel Myrick, Eduardo Sánchez (1999)

The Talented Mr. Ripley - Anthony Minghella (1999)

American Psycho - Mary Harron (2000)

Crouching Tiger, Hidden Dragon - Ang Lee (2000)

But I’m a Cheerleader - Jamie Babbit (2000)

Ginger Snaps - John Fawcett (2000)

O Brother, Where Art Thou? - Joel Coen (2000)

Battle Royale - Kinji Fukasaku (2000)

The Devil’s Backbone - Guillermo Del Toro (2001)

Bend it like Beckham - Gurinder Chadha (2002)

Far From Heaven - Todd Haynes (2002)

Hero - Zang Yimou (2002)

Holes - Andrew Davis (2003)

American Splendor - Shari Springer Berman, Robert Pulcini (2003)

Master and Commander: the Far Side of the World - Peter Weir (2003)

Mysterious Skin - Gregg Araki (2004)

Hard Candy - David Slade (2005)

Brick - Rian Johnson (2005)

Little Miss Sunshine - Jonathan Dayton, Valerie Faris (2006)

The Orphanage - Juan Antonio Bayona (2007)

There Will Be Blood - Paul Thomas Anderson (2007)

Pontypool -  Bruce McDonald (2008)

Doubt - John Patrick Shanley (2008)

The Loved Ones - Sean Byrne (2009)

Precious - Lee Daniels (2009)

Attack the Block - Joe Cornish (2011)

Stoker - Park Chan-Wook (2013)

Coherence - James Ward Byrkit (2013)

The Babadook - Jennifer Kent (2014)

The Invitation - Karyn Kusama (2015)

10 Cloverfield Lane - Dan Trachtenberg (2016)

Train to Busan - Yeon Sang-Ho (2016)

Get Out - Jordan Peele (2017)

Disobedience - Sebastian Lelio (2017)

Hereditary - Ari Aster (2018)

A Quiet Place - John Krasinski (2018)

[tremendousartisanlover]

RDR2 Zelda AU cast

(Not official- all fanmade- except for the Read Dead characters) Including Characters I chose to be in both the main story and epilogue

Think of this cast as a teaser to my new fanfiction 

Link, Ganondorf, and Zelda belong to Nintendo

Rinku, A Tale of Two Rulers belongs to the amazing and talented @figmentforms

Red Dead Redemption 2 belongs to RockStar Games 

Lincoln "Link" Morgan- Richard Ian Cox Ganondorf Dragmire- Dan Green Zelda Hyrule Dragmire- Kelly Sheridan Rinku Hyrule Dragmire- Tara Strong Hosea Matthews- Curzon Dobell Dutch Van der Linde- Benjamin Byron Davis Bill Williamson- Steve J. Palmer Charles Smith- Noshir Dalal Javier Escuella- Gabriel Sloyer Josiah Trelawny- Stephen Gevedon Mary-Beth Gaskill- Samantha Strelitz Karen Jones- Jo Armeniox Tilly Jackson- Meeya Davis-Glover Uncle- James McBride Kieran Duffy- Pico Alexander Lenny Summers- Harron Atkins Leopold Strauss- Howard Pinhasik Micah Bell- Peter Blomquist Molly O'Shea- Penny O'Brien Mr. Pearson- Jim Santangeli Reverend Swanson- Sean Haberle Sadie Adler- Alex McKenna Sean Macguire- Michael Mellamphy Susan Grimshaw- Kaili Vernoff Leviticus Cornwall- John Rue Colm O'Driscoll- Andrew Berg Agent Milton- John Hikok Agent Ross- Jim Bentley Angelo Bronte- Jim Pirri Anthony Foreman- David St. Louis Alden- Christopher Geary Hector- Ben Hollandsworth Jimmy Brooks- Adam McNulty Thomas Downes- Peter Lettre Archie Downes- Paul Thode Edith Downes- Jayme Lake Mr. Dockery- Patrick Noonan Seamus- Brit Whittle Leigh Gray- Tim McGeever Archibald MacGregor- Greg Hildreth Beau Gray- Bjorn Throstead Tavish Gray- Madison Arnold Clay Davies- Kevin Cahoon Penelope Braithwaite- Alison Barton Cathrine Braithwaite- Ellen Harvey Rains Fall- Graham Greene Evelyn Miller- Gibson Frazier Eagle Flies- Jeremiah Bitsui Captain Monroe- Jake Silberman Colonel Favours- Malachy Cleary Thomas- Jim Coleman Levi Simon- Jeffrey Gurner Hercule- Guyviaud Joseph Leon- Andy Mendez Alberto Fussar- Alfredo Narciso Baptiste- Babs Olusanmokun Arturo Bullard- Asa Somers Brother Dorkins- Max Eddy Sister Calderon- Irene Debari Charlotte Balfour- Emily Dorsch Mayor Henri Lemieux- Simon Jutras Tom Dickens- Christian Conn David Geddes- Jeff McCarthy Abe- Scott Richard Foster Mrs. Geddes- Jill Jackson Ansel Atherton- Brian Victor Johnson Albert Cakes- Michael Cullen Blackwater Photographer- Donavon Dietz

[headcanonsandmore]

Me: Okay, now you've got time to edit that Linny chapter you've almost finished.

Me: [Does get most of that sorted, but also writes a AU Yule Ball drabble about Romione and Rarry to spite Steve Kloves]

Me: Weird flex, but okay...

[littlemissvincentvega]

V and w !

v - a female director you love

the fact that i had to google female directors for this is pretty sad. i was gonna have to say mary harron bc i loved american psycho BUT i just remembered becky sloan!!!!! love love love her and i have a signed dhmis poster on my bedroom door aaldjslakjlda ♥♥

w - a role you’d recast and which actor/actress you’d pick 

oh my god so yall know my all time fav show is the office i think it’d be OS FUNNY to see ty burrell as michael scott KSJKSDMKDAL (obvi i wouldn’t recast bc steve carell will always be michael but it’d just be funny to see)

[nickdelo]

Top 25 Films of the 21st Century

Nick’s List

1. Boyhood (Linklater, 2014) 2. Eternal Sunshine of the Spotless Mind (Gondry, 2004) 3. Before Sunset (Linklater, 2004) 4. In Bruges (McDonagh, 2008) 5. Children of Men (Cuaron, 2006) 6. There Will Be Blood (P.T. Anderson, 2007) 7. Inside Llewyn Davis (Ethan Coen, Joel Coen, 2013) 8. Before Midnight (Linklater, 2013) 9. The Master (P.T. Anderson, 2012) 10. The Social Network (Fincher, 2010) 11. In the Mood for Love (Kar-wai, 2000) 12. Nightcrawler (Gilroy, 2014) 13. Ex Machina (Garland, 2015) 14. Hell or High Water (Mackenzie, 2016) 15. Moonlight (Barry Jenkins, 2016) 16. Beasts of the Southern Wild (Zeitlin, 2012) 17. Catch Me If You Can (Spielberg, 2002) 18. The Hurt Locker (Bigelow, 2009) 19. The Departed (Scorses, 2006) 20. Short Term 12 (Cretton, 2013) 21. The Prestige (Nolan, 2006) 22. Mud (Nichols, 2013) 23. Y Tu Mama También (Cuaron, 2001) 24. Creed (Coogler, 2015) 25. Frances Ha (Baumbach, 2012)

John’s List 1. Gladiator (Scott, 2000) 2. Hot Fuzz (Wright, 2007) 3. Inside Llewyn Davis (Ethan Coen, Joel Coen, 2013) 4. Anchorman (McKay, 2004) 5. No Country for Old Men (Ethan Coen, Joel Coen, 2007) 6. Training Day (Fuqua, 2001) 7. Django Unchained (Tarantino, 2012) 8. There Will Be Blood (P.T. Anderson, 2007) 9. John Wick 2 (Stahelski, 2017) 10. Inside man (Lee, 2006) 11. Burn After Reading (Ethan Coen, Joel Coen, 2008) 12. American Psycho (Harron, 2000) 13. Gone Girl (Fincher, 2014) 14. Zoolander (Stiller, 2001) 15. Best in Show (Guest, 2000) 16. Nice Guys (Black, 2016) 17. Adaptation (Jonze, 2002) 18. Birdman (Inarritu, 2014) 19. Bernie (Linklater, 2011) 20. Sicario (Villeneuve, 2015) 21. The Master (P.T. Anderson, 2012) 22. The LEGO Movie (Lord and Miller, 2014) 23. Doubt (Shanley, 2008) 24. The Savages (Tamara Jenkins, 2008) 25. Silence (Scorsese, 2016)

ND: We've had this discussion a few times before: is there a difference between "best" and "favorite?" My initial reaction is no. We like what we like, for whatever reason you come to or criteria you choose, that's the grading scale, pure and simple.

The one glaring instance where the "best" and "favorite" line begins to blur is with the work of Richard Linklater, whose films are so emotionally vulnerable that they have effectively changed the way I see the world. In another filmmaker's hands, Boyhood would have been a showy gimmick, but Linklater understood what this project needed to be before shooting the first scene, allowing the deeply human nature of the film to unfold beautifully and organically. It deserves a spot on this list for innovation alone. Explain yourself, John!

JI: With a fear of being blocked from continuing this project, I must admit, I haven't seen Boyhood yet. That's is the plain and simple reason why it is not included on my list. Wish I had some lame, pretentious reason for its exclusion. 

ND: I am happy to see you've somewhat made up for this oversight with the selection of other outstanding Linklater film, Bernie. It's a rare feat to so perfectly utilize two very specific actors (Jack Black and Matthew McConaughey). Walk me through your process a bit before we get into detail. JI: My process was pretty simple and I think you outlined it pretty well, I picked what I like. I could tell you why I picked each and every one of these movies individually but on the whole, you have to go with your gut and pick the movies you feel are the best to you. Also, as we have discussed previously, going into being best is staying power. There are a few movies I've only seen maybe once or twice but I still think of them to this day. Movies like Doubt and Silence are like that for me. I feel if a movie has that kind of power it is impossible to not include it on a "best" list. Please feel free to eviscerate me for not seeing Boyhood, I deserve it.  ND: You have shamed me, son. Boyhood is on Netflix so you're running out of excuses. Though I am not without sin, having not seen Doubt.

JI: Huge misstep on my part, for many reasons but especially since I really enjoy Ethan Hawke. ND: My girlfriend will be relieved to know I am not the only one.

Anyway, film-going experiences that resonate with me long after I leave the theater always score the highest on my lists, as the director's ability to utilize all aspects of the medium plays a huge part in landing an emotional impact or gathering more information upon repeat viewings. So it's no surprise the Coen Bros., Paul Thomas Anderson, Alfonso Cauron, and David Fincher are prominently featured throughout our lists as masters of blending the cerebral with a cinematic spectacle. I should address the lack of comedies on my list (though In Bruges, Eternal Sunshine, Llewyn Davis, and Frances Ha are all loosely comedic). Don't get me wrong, there are few things better than laughing your ass off in a theater, but when applying the "re-watch" test to some of my all-time favorite comedies (Walk Hard, Forgetting Sarah Marshall, 21 Jump Street), the jokes, once tread, aren't good enough to lift the film to the highest class, considering the low bar for cinematography, acting and, most importantly, narrative. I may be in the minority here, but these movies are largely fleeting experiences as I grow older. What are your insights into your comedic selections? I wouldn't classify Hot Fuzz as a strict comedy considering the high-wire act Edgar Wright always pulls off, nor Best in Show, a borderline Shakespearean experience with levels of complexity to the jokes. Anchorman is clearly a classic, and you obviously believe it has aged well. Zoolander, though, I'll need some convincing. JI: I think I largely agree with your take on comedies in regards to putting them on a best list but in terms of rewatchability I'm not sure I agree as much. Of course there are comedies that don't stand the test of time, Borat chief among them, but for the most part I feel great comedies stay funny no matter how many times you've heard the jokes. Addressing your second point about the two straight up comedies, Anchorman and Zoolander, there is a level of comfort and familiarity with those two. I'm not confident they actually do still hold up but since I saw them at the time I did I think they still hold that spot for me, if that makes any sense. A perfect example of being weary of their relevance now is the fact I haven't and never plan on seeing either sequel. On Zoolander specifically, I saw it in theaters and hated it but every subsequent viewing I've enjoyed it more and more and no matter how many times I've seen it there are still lines that crack me up. Not sure if that does anything to convince you but it just strikes a cord for me and I can't really explain it but seeing it when it came out in 2001 rather than today is a big part of that.

About the other two, I just think they're great movies that happen to be really funny. Hot Fuzz is the perfect send up of the types of movies Nick Frost's character loves. The performances are great, I particularly love Timothy Dalton's character, there are impressive action sequences and I really relish all the cameos in the beginning between Martin Freeman, Steve Coogan and Cate Blanchett.  Not sure if this is a hot take, but it is the best movie from the Frost, Pegg, Wright trio. Best in Show gives such a realistic feeling to such absurd characters in an equally absurd premise. It is funny throughout without seeming cartoonish despite the cartoonish nature of the characters, like Eugene Levy's character and his two left feet. I haven't seen all of your films but one that I'm curious about and especially its place on the list is The Social Network. I liked it but my thoughts don't really seem to align with many people's on the quality of the movie. What standout so much for you with that movie that it is in your top 10?

ND: The Social Network opens with one of the most captivating scenes in recent memory. There's nothing to it -- two college kids are in a bar chatting across from one another, and eventually the girl breaks up with the guy. It's been done a thousand times before, but the way it's staged and written and performed is nothing short of memorizing. In five minutes of shot/reserve-shot dialogue we learn everything we need to know about Jesse Eisenberg's portrayal of Mark Zuckerberg -- how he's wired and what his motivations are. The scene is jammed with more character development that most movies can manage in their entire run-times, and when the fervently escalating discussion culminates in Rooney Mara's Becca telling Mark, "you're going to go through life thinking that girls don't like you because you're a nerd, and I want you to know, from the bottom of my heart, that that won't be true. It'll be because you're an asshole," it hits you like a freight train.

That scene sets the stage for the whole movie, a rudimentary premise turned thrilling through the artful design of David Fincher. There's a perfect cross-section of seedy Ivy League ritual and lure, the dangerous hubris of a brilliant, spiteful teenager, and the lustful excitement of an unknown frontier. Fincher made a movie about Facebook -- FACEBOOK! -- a pulse-pounding high-wire act, which is miraculous.

I'd like to hear more about your no. 1 selection, Gladiator. It's unlike any other movie on your list, both in terms of genre and style. What about it has made such a lasting impression? 

JI: Gladiator is definitely one that even I didn't expect to be number one when I started out doing this. The first thing that made such an impression is that my dad took my to see it in the theater, I was about two months away from turning eight, so seeing such a violent movie in the theater was a big deal. (Questionable parenting? The world may never know). Beyond that though it is insanely re-watchable for me. I watched it twice over memorial day weekend! In terms of the movie itself, the action scenes are incredible, the performances from Crowe and Phoenix are really solid. Crowe is a little one-note throughout but I think he fluctuates that one note just enough to create a sympathetic hero and somewhat rounded character and Phoenix is always great as the weirdo bad guy. Has he ever not been really good in anything? There are definitely flaws with the movie, so it isn't number one because it is a flawless piece of art, but I find it to be highly entertaining (yes, I was entertained Maximus) and something you can always watch. I feel like this hasn't be a very articulate breakdown as to why, but it is just kind of a gut call.

ND: Shame on you for spoiling my "Are you not entertained?" joke.

JI: Not including the comedies, is this the pick you have the biggest issue (if that's even the right word) with? Also, were there any movies for you that surprised you where you ended up slotting them, similar to my experience here with Gladiator?

ND: I don't want to be misunderstood. I don't have a problem with any of your picks; art is a very personal thing and who am I to judge how you or anyone else creates a criteria for greatness? I'm just trying to pick your brain a little bit. I will admit to having never seen Training Day. And I thought No Country for Old Men was underwhelming -- though I know I am in the vast minority and it might have been a case of the film being so hyped that I was predisposed to be disappointed.

JI: I wasn't trying to imply that you had a problem with any pick, that's why I hedged and said I don't think issue was the right word to use. No Country's ending falls a little flat but up until that point I find Javier Bardem too magnetic to be disappointed on the whole.

ND: In regards to the ordering, there were no surprises in the top 10. I'm sure on a different day Eternal Sunshine or Before Sunset or even In Bruges could have been no. 1, but I didn't overthink it with Boyhood (watched it again this weekend) and it's not worth splitting hairs over my best of the best.

I guess the biggest surprise is In the Mood for Love at no. 11, as I hadn't seen it until about a year ago. It's right up my ally in terms of a deeply melancholy romance story, chock full of utter beauty and heartbreak weaved together so seamlessly. It's a quiet film that speaks volumes in its slow, calculated moments. Recalling my The Social Network, Boyhood, et al picks, I am always impressed when filmmakers take a simple premise and do something inventive with it, and Wong Kar-wai brutally precise decisions are marvelous. 

Quick side bar: I learned about In the Mood for Love on CineFix, a YouTube channel that creates incredibly detailed and researched lists. It's a must-subscribe for any film buff.

The next biggest surprise is Catch Me If You Can. It's decidedly unlike all my other selections, and very Spielbergian (not always a good thing), but god damn, that movie is just so much fun. It's a perfect caper, plain and simple.

JI: I was curious about your inclusion of Catch Me if You Can, because as you said it is so unlike any other movie on your list. Spielberg has been a little hit or miss since the turn of the century, good thing he's producing Gremlins 3. ND: I didn't want us to devote any space for honorable mention selections in order to make the 25 mean something, but I'm changing my tune a little bit. Give me ONE movie that hurt the most to leave off. I really wanted to find a spot for Wall-E. That movie blows my mind. JI: My original number 25 was going to be the documentary Let the Fire Burn. Probably a way out there choice considering the rest of my list. It is about MOVE in Philadelphia and what ultimately transpired when Mayor Goode effectively bombed the house that MOVE was in. Not sure if you've seen it but I loved how they used all archival footage to tell the story. There is no narration and from I remember very little on-screen text. The documentary plays out telling the cohesive story of MOVE and then the aftermath and fallout following all the destruction. It also features councilman Ed Rendell, which might be a nice easter egg for some. It also does a great job of bringing to light a story that even in Philadelphia isn't really talked about or told anymore and gives full context to both the MOVE members and the city.

ND: I actually just watched Let the Fire Burn not too long ago. I took a deep dive into the MOVE bombing earlier this year, absorbing as much about it as I could, because you're right, it goes largely un-talked about considering what a bonkers story it was (though just this week the city commemorated the event and the lives lost with a monument). And I definitely appreciate a documentary that is driven by facts and not an agenda. I'm surprised to see we only have three overlapping selections -- The Master, Inside Llewyn Davis, and There Will Be Blood. The former two we talked about in depth during our last collaboration, but let's discuss TWBB for a second, especially now that Daniel Day-Lewis is "retired." Even for a career as illustrious as DDL's, his turn as Daniel Plainview by far his crowning achievement, and I'd put it toe-to-toe with any performance ever put on screen. He carries every frame with such menace, vigor, and even surprising vulnerability that makes the viewer sympathize with a terrible man. It's unlike anything I've ever seen.

JI: I haven't watched it all the way through in a while but I find myself often YouTubing scenes just to inject more DDL straight into my veins.  The only other character that has been so outright horrible, vindictive while retaining vulnerability and a likability to me was Gandolfini as Tony Soprano. However, that is comparing apples and oranges, with an 86 episode series compared to a single feature.

Back to DDL in TWBB. His Plainview is such a transformation that anytime I see the movie or see clips my brain doesn't even compute that DDL is Plainview. He truly takes on his characters and becomes them and it is incredible in the way he has been able to transform himself through his various roles. I can see why the say it takes him about three or so years to mentally prepare for a role. It is hard to imagine anyone ever topping his absolute mastery of the art.

Two questions about DDL I'd like to pose for you. 1) Do you think the retirement will stick? He has done this before where he took time off to be a cobble. Now he is supposedly retiring to become a dressmaker. I think he'll eventually make his way back to the screen. 2) This is more of a thought exercise than a black or white question but should we be grateful for the few performances he did produce and how outstanding those are or should we be disappointed we only got so little of him during his career? It is a little disappointing to me but the other side of the argument is that maybe his performances would have suffered if he took on more projects and didn't throw himself in fully as he did. ND: The answer to your first question is simple: no. Maybe at this very moment, DDL thinks that he's done all there is to do on screen, and considering he already-selective process, I bet this sabbatical lasts less than 7-8 years. But he will come back. DDL knows he's the best, and he will get that itch again once he reaches senior citizenry. And he's spent his entire adult life getting lost in other people that I'm not even sure he knows how to be himself. The more interesting question would be: what do you want his big comeback role to be? This is a hard question that I wasn't exactly prepared for, but we are so used to seeing him in these larger-than-life roles that I wouldn't his coming back in a simple, humanistic family drama. Mike Mills (Beginners, 20th Century Women) has the goods to write him a juicy role, but even more perfect would be Kenneth Lonergan (Manchester By the Sea). Holy shit, I want to see nothing more now. The second question is a bit more complex, because it was undoubtedly frustrating for DDL to take his good old time selecting only to leave us with Nine or The Ballad of Jake and Rose, but even in subpar movies (I didn't enjoy Lincoln, either), DDL always makes it worth watching, so his batting average, so to speak, is still remarkably high. If he were to have taken more roles along the way, could he have given us a few more classics? Probably, but more likely is he would have given us more disappointments. Look at De Niro and Pacino. The two have combined for dozens of duds in the past 20 years to only a handful of good roles. If the alternative to DDL's selectivity is Dirty Grandpa, Stand Up Guys, The Intern, Jack and Jill, etc., I'll take the former every time. JI: I think I'd like to see him comeback and do something totally unexpected. How fun would it be if he was in a comedy or a Tarantino movie? I'd love to see what he could do in something that is so very much outside his realm, without stepping into Jack and Jill territory like you mentioned previously. 

This is slightly (very) off topic, but since you mention De Niro and Pacino, you think they can turn their cold streaks around with Marty in The Irishman?

ND: I mean, if anyone's going to bring those two back from the dead, it's Scorsese. He has more than earned our trust at this point. I'd be lying if if wasn't a tiny bit worried about Marty going back to the gangster well -- and god forbid he ever cast a woman or a PoC -- but if it ain't broke, I guess.

Let’s leave it here since we’ve covered a lot. Though if you want to return with a deep dive on the John Wick 2 > John Wick decision, I’ll be here waiting.