#and some of the horror parts slapped ass like the made in America scene was slaying penis

[hecksupremechips]

It’s been ages since I dusted off my love for Starkid but nothing will ever infuriate me as much as the song from Black Friday thats like “what Tim wants Tim will get” didn’t get a fucked up reprise where Tom is holding someone at gunpoint in order to make Tim’s wishes come true and prove himself as a father

[theladyscarlettt]

Petals (pt.1)

*I have returned and I bring with me a Bucky x Reader mini series. This takes place during #TFATWS. Also, this is a bit lighter (yet darker) than my regular stuff. Not fluff but sweet because god knows Bucky deserves to be happy every now and then. Also, this does have references to the X-Men comics and WandaVision*

-The Lady Scarlettt

Synopsis: Madripoor had everything you needed to forget your past, and everything you needed to lose your future. 

Part Warnings: suggestive scenes, language, mentions of mutilation

---

Sunlight caught the blinds in a dance of shadows. Her eyes twitched with the familiar warmth of the morning star across her face. She slowly opened her eyes taking in the sight of their small room. It was bland and empty, just like their luck in finding Karli. (For a girl to be everywhere, she was also nowhere.) 

A grunt came from across the room, she sat up in the stiff bed to find Bucky lying on the floor with a blanket barely clinging to his sweaty body. She let out a soft sigh and rubbed her eyes. While he was capable of so much, she found it heartbreaking he had so little, it broke her to see him robbed of even the simplest of things such as rest and a bed. She pulled on his black tee shirt from the night before and snuck over to sit beside him. She watched as his eyes darted side to side behind his dark eye lids. If he didn’t sleep well before, he surely didn’t now with the constant traveling, search for Karli, run in with America’s Next Top Asshole and the literal cause of his night terrors in the next room. 

“Did you know it’s considered an invasion of privacy to watch someone while they’re asleep.” Bucky grumbled, his eyes still closed.

“Good thing you weren’t asleep then.” she stated.

A slight smirk tugged on his lips, “Did you sleep well?”

“I would have slept better if my pillow didn’t wonder off in the middle of the night.” she teased.

He opened one eye to look up at her, “Sorry.”

She only smiled sweetly, her hand finding its way to his stubbled cheek. “You really need a razor.” 

He grabbed her wrist pulling her down to him, and began to nuzzle her neck with his chin.

She gagged at the sensation, “Ugh- for an old man you really behave like a child- hey!” In one swift motion he was on top of her tickling her neck.

“Stop. Stop it.” She hissed as she playfully swat at him to get off her. He chuckled and leaned back still, straddling her waist. 

“You have so much energy in the mornings for literally no reason,” she groaned, rubbing her lightly burned skin. 

He leaned down to her, a smirk on his lips, “I can come up with a few, if you’d like.” 

She rolled her eyes, even though her cheeks began to flush, “Knock it off.”

He made a tch sound with his teeth, and sat back up.

She smiled and sat up on her knees, her hands clasping behind his neck, a finger twirling the slightly grown out hair. He leaned into her, looking up at her from where he sat, a sad expression came across his face. 

“What is it?” she asked, rubbing her nails lazily through his thick hair.

“I just,” he sighed trying to find his words, “I want to stay with you, but I just can’t make myself. I’m afraid of what I might do, if I stay too long.”

She tilted her head, searching his eyes, “What do you mean?”

“I mean, I don’t want to have an episode at night and lash out. Sometimes they feel so real and I get can’t control myself and the last thing I want to do is hurt you and-”

“Hey, Hey, Hey” she interrupted, “Look at me.” She lifted his face up to hers, “Look at me, you could never do anything to hurt me. I know you don’t trust yourself sometimes, but I trust you and I know you. I’m not afraid of the ‘what if’s.” Please, hear me when I say, I want you to let me in, I want to be apart of this, all of it. I want to help you Bucky, but I can only go as far as you’ll let me. And if it takes time, ok but it’s going to take more than a nightmare to make me go anywhere. Ok?”

He stared at her for a long time, a blank expression on his face. She couldn’t tell if she had overstimulated him with her cheesiness or he simply was dead. 

“Bucky? If I’m overstepping, I understand-”

He abruptly wrapped his arms around her back, pulling her small figure to his. She melted into his touch, just as she had the first time he held her. They stayed like that for awhile until she heard him whisper.

“I love you.”

She smiled against his cool skin, “I love you too.”

He brought her face up to meet his and kissed her softly. His lips were always so soft and warm, something you wouldn’t expect. His thumb made tiny circles along her jaw, as she kissed him back. His hand slowly snaked their way down to her thigh where he pulled her onto his lap. She subconsciously, wrapped her legs around his waist and arched her back pulling him upward slightly. He held her thigh with one hand and reclined back with the metal one, smiling into her touch. She pushed forward as he pushed back, every kiss becoming more passionate than the last. She pulled at his hair, causing a longing moan to escape from his lips, exposing his neck. She began to place light kisses along side his neck, his breathing became deep as he massaged her thigh in return.  

He flipped over, now pressing her back against the ground, topping her. He kissed her back deeply, his tongue becoming well acquainted with her mouth. One hand began to find its way in between her thighs. 

Her eyes snapped open, “James.” She grabbed his hand, “It is 4 in the morning.” She hissed.

“HELL YEAH IT’S 4 IN THE GODDAMN MORNING!” Sam blurted out from the next room.

Bucky buckled forward burrowing his head in her neck holding back his horror.

“Shit,” Her face became the next 50 shades of red, as she covered her mouth with her hand to prevent a wave of uncomfortable laughter.

“HERE I THOUGHT AT 11pm I WOULD GET MY BEAUTY SLEEP BUT NOOOO. IF I HEAR THAT DAMN SHIT AGAIN I WILL COME IN THERE AND BEAT BOTH OF YALL’S NASTY ASSES.”

There was a moment of silence as the two looked between each other with mischievous smiles. He rolled his eyes and licked his lips knowingly. She let out a staged moan loud enough to be heard from outside.

“Fuck. Y/N.” Bucky grunted, his face tinted trying to remain collected. She covered her face with her hands moaning back at him.

Seeing her smile only made Bucky ham it up more as he began slapping his hand on the floor to create more of a scene to which she erupted in a fit of choked laughter. Sam yelled something from the other room about Jesus Christ and Sin. Bucky stood up with that smug look on his face, as he did whenever he won at annoying Sam Wilson. He gave her his hand and hauled her off the ground with barely any effort.

She finally settled down from laughing and looked at him, “I think we should do that more often.”

“What? Piss off bird boy or have sex?” He asked.

She grinned, “Can it not be both?”

Bucky made a face as if he was scheduling the next when and where.

She gave him a light slap, “Now don’t get cocky about it. Also, you stink. Go take a shower.”

He looked at her offended then gave a sly look, “Or we could ta-“

“No” she snapped like a mother to her child, “Get.”

He held up his hands up in defense, “Alright, Alright, but I’m going to need my shirt back.”

She groaned and peeled off the shirt and tossed it at his face. He pulled the shirt down and gave her a once over, “I like that color” he said inspecting her black laced undergarments.

“Good Lord, Go.” she shoved him towards the bathroom. He chuckled at her and whipped the shirt over his shoulder, sending her a cocky grin as he left the room.

Once the door closed behind him, she let out a sigh and sat on the edge of the bed. A wave of depression washed over her as she longed for the day they could just stay in bed and not battle some end of the world threat. She looked to the blanket on the floor where he slept the night before. He deserved so much more than this. They deserved so much more than this.

She couldn’t lie, after the blip the thought of going off grid looked truly appealing. With Nat, Tony, Vision, Bruce, Wanda, Thor, and Steve gone, the Avengers felt more like a club then an actual organization. While she had always been closer to Sam, Bucky and Steve the hole left behind by the others made it too hard to go on some days. What was the point? Every time something was fixed something worse happened. And they never were thanked properly, only ridiculed by what should have been done, because everyone always expected them to be heroes; yet they never saw they were also human. The only reason she stayed was for Sam and Bucky, they had become her family, especially after Steve’s passing, who was like a father figure to her.

She pushed away the memories that came rushing in. She could not allow herself to get emotional, their job here needed her full attention. She stood and changed into her suit and left the room. 

Zemo was reclined on a sofa, drinking a cup of tea. When she entered he gave her a solemn nod. She cringed slightly, the anger at what he did to Bucky and T’Challa creeping back in.

“You’re up early.” She stated flatly.

“Hard to sleep with all the noise.” He shot her a look. “I can start you a kettle if you’d like.”

“Sorry, and no thanks, I got it.” She said. Grabbing a kettle and filling it with water.

Zemo stood, “Do you mind? I’ve read of your powers but never have I seen them.”

She shifted on her feet, “Well, sure but it won’t be a firework show or anything like that. It’s still a new thing to me and I can’t really do much.”

“Can’t? Or won’t?” Zemo asked, approaching her, finding a spot at the bar.

She looked at him as to say something but decided against it. She looked back to the kettle and placed her hands along the side. Zemo watched her every move; observing, analyzing. 

She took a deep breath in and reached for a part in her to attract the sensation she feels around her. The kettle began to warm and in a minute it was boiling.

“Fascinating” Zemo whispered, his eyebrows scrunched in concentration.

She poured the steaming hot water into a cup and placed two teabags in it. “See, nothing special.”

Zemo looked at her as if she had said something absurd. “You have a gift.” He countered.

“Feels more like a curse.” She scoffed.

“When did this begin?” He asked.

“I don’t know, I feel like I’ve always had these... these abilities but it wasn’t until after the blip did I truly began to use them.”

“Fascinating.” Zemo repeated.

She pursed her lips, while she loathed everything about Zemo, she couldn’t lie having someone appreciate her abilities felt nice. She normally just felt like a freak, too afraid to show too much emotion, in fear she might lose control.

“Can I have you try something?” Zemo requested.

She scoffed, “Sorry, I don’t feel like playing lab rat today.”

Zemo made a face, “I understand your negative emotions towards me, but to say I have had failures in this field would be an incorrect accusation.”

She rolled her eyes, “Fine. What?”

He leapt off his seat, seemingly excited to play mad scientist again. He fetched a candle from the table and sat it infront of her. She cocked an eyebrow.

“Light it.” He said, gesturing to the wick.

“I- I don’t think that’s how it works.”

“Light it.” He repeated, pushing the candle towards her.

She reached to touch the wick but he slapped her hand away.

“Hey!” She blurted out, glaring at him.

“Without touch.” He said calmly.

She looked at him then back to the candle, frustrated.

“Focus on what you wish for it to be, what it will look like, how it will feel.” Zemo coached.

She shifted on her feet again, finding a more comfortable stance. She focused on her breath and stared at the wick.

“Breath in, and when you breath out try to push your energy at it.” Zemo said.

She closed her eyes feeling a tingling sensation around her, she inhaled slowly, feeling the sensation grow. She opened her eyes and focused the sensation onto her target. She heard a crackle sound, as if a fire was trying to start. She looked to Zemo wide eyed, he never looked up.

“Again.” He said, staring at the wick.

She shifted and this time held out her hand. She took a deep breath and this time flicked her hand at the wick on the exhale, a flame consumed the wick and began to slowly burn. She gasped.

“Beautiful.” Zemo smiled.

“Well shit,” a voice was heard. They looked over to see Sam propped alongside a wall. “You got sparkly fingers, Y/N.”

She laughed, delighted in herself, “Did you see it?”

“I saw it.” He smiled.

She looked to Zemo, “How? How did that happen?”

Zemo held out his hand and she reluctantly lended him hers. He flipped her palm up and traced a distinct ‘M’ she never noticed before, with his finger. “You are a mutant. You were born with this gift and just now have discovered it.”

“A mutant.” She echoed. “How do you know?”

“All mutants have the symbol ‘M’ mapped on their palm. Each with a unique ability. Your friend Wanda, she is a mutant as well.”

“There’s more?” She gasped looking at Sam.

“Many more, we walk beside them each day, yet we do not know it.” Zemo said.

She looked back to Zemo, suddenly desperate for knowledge. She knew she had these powers but half the time she felt it was all coincidence, and was honestly too afraid to attempt to use them. Knowing what happened to Wanda.

“I want to know everything, please tell me what you know.” She said.

“Woah, woah. Look, the magic trick was impressive but I don’t think you should be getting your information from him, Y/N.” Sam said walking towards her.

“Sam, he’s the only one I’ve ever met, who knows about this stuff, besides Wanda and I don’t even know where she is.” She protested.

“I assure you I do not intend to mislead-“ Zemo started.

Sam pointed at him, “No. You do not get to say that after all you’ve done. The only thing you do is mislead. Hell, you’ve probably already done something to sabotage the mission.”

“You think so little of me, Sam.” Zemo pouted.

“Yeah, I do and for good reason.” Sam stated.

“Sam,” Y/N started.

“Y/N! Sam!” Bucky’s voice echoed throughout the small apartment.

The two took off in the direction of the noise immediately. They came into the room to find Bucky staring out the window.

“What is it?” Y/N asked, coming to stand beside Bucky. She looked out the window, her eyes widening in horror.

“My god.” Sam uttered.

Outside the window was a some kind of mutilated animal strung upside down. Blood dripped menacingly to the ground below. 

“What does it mean?” Sam asked.

“It’s an invitation.” A voice said. The three turned around to find Zemo.

“The Power Broker requests our presence.”

Link to Petals (pt. 2)

[amandaoftherosemire]

For She Had Eyes...

Fandom: Marvel Avengers AU

Pairing: Steve Rogers x Reader

Characters: Steve Rogers, Bucky Barnes, Natasha Romanoff, Sam Wilson, Unnamed OFC!Hallway Blonde

Author: @amandaoftherosemire​

Rating: Explicit

Word Count: 5,146

Format: Two-part series

Warning: Smut, 18+ only, language, unintentional voyeurism, female masturbation, mild angst, embarrassment.

Summary: After accidentally catching Steve in an intimate moment, you can’t stop thinking about it.

A/N: This was inspired by a piece of fanart that I saw that I can’t find now to save my damn life. It was of Steve and Sharon against a wall, mostly clothed, him in a tux and her in a red dress, and I loved it. (If anyone knows what I’m talking about, please let me know so I can credit the artist.)

However, I personally hate how the fandom has treated Sharon Carter at times, so I tend not to vilify her if I can help it. To be clear, Hallway Blonde is NOT Sharon Carter.

I only split this into two parts because of the word count. It was one of those stories that showed up in my brain and wouldn’t shut up until I got it out of there and out of the way. I hope y’all like it!

For She Had Eyes

You didn’t mean to do it. You weren’t trying to peep. But jeez, if he didn’t want anyone to see, then why the hell was he in one of the corridors? Not that you were complaining. You were, but about the fact that you had to stop watching. Really. You had to. In a second.

You'd been heading back to your rooms from the communal kitchen after you’d woken up starving and embarked on an after-midnight foraging expedition. With the slice of pie and the soda you’d acquired, you were quietly padding back to your rooms when the gasping breaths and soft slap of flesh on flesh alerted you to someone else’s presence and their probable current activity.

Expecting Bucky or even Sam, you’d put your training to use and snuck toward the sound rather than away in the hopes of witnessing something you could leverage against them later. They were fun guys, but you needed any ammunition you could get in the unending friendly battle. Catching them in the act of either getting laid or making do could be excellent ammunition.

Which may be why you'd frozen when you peeked around the corner to one of the corridors in the private areas to spy Steve there with some blonde you only vaguely recognized pinned against the wall.

Your eyes widened, but you didn't move, greedily drinking in the sight of Steve, mostly dressed, as he pounded silently into the woman panting in his arms. You knew you should leave, as quietly as possible, respecting Steve's privacy. You stayed, however, for far longer than you were proud of, imprinting the image of Steve in the throes of passion on your retinas.

Though the light was dim, there was more than enough for you to see that Steve Rogers was fucking beautiful lost in pleasure.

His high cheekbones were flushed gorgeous pink, sharp jaw clenched, cheek muscle twitching. His long fingers dug into the woman’s thighs to hold her up and against the wall, in place for his thrusting hips. You could see the muscles of his thighs and ass flexing as he slammed harder into her, driving muffled gasps of pleasure from her lips.

You were grateful for that, as her sounds would hopefully mask your speeding breathing and racing heart. With one last, too long look, drawn by Steve's speeding thrusts, you drug your eyes and self away. You retreated as silently as you had come, praying neither of them had noticed your presence.

Once you thought you were far enough away, you took off running as best you could to your rooms, taking the long way around to avoid Steve and his companion at all costs. Back behind the closed door of your rooms, you dropped the pie and soda you still carried on your coffee table and ran to your bedroom.

In the privacy of your bed, you let your body rule. Sliding your hand between your thighs, you let yourself imagine being in the blonde’s place, your flesh between Steve’s teeth, your arms around his neck, your hands in his hair. As you began to rub circles into your clit, you envisioned Steve’s hands digging into the flesh of your thighs, holding you up and open for the slam of his hips against yours, driving his cock into you with the same relentless rhythm you’d just witnessed. Between your own fevered imaginings and the heated scene seared into your memory, you were coming in no time flat.

With a shuddering moan, you climaxed imagining Steve’s eyes on yours as he fucked you like a madman against a wall.

A while later, despite your physical satisfaction, you stared at the ceiling in horror.

How were you going to face him tomorrow?

You decided not to. Face him, that is. You opted instead to avoid any kind of social setting that day, pretending general surliness to keep everyone, but most especially Steve, at arm’s length.

You skipped breakfast entirely, not wanting to have to make small talk with anyone when you knew you’d be too busy remembering the line of Steve’s jaw as it clenched in passion. You waited until you knew much of the team would be in the gym before you joined them. To make sure you could avoid any interactions, you’d put on your leave-me-alone aura.

When you'd first joined the team, you'd made it clear that there would be days that you needed to be left alone. Those days were signified by the enormous gray hoodie enveloping your torso. Today you wore it over workout gear. You'd pulled the hood up, slid sunglasses onto your nose, and put earbuds into your ears before you'd walked through the door.

Every eye in the room turned toward you, recognized the hoodie and slid away as you crossed toward the outside door. Everyone knew you jogged by yourself on gray hoodie days. Since you studiously did not look at him as you walked out, you didn't see that Steve's eyes stayed on you, his gaze darkening as you left.

Steve's mood, already dark and mean, blackened viciously. With a snarl, he turned on the punching bag Bucky was holding for him. Bucky merely lifted a brow, easily reading Steve's moods. He could always tell when Steve had let his ex-girlfriend get her hooks into him again.

Steve was cursing himself. He'd known better than to let her drag him back in, even for a night, but the craving for you had been riding him hard when she'd texted. He'd been watching you take turns tossing popcorn and catching it in your mouth with Bucky while you debated movie choices with Sam and his heart had been sighing romantically at how sweet and beautiful he thought you were.

He also thought you firmly off-limits. Not only were you a member of his team, and that was no small matter, any change in dynamic possibly detrimental to the safety of everyone, you'd also never given him any indication you'd be receptive. You joked and teased him, but you did that with literally everyone; you were generally the friendly sort.

You also occasionally flirted with him, but it was delicate, almost innocent. There seemed to be more heat behind your flirting with Sam or Bucky. Still, the three of you were the sort of friends that gave each other endless shit, so there didn't seem to be anything to your flirting with them, either. Sam and Bucky always included Steve in the endless shit-giving, too, but you and he had never gotten to that point.

He wished he knew how to talk to you, how to become your friend even if he couldn't tell you he was half in love with you. Every time he tried, however, he ended up feeling too shy to open up for real. You'd always been open and encouraging, but he could tell his shyness looked like rejection to you. It left Captain America perpetually between you.

He'd been lamenting exactly that when she'd texted him, trying to draw him back into her sphere where she could punish him for not loving her enough. Most of the time he was able to resist, but he was feeling particularly sad and lonely. Watching you sit across the room from him, happy and within reach, yet somehow still a million miles away was both temptation and torment. Torn apart by it, he'd been willing to take the punishment to forget what he couldn't have, if only for a moment.

Until he'd been inside her, wishing she was you, and his heightened senses told him they were no longer alone. His inexplicable ability to recognize you by sound and scent alone had set him off and he'd come helplessly, with stuttering hips. He knew he'd heard someone's heart besides hers and his own, and he'd prayed it hadn't really been you who'd caught him in the corridor, that it had only been his own fevered imagination and desperate need that made him think he'd caught the edge of your scent.

He'd been in a foul mood thanks to both the worry of that and the ugly scene he'd endured at her hands. He'd already damned himself for answering her text at all, let alone allowing things to go so far, when, seconds after his climax, she'd murmured in his ear, her voice full of venom, "Thinking of her, again, were we?"

She'd been talking about Peggy; she didn’t know about you. They’d broken up before you’d joined the team, so it had been easy to hide his feelings for you from her, too aware she'd use it against him at the earliest opportunity, the way she did with Peggy. She'd never forgive him for not loving her the way she wanted. She couldn't seem to stop hurting them both because of it.

Then you'd walked in and out without looking at him and he'd known for certain. You'd walked in on him fucking his ex and now you couldn't meet his eye. His already foul mood shifted to something black and ugly as his fists pounded into the bag in frustration.

Outside, you breathed a sigh of relief. You'd made it past the first hurdle. If you could get through this day without humiliating yourself, you'd consider yourself home free. You were sure you could deal with this with just a little more time and distance. You just needed to put Steve back in the No-Sex box where you’d put all the hot people you worked with every day.

You were trying to ignore the fact that just the sight of Steve out of the corner of your eye had your memory flitting back to the sight of his fingers digging deliciously into flesh.

You put the image out of your mind and took two deep breaths as you started to stretch. A nice long run, a cold shower, and something other than last night's pie to eat and you could handle this.

"Y/N?"

You shrieked and jerked in response to the sound of Steve saying your name, hitting your head on the engine you were currently under while you worked on it.

"H-h-h-h-hi Steve!" Deeply grateful for the prototype engine that currently hid everything from your hips up, most thankfully your face, you rolled your eyes at the stuttering giggle. You despised the clear sign of the girlish crush you’d developed overnight, but in your defense, you hadn't been expecting anyone to come talk to you on a gray hoodie day, least of all Steve. He was kind and friendly, but he didn't seem to have much to say to you.

You'd tried to accept it, accept that not everyone was going to click with you, but you really liked Steve. His friendship with Sam and Bucky told you how warm and funny he could be with people he liked and his camaraderie with Natasha made it clear he could be friends with women, and the best of friends, no less. You couldn't help a little bit of hurt feelings that he stayed resolutely apart no matter how you tried to welcome him in. You now realized it was that little burn of resentment that had allowed you to ignore how attracted you were until you’d been confronted with his base sexuality.

Altogether, you'd been blindsided by the sound of Steve's voice, especially as you'd been belting along with the stereo where your phone was blasting your garage playlist. You liked fast and loud when you worked with your hands. Not expecting visitors, you hadn’t been bothering with the leave-me-alone attitude, singing happily as you tinkered. “Volume down fifty percent,” you said, and the music immediately dropped to a murmur.

You realized when he stayed silent that he was probably waiting for you to slide out from under the engine. Fat fucking chance. "Sorry, Steve. I literally have my hands full right now." The lie tripped lightly off your tongue, easier when you didn't have to look at him, but your discomfort was still coming through in your voice, loud and clear to anyone who knew you well. You hoped if he heard it, he didn't recognize it. "But go ahead and talk to me. What's up?"

Steve was both grateful and disappointed that he wasn't looking at your face. He was almost certain, based on your reaction, that you were the person who'd caught him last night, but he was not at all certain anymore that you were upset by it. You sounded… embarrassed? Ashamed?

He felt a rush of chagrin at the thought and spoke with less care than he had planned. "Were you in the hallway late last night?" As soon as the words were out of his mouth, he winced in horror. He hadn't meant to ask you that at all, let alone that baldly.

"NO!" You shouted the word, the sound strangled, and so clearly a lie, you merely let your head fall back with a thump as you tried to salvage it anyway. "Why do you ask?" you squeaked.

You turned your head until you were looking at Steve's boots when you heard what sounded like a snort from him. You'd never heard that sound from him before, at least not thanks to you, and it had you smiling despite the situation. "You're as bad a liar as I am," he said, his voice rich and warm and so appealing it almost made you slide on your creeper out from where you were wedged to peer into his face.

You resisted, however, too guilty to look at him straight on. You'd stood watching for far too long last night to have the moral high ground in this conversation. You were terrified he'd noticed, the shame of it miserably crawling up your neck and over your scalp. When he fell silent, you started to squirm with it.

Steve opened his mouth to speak, then closed it again, unsure how to go on. He wanted to apologize, but now it seemed you’d rather not talk about it. He also didn't know how to apologize. How could he tell you that he was in the hallway because he couldn't stand to have his ex in his space again? He opened his mouth, still not certain what he was about to say, but painfully aware that he’d been silent for far too long when you’d asked him a question.

Before he could speak, however, the silence had worn you down, and you sang like a canary, the words coming out in a rush of guilt-laden confession.

“Look, I know I might have stood there too long, but I was expecting the chance to ruin Bucky’s night or something and I was really surprised when it was you. Can we just pretend it never happened?” The final question came out on a choked high-pitched squeal that shamed you, but the humiliation was so intense, the guilt so over-whelming, you could only close your eyes and hope Steve took pity on you.

“How--” Steve stopped when his voice croaked a little to clear his throat and try again. He was embarrassed, confused, and sick at the thought that you might have seen the fight between him and his ex, heard the things she'd said to him. “How long did you stand there?”

The silence dragged on long enough that Steve actually felt his knees dissolve as his stomach threatened to revolt.

Meanwhile, you were laying, your head pillowed on the little cushion at the head of your creeper, your body limp as you stared in utter horror at the shiny metal you'd been working on without seeing it. You closed your eyes as your stomach churned.

Steve may have suspected that you'd stumbled upon him last night, but his words made clear that he had had no idea what you'd done. How could you possibly explain? There was no way to tell him you'd stood dumbstruck, watching him fuck someone, without giving away that you'd been mesmerized by the sight of him given over to lust, to passion. He'd just been so fucking beautiful.

But he hadn't come in here to confront you and you'd just sold yourself out. You'd never wanted a hole to open up and swallow you the way you did in this never-ending moment. You didn't want to answer, but the silence had stretched to the breaking point and if one of you didn't say something, you were pretty sure you were going to go stark raving mad.

"Okay," you said, your voice carrying a defensive tone and you were grateful all over again that Steve couldn't see your face. "I'm not a pervert or anything. I wasn't watching on purpose."

Steve's knees almost buckled in relief as he finally understood that you were embarrassed, rather than angry and upset, or possibly worse, judging him. "I shouldn't have been in the hallway." Steve rushed to reassure, not wanting you to think he was here because he was angry. "I'm sorry I embarrassed you."

You figured it was a good thing that you were kind of wedged under Tony's latest prototype. You were, apparently, entirely too susceptible to Steve. You could hear the genuine remorse and worry in his voice and it made you want to shimmy out there and cuddle him. A complete puddle, you responded as thoughtlessly as he when he rushed to reassure, your breath signaling your desire to astute ears.

"I wasn't mad, Steve," you half-laughed, the image of his neck muscles, taut with lust, flitting across your mind’s eye. "Let's just forget it." You slid over enough that you could reach out and give a thumbs up.

Steve laughed when your hand came into view, the tone in your voice making his heart beat faster, though he couldn’t put his finger on why. "Thanks, y/n," he replied, his voice warm with the affection he always felt for you but had never known how to express. He was almost glad that this had happened. The Captain seemed to have faded. He didn't know if it was because he could set it aside or because you could stop seeing it. Either way, he was beginning to feel like your friend.

"So, we're cool, right?" You said it hopefully, praying he'd let you off the hook.

Steve laughed out loud, and the sound was so pretty and warm you could hardly stand to stay still. You wanted so badly to see his face lit up with laughter you inspired. You stayed in place, however, still too terrified that he'd see your almost desperate lust for him if he could see your face right now. You needed a little more distance between yourself and the memory of the way the muscles in his thighs flexed and released as he thrust--

"We're cool." Steve was smiling at the thumb you were making dance in response, utterly charmed by you. He was trying to think of something else to say, wanting to stretch this time out longer, but nothing was coming to mind. With nothing else, "Thanks, again." He cringed. "I'll let you get back to work, then."

"I'll see you later." You said it warmly, catching a hint of the discomfort and seeking to alleviate it even if you didn't understand its cause. You had this newfound overwhelming urge to make Steve happy. You wished it wasn't partly because you really wanted to replace Hallway Blonde.

Steve turned and started to walk out, a smile on his face in response to the quiet humming noises you were making absently as the clink of your tools against metal started up again. He was halfway to the door when he realized that you'd never actually answered the question.

You were starting to hum along with the music as you got back to tinkering when Steve's voice rang out. "But… how long did you watch?"

"What?!" Blindsided, convinced you were home free, you had absolutely no defense or guile and the word was so drenched in pained guilt there was no way Steve didn't hear it.

"You did watch," he pointed out, turning back around with new determination, the guilt in your voice clear to him, but yet unexplained. "But I asked how long, and you didn't answer."

"Of course I did." Your voice was raspy and painfully unconvincing. If you'd been the slightest bit prepared for any of this, maybe you wouldn’t be fucking it up so hard. You cleared your throat and continued. "Not, like, a pervy amount of time, but a… justifiably surprised amount of time. I didn’t have a stopwatch on me.” You tried really hard to sound vaguely irritated and a little offended that you had to explain, and you mostly succeeded.

Steve stood next to the engine, looking down at your legs, jiggling in apparent anxiety. He was considering his options. He didn't want to get overly physically pushy and drag you out from under there so that he could look at you, but he also really wanted to see your face. He felt like he needed to understand what was going on underneath this conversation more than he needed anything else.

Steve lay down on the ground so that he could see you where you lay, one arm limp at your side, a socket wrench in your hand, while the other arm was up, your palm across your forehead in dismay. His mouth began to spread in a smile at how utterly adorable he thought you were, even when you'd been obviously lying to avoid having to look at him.

"Hands full, huh?"

"Fuck me!” The expletive burst from your mouth in an explosion, both startled and horrified at being caught. You whipped your head to the side to see Steve laying on his stomach on the floor next to you, his cheek pillowed on his crossed wrists, pretty face smiling sweetly at you.

Too susceptible by half, you turned your face back to the engine in front of you. You were afraid that pretty smile could get you to do anything.

“Will you please come out here so I can see your face when I’m talking to you?” Steve asked it kindly, aware that you were hiding because something embarrassed you. He wanted to ease that embarrassment, show you that you didn’t have to be embarrassed with him. He was too familiar with the sensation to want it to happen to anyone else, least of all you.

“I don’t want to.”

Steve’s lips twitched and he had to stifle his laughter at the petulant tone and cadence to your words. He didn’t move from his spot on the floor. If all he could get was the sight of your profile from under one of Tony’s massive prototypes, it was better than nothing. “Why not?”

“Because I’m humiliated.” You spoke slowly and deliberately, annoyed and anxious because the conversation that you’d thought you’d escaped unscathed had turned around on you. It didn’t help that you could see Steve smiling at you out of the corner of your eye and you were having a hell of a time not crawling out from under the engine and all over him. “The fuck you think?”

As you spoke, Steve could hear your heart start to race but it didn’t have the pounding rhythm of fear. If he wasn’t also afraid that he was merely engaged in wishful thinking, he’d wonder if it was arousal. Once he started considering the possibility, your behavior made more sense, but he couldn’t be sure he wasn’t deluding himself, desperate for you to want him with the same need he had for you, the same need he constantly had to bury beneath the Captain America façade.

“I shouldn’t ask how long you watched, should I?” He could hardly believe he was saying this, knew doing so could change  the dynamic between the two of you as well as the rest of the team, but he wanted you more than he wanted his next breath and the idea that you could want him too was irresistible. “I should ask why you watched,” he continued, his voice lowering with the first hints of desire.

Your wrench fell the ground where you dropped it when you shoved your creeper out from under the engine as you lost your temper. To be fair, the anger was more frustration and panic, than anything else. The shivers of embarrassment running up your spine and over your scalp, easily distracted you from the desire coloring Steve’s voice.

“Oh my god!” You shouted it as you came to your feet. Steve had already leapt to his feet when you burst into motion. You faced him, eyes narrowed, hands on hips. “Because you’re sexy as hell and it was hot, okay? Are you happy now?” Steve’s jaw dropped at the bald statement combined with the hostile tone to your voice.

Gesturing wildly, you continued to rant. “When I realized how I was violating your privacy I turned around and walked away but I’ve felt guilty ever since.” You sneered and the tone did not match the words of your next sentiment by any stretch. “So I’m sorry." With a scoff of irritation, you turned and walked out on a long stride of anger. “Fuck you.”

Once far away from your garage and Steve, you sagged against the wall in horrified dismay.

Did you just yell at Steve that watching him fuck got you hot?

Were you out of your damn mind?

Steve sat in the window seat in his bedroom. He’d picked these rooms because of the wide, deep bench next to tinted glass where he could look out at the woods behind the compound but not feel as he often did, as though he were on display, a fish in a bowl. These moments of peace, alone with his sketchbook in his designated quiet place, sometimes felt like the glue holding him together.

In these moments, he most often sketched you. Today was no exception.

He'd spent the last half hour trying to get right the exact curve of your eyebrows as you'd shouted at him before storming out of your garage. He never wanted to forget the look on your face, as he'd fallen a little more in love with you that day.

Steve had never had the luxury of self-delusion. He'd been born fragile and small to a world both mean and cold. He'd found cruelty far more often than kindness at the hands of others, until a man of rare vision and compassion had seen more deeply and offered him a chance to do more than the body he'd been born into would allow. He'd leapt at the chance, simply because he needed to right the wrongs he saw in the world and no one would let him any other way.

After the serum, however, he'd learned that the eyes stayed cruel even as the blows became pats, the raised fists handshakes, the sneering disdain simpering flattery. He'd learned quickly to see who meant their kindnesses, their compassion, and who sought his company because of his appearance or name. He rarely made mistakes these days, though his most recent was fresh.

Today, your eyebrows had twisted in distress even as your mouth went mobile in fury, the quiver of your voice so slight only his highly sensitive ears could have heard it. The humiliated, guilty misery had been all over you the moment he'd been allowed to see you and his heart had stumbled.

Where another would look at you and see the oil smeared across your cheek, Steve saw in the agitated motion the compassion that fueled the anxiety and humiliation all over you. The tone of your voice revealed the kindness that inspired such guilt; the shine of your eyes gave away the integrity that caused such misery. In short, he'd been attracted to the surface of you, the funny and bright, but the sweet heart beneath had him captivated.

Steve couldn't deny that the attraction was not silent in this contemplation. His brain kept replaying your voice saying that you thought him sexy. He couldn't stop thinking about the implicit admission in your bald statement. You'd wanted to watch.

You'd wanted to watch him.

The thought alone had had him half hard all day. He wanted to show you. He wanted to show you everything.

He couldn't help the fear, however. He was afraid to tell you that, to admit that he'd developed feelings for you that were anything but professional. He worried that to do so would alter a dynamic that worked, that kept all of you safe. He was also terrified that your interest was merely physical and to admit to anything deeper would do nothing but invite your pity.

All his old insecurities rose up to choke him at the same moment he heard his ex's text tone.

I'm sorry, baby. I just get so jealous. Let me make it up to you.

He thought of her pretty perfect lips sneering in fury and something perilously close to hate, then of your dancing thumb and your shamefaced flight. Everything inside him softened in tenderness at your sweetness, your genuine warmth. Reminded that he had a right to kindness and compassion, his heart hardened against the blonde viper that was once again trying to get her fangs into him.

No. All we do is hurt each other. I'm not doing this anymore.

As soon as he hit send, he felt lighter. He wondered if he should leave you alone for a little while before he tried to talk to you again. Because he would absolutely be talking to you again. He needed to know if you felt anything like the electricity that raced over him every time he saw you.

Not doing this anymore? Who the fuck do you think you are?

She hadn't always been like this. Or at least she hid it better at the beginning, until he'd fallen in love with the woman he thought she was. Over time, however, there emerged cruel jealousy from underneath the funny charm that had captivated him. Even in the beginning, however, he couldn't imagine her reacting to anything the way you had. She lacked the empathy.

Steve couldn't help but compare you. You didn’t just compare favorably, there seemed to be no comparison. Most important, your reaction to what had happened told him what kind of heart you had. He had no defense against kindness, strength, and compassion. Whether it was wise or not, he needed to find out if there was anything there. 

He finally listened to Natasha and blocked her number.

Steve went back to his sketch, smiling at the memory of how you’d looked shouting compliments at him, wondering when you’d let him talk to you again.

 … And Chose Me here

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[hellomorganus]

Helen Draiz

I do not own The Phantom of the Opera. The book/musical/movies belong to their rightful owners. I only own my characters.

CHAPTER 7

That Thursday, Helen did as was asked of her. After spending the evening with Christine she retreated to box five and told Erik all she had gathered. The man had almost lost his temper at a few things she had told him but kept his cool until she left. 

Now, it was the opening night of II Muto. There were finishing touches being put on the actors, the sets and the costumes. Helen was one of the lucky ones to be finishing up a costume already on Med Giry. The girls button had popped off from the corset. She had been so embarrassed when it happened, she immediately ran from the scene. Helen had raced after her, needle in hand and button in the other. It was nearly five minutes before the show started when Helen finished making sure everything else was secure. The raven haired girl hugged her tightly before rushing back to the stage. 

Helen returned to her post on the east wing of the stage, beside her red haired friend. Camille smiled at her before returning her gaze to the actors on stage. 

Helen stood beside her, watching the curtains open, an applause filling the auditorium. The music began playing and the actors rushed to the front of the stage, beginning to sing. 

Just as Helen was getting used to the sound of Carlotta’s voice bouncing off the walls, a new voice cut her off. “Did I not instruct that box five was to be kept empty?” growled Erik’s voice throughout the auditorium. 

The actors froze on the stage, some clinging to others as a form of comfort. Helen herself felt Camille grip her hand tightly, looking around the room in paranoia. “It’s the Phantom.” she mumbled. 

Helen made brief eye contact with Christine who was practically shaking her spot. “It’s him,” she barely whispered, eyes wide in fear. 

“You’re part,” Carlotta snapped, pointing her fan at the blonde, “is silent little toad!” She laughed towards the audience before going to her own maids, opening her mouth for some water to be sprayed in her mouth. 

When she was finished with that, she returned back to the stage, motioning for Monsieur Reyer to continue conducting. The actors hesitantly got back into character as the scene began again. 

“Serafimo, away with this pretence!” Carlotta began, projecting her voice throughout the room. “You cannot speak, but kiss me in my husband’s a--” 

A loud croak echoed throughout the room. It was silent for a minute before the audience and even a few cast members began laughing at the poor Spanish woman. The woman in turn stood frozen, her mouth agape in horror at the sound that just escaped from her throat. She stared at Monsieur Reyer in fear as he continued to conduct the band. 

“Poor fool he makes me laugh,” her voice trembled, preparing for the laughter when her voice croaked once more. She covered her mouth in horror as more and more croaks slipped out of her throat. 

Tears were brimming in her eyes right as the curtains closed, hiding everyone from the audience's line of view. The managers stumbled onto the stage in a rush, trying to calm down the chortling audience. 

“Ladies and Gentlemen, we apologize,” started Monsieur Firmin, “the performance will continue in 10 minutes’ time…”

He put his hand behind the curtain and grabbed a hold of Christine, pulling her out onto the stage. “When the role of the countess will be played by Miss Daae!” he exclaimed, motioning to the soprano. 

The audience cheered for Christine before the blonde ducked back behind the curtains to get changed into a new costume. The blonde took a hold of Helen’s hands as she ran into her dressing room. 

Helen and Christine quickly undid the clasps and buttons on Christine’s page boy costume before lacing her up in a spare countess dress. “He’s bound to do something wicked Helen,” Christine said, her blue eyes wide as she stared around the room in fear. “I can’t go up there.”

“You must,” Helen insisted, tying the corset off. “Otherwise my hard work will all be for naught.” she joked lightly. 

Christine gave her a small smile, until her eyes fell on a rose on her vanity. She gulped, walking towards it and picking it up slowly. 

Suddenly screams filled the entire opera house. Helen rushed outside of the room and to the stage to see what had caused such a commotion. She took several steps back in shock, tears welling up in her eyes at the sight of Joseph Bouquet hanging from the walkways above the stage. She made eye contact with Erik, shaking her head slowly. He crouched down and cut the rope with one swift motion, watching the stage hand drop to the stage with a thud. 

He spun on his heels and strutted towards the roof. Helen pushed past the screaming and panicking people, racing after The Phantom. Just as she was about to climb the stairs a hand caught her wrist. “Helen!” exclaimed Henry, his eyes wide with worry. “Where have you been?”

The brunette cradled his face in her hands, guilt washing over her. She hadn’t even thought about Henry during this whole ordeal. Whether or not he was okay or safe. 

“I was helping Christine. Are you alright?” she asked, clinging onto his vest in concern. “Is anybody else hurt?”

Henry shook his head, pulling her close to his chest. “I’m fine. I don’t believe anyone else is hurt, but come. We must get out of here.” he insisted, holding her head to his chest. The male then took her hand in his own and dragged her away from the staircase and towards the back entrance of the Opera Populaire. “We’ll sleep somewhere else tonight.”

Helen nodded numbly to him, watching as he grabbed one of her cloaks from the rack and throwing it on her before pulling on his own jacket. “Do you have anything you need to take with you?”

Helen slowly shook her head, looking around at all the mayhem Erik had caused. Her eyes caught the sight of a familiar Persian, leading people safely to the exit, his eyes wide with worry. “Actually, yes. I do.” she said, kissing his hand gently. “You get the carriage and I’ll grab what I need.”

“Be quick,” Henry said before going outside and doing what she told him to do. 

Helen pushed her way to Nadir, stopping in front of him. “Why the hell would he do that?” she hissed, trying her best to ignore the panic screeches from the people. 

Nadir glanced at her, motioning for people to follow the crowd. “There could be many reasons, Mademoiselle Helen. He could have gotten caught. That poor man may have gotten on his bad side. Maybe he was craving a fresh kill. I do not have any slightest of an idea.”

Helen clenched her jaw, catching sight of a bubbly blonde and her lover climbing down the stairs. “I intend to find out.” she said, cutting through the crowd, ignoring Nadir’s warnings. She climbed the stairs and burst through the doors, searching the white powdered roof for any sign of The Phantom. 

“Erik!” she called. “Where are you?”

Her head turned towards her right at the sound of snow crunching beneath a pair of feet. From around a statue came the masked man she was looking for. His shoulders were shaking terribly, from the cold or his emotions, Helen couldn’t tell. 

Hers, however, she knew. She was pissed. “Why?” she hissed, crossing her arms as she stared up at him. 

The man with golden eyes stared blankly at her before a sinister smirk came across his face. “Why not?” he hissed back, staring her up and down. 

Helen shook her head, her face flushing from the cold and anger. “Erik! Stop this. I want an actual answer. Why did you kill him?”

Erik walked around her in circles. He was eying her like candy, his hands clenched by his sides. “He deserved it. Don’t even try to deny it.”

Helen could admit Joseph was an absolute ass. She could admit he was a disgusting pig that flirted with every other girl in the building. She could admit she had wanted to slap him every time she saw him flirting with someone. But she would never wish death on anyone. “He didn’t deserve to die.”

The masked man arched a brow, stopping in front of her. He stood tall compared to her, glowering down at her. “You didn’t care about him. No one did.”

Helen hesitantly reached out for him. She ignored his comment, pulling back her hand when he took a step back.  “Erik. You need to keep a low profile now. The police will be after you. I am leaving. Please be safe. Goodbye.”

“Leaving? Where?” he asked, his gaze now locked on her. Helen shrugged lightly, tugging her cloak tighter around her body. 

“Maybe back to America for a month or two? Out of town? I couldn’t tell you Monsieur.” she replied, turning and walking to the door. “Farewell.”

She opened the door and slinked down the stairs, a frown painting on her lips. Her steps down the stairs were slow, her mind racing with questions on where she was going and how she got tangled up in this mess. 

She paused for a brief moment on the stairs, glancing over her shoulder at the door to the roof. She was friends with a murderer. With a traumatized man. A man desperate for love.

She gulped as she continued down the stairs, her eyes falling on her worried lover looking for her over the crowd. 

Helen zigzagged through the remains of the crowd, grasping tightly onto Henry's arm when she made it to him. “Let’s go,” she said, resting her head on his shoulder. 

The blonde man nodded and kissed her forehead before leading her out of the door to the carriage he had flagged down. 

                                                    ~-~-~

The young couple had decided to take a trip to Germany. They stayed there for a couple of months before Helen had insisted they return back to the Opera House. Henry reluctantly agreed, arranging a carriage for their trip back. 

Helen watched his body language carefully, taking note on his left hand tucked away in his pocket as they waited for the carriage to arrive at the Opera Populaire. The brunette woman shifted in her seat, tucking her ankle behind her opposite foot. She plucked at her gloves, anxiously watching the scenery change outside of the window. “Camille mentioned that the managers are hosting a masquerade ball on New Years,” mentioned Helen. 

While on their trip, Camille chose to stay behind, working tirelessly day and night. They wrote to each other nearly every week and in the red head’s letters, she mentioned three things. 1: The managers were hosting a masquerade ball on New Years to celebrate the Phantom disappearing for the last few months. 2: Christine Daae and the Vicomte De Changey were officially engaged and happily told the cast and anyone who would listen. And finally, 3: That every night she would find a new rose on top of Helen’s vanity. 

Both girls thought that odd, as the only person to ever give her flowers was Henry. And Henry was in Germany with her. So who could the roses be from?

Henry perked up in his seat, a gentle grin spreading across his features. “That’s exciting. We should go,” he said, reaching across to grab her hand. “What do you think?”

Helen looked over at the blonde man and nodded, smiling softly. “I would love to go,” she admitted. Henry grinned and brought her hand to his lips. 

“Wonderful.” he said, rubbing his thumb on the back of her hand. “When will you go shopping?”

Helen shrugged. “Honestly...I was thinking of just borrowing one of the costumes I’ve made.” she replied. “Though I suppose shopping with Camille would be fun.”

Henry smiled and nodded. “Just let me know and I will give you some money.”

Helen shook her head. “Henry, no. That’s your money. You keep it. We both get paid.” she insisted. Henry shook his head, laughing quietly. 

“My love, I am a musician. You are a maid. I have money to spare. Let me spoil you,” he begged, kissing her palm. “Please my love.”

Helen gently rubbed his cheek, reluctantly agreeing. “Alright,” she whispered. 

They soon arrived at the Opera House, both feeling a sort of weight on their shoulders. They were back to the location of a horrible tragedy. Camille had mentioned Joseph Bouquet’s funeral in her letter but supposedly not a lot of people went. Only his closest friends went. Not even his remaining family arrived for his funeral. Within a month, everyone forgot about him. They moved on with their lives as if nothing happened. 

Henry hopped out of the carriage, offering her a hand out. Helen gratefully took it, stepping out onto the pavement in front of their home. She grinned and kissed his cheek before she let go of his hand. “It feels good to be back,” she said quietly. 

Henry hummed, looking up at the building. “To an extent.” he replied, moving to grab their bags. 

Helen smirked at his comment, taking her bag from his hands, walking up the steps slowly with him trailing behind. The brunette girl opened the door for Henry, letting him go in first before following. She nearly jumped in surprise when a bunch of female voices cried out her name. Two stood out more than the others. She looked up the stairs to find Camille, Christine and a few other ballet girls. 

The two main girls were grinning and excitedly waiting for her to reach them. Helen laughed, shaking her head in amusement. When she and Henry finally reached them, she was embraced by the two girls. 

“How was the trip?” Christine asked, both girls pulling away.

Helen and Henry shared a look, smiling softly to each other. “Exactly what we needed.” she replied, turning back to her friends. “What about you two? Anything exciting happen while we were gone?”

Christine blushed, sharing a look with Camille before showing them both the engagement ring on her finger. “Raoul proposed,” she told Henry and Helen, a grin plastered on her face. 

Helen smiled and gently took a hold of Christine’s hand, admiring the ring, trying her best to ignore Henry’s stare going between her and the ring. 

“Congratulations!” Helen exclaimed, holding her hand tightly. “We must celebrate!”

Christine laughed quietly, squeezing her hand back just as tightly. “No celebrations are necessary. Raoul and I are just happy to share the news with our friends and his family.” 

Helen grinned and released her hand, looking to Henry to find his hand in his left pocket. Again. 

She gave him a small smile and looped her arm with his. “Ready to face the managers?”

Henry laughed, taking his hand out of his pocket as he turned to her. “I am more ready to face them than I am of Monsieur Reyer.” he joked. 

All three girls laughed, turning to walk further into the Opera House, only to freeze at the sight of a familiar policeman. 

Nadir stood a bit uncomfortably, staring straight at Helen. “May I speak to you Mademoiselle Helen?” he asked, his hands shaking gently. “It’s urgent.”

[artycloudpop]

1hey are u bored at home, wanna chill and netflix....... but just can’t find some thing nice to watch? here’s a list of movies for u watch

A Ghost Story (2017)

Director David Lowery (Pete's Dragon) conceived this dazzling, dreamy meditation on the afterlife during the off-hours on a Disney blockbuster, making the revelations within even more awe-inspiring. After a fatal accident, a musician (Casey Affleck) finds himself as a sheet-draped spirit, wandering the halls of his former home, haunting/longing for his widowed wife (Rooney Mara). With stylistic quirks, enough winks to resist pretension (a scene where Mara devours a pie in one five-minute, uncut take is both tragic and cheeky), and a soundscape culled from the space-time continuum, A Ghost Story connects the dots between romantic love, the places we call home, and time -- a ghost's worst enemy.

Airplane! (1980)

This is one of the funniest movie of all time. Devised by the jokesters behind The Naked Gun, this disaster movie spoof stuffs every second of runtime with a physical gag (The nun slapping a hysterical woman!), dimwitted wordplay ("Don't call me, Shirley"), an uncomfortable moment of odd behavior ("Joey, have you ever seen a grown man naked?"), or some other asinine bit. The rare comedy that demands repeat viewings, just to catch every micro-sized joke and memorize every line.

A24

American Honey (2016)

Writer/director Andrea Arnold lets you sit shotgun for the travels of a group of wayward youth in American Honey, a seductive drama about a "mag crew" selling subscriptions and falling in and out of love with each other on the road. Seen through the eyes of Star, played by Sasha Lane, life on the Midwest highway proves to be directionless, filled with a stream of partying and steamy hookups in the backs of cars and on the side of the road, especially when she starts to develop feelings for Shia LaBeouf’s rebellious Jake. It’s an honest look at a group of disenfranchised young people who are often cast aside, and it’s blazing with energy. You’ll buy what they're selling.

Anna Karenina (2012)

Adapted by renowned playwright Tom Stoppard, this take on Leo Tolstoy's classic Russian novel is anything but stuffy, historical drama. Keira Knightley, Jude Law, Aaron Taylor-Johnson, Domhnall Gleeson, Alicia Vikander are all overflowing with passion and desire, heating up the chilly backdrop of St. Petersburg. But it's director Joe Wright's unique staging -- full of dance, lush costuming, fourth-wall-breaking antics, and other theatrical touches -- that reinvent the story for more daring audiences.

NETFLIX

Apostle (2018)

For his follow-up to his two action epics, The Raid and The Raid 2, director Gareth Evans dials back the hand-to-hand combat but still keeps a few buckets of blood handy in this grisly supernatural horror tale. Dan Stevens stars as Thomas Richardson, an early 20th century opium addict traveling to a cloudy island controlled by a secretive cult that's fallen on hard times. The religious group is led by a bearded scold named Father Malcolm (Michael Sheen) who may or may not be leading his people astray. Beyond a few bursts of kinetic violence and some crank-filled torture sequences, Evans plays this story relatively down-the-middle, allowing the performances, the lofty themes, and the windswept vistas to do the talking. It's a cult movie that earns your devotion slowly, then all at once.

Back to the Future (1985)

Buckle into Doc's DeLorean and head to the 1950s by way of 1985 with the seminal time-travel series that made Michael J. Fox a household name. It's always a joy watching Marty McFly's race against the clock way-back-when to ensure history runs its course and he can get back to the present. Netflix also has follow-up Parts II and III, which all add up to a perfect rainy afternoon marathon.

NETFLIX

The Ballad of Buster Scruggs (2018)

The Coen brothers gave some big-name-director cred to Netflix by releasing their six-part Western anthology on the streaming service, and while it's not necessarily their best work, Buster Scruggs is clearly a cut above most Netflix originals. Featuring star turns from Liam Neeson, Tom Waits, Zoe Kazan, and more, the film takes advantage of Netflix's willingness to experiment by composing a sort of death fugue that unfolds across the harsh realities of life in Manifest Destiny America. Not only does it revel in the massive, sweeping landscapes of the American West, but it's a thoughtful meditation on death that will reveal layer after layer long after you finish.

Barbershop (2002)

If you've been sleeping on the merits of the Barbershop movies, the good news is it's never too late to get caught up. Revisit the 2002 installment that started Ice Cube's smack-talking franchise so you can bask in Cedric the Entertainer's hilarious wisdom, enjoy Eve's acting debut, and admire this joyful ode to community.

NETFLIX

Barry (2016)

In 1981, Barack Obama touched down in New York City to begin work at Columbia University. As Barry imagines, just days after settling into his civics class, a white classmate confronts the Barry with an argument one will find in the future president's Twitter @-mentions: "Why does everything always got to be about slavery?" Exaltation is cinematic danger, especially when bringing the life of a then-sitting president to screen. Barry avoids hagiography by staying in the moment, weighing race issues of a modern age and quieting down for the audience to draw its own conclusions. Devon Terrell is key, steadying his character as smooth-operating, socially active, contemplative fellow stuck in an interracial divide. Barry could be any half-black, half-white kid from the '80s. But in this case, he's haunted by past, present, and future.

Being John Malkovich (1999)

You can't doubt the audacity of screenwriter Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Anomalisa), whose first produced screenplay hinged on attracting the title actor to a script that has office drones discovering a portal into his mind. John Cusack, Catherine Keener, and Cameron Diaz combine to create an atmosphere of desperate, egomaniacal darkness, and by the end you'll feel confused and maybe a little slimy about the times you've participated in celebrity gawking.

A24

The Blackcoat's Daughter (2017)

Two young women are left behind at school during break... and all sorts of hell breaks loose. This cool, stylish thriller goes off in some strange directions (and even offers a seemingly unrelated subplot about a mysterious hitchhiker) but it all pays off in the end, thanks in large part to the three leads -- Emma Roberts, Lucy Boynton, and Kiernan Shipka -- and director Oz Perkins' artful approach to what could have been just another occult-based gore-fest.

Bloodsport (1988)

Jean-Claude Van Damme made a career out of good-not-great fluff. Universal Soldier is serviceable spectacle, Hard Target is a living cartoon, Lionheart is his half-baked take on On the Waterfront. Bloodsport, which owes everything to the legacy of Bruce Lee, edges out his Die Hard riff Sudden Death for his best effort, thanks to muscles-on-top-of-muscles-on-top-of-muscles fighting and Stan Bush's "Fight to Survive." Magic Mike has nothing on Van Damme's chiseled backside in Bloodsport, which flexes its way through a slow-motion karate-chop gauntlet. In his final face-off, Van Damme, blinded by arena dust, rage-screams his way to victory. The amount of adrenaline bursting out of Bloodsport demands a splash zone.

Blue Ruin (2013)

Before he went punk with 2016's siege thriller Green Room, director Jeremy Saulnier delivered this low-budget, darkly comic hillbilly noir. When Dwight Evans (Macon Blair) discovers that the man who killed his parents is being released from prison, he returns home to Virginia to claims his revenge and things quickly spin out of control. Like the Coen Brothers' Blood Simple, this wise-ass morality tale will make you squirm.

WELL GO USA ENTERTAINMEN

Burning (2018)

Some mysteries simmer; this one smolders. In his adaptation of a Haruki Murakami short story, writer and director Lee Chang-dong includes many elements of the acclaimed author's slyly mischievous style -- cats, jazz, cooking, and an alienated male writer protagonist all pop up -- but he also invests the material with his own dark humor, stray references to contemporary news, and an unyielding sense of curiosity. We follow aimless aspiring novelist Lee Jong-su (Yoo Ah-in) as he reconnects with Shin Hae-mi (Jeon Jong-seo), a young woman he grew up with, but the movie never lets you get too comfortable in one scene or setting. When Steven Yeun's Ben, a handsome rich guy with a beautiful apartment and a passion for burning down greenhouses, appears, the film shifts to an even more tremulous register. Can Ben be trusted? Yeun's performance is perfectly calibrated to entice and confuse, like he's a suave, pyromaniac version of Tyler Durden. Each frame keeps you guessing.

Cam (2018)

Unlike the Unfriended films or this summer's indie hit Searching, this web thriller from director Daniel Goldhaber and screenwriter Isa Mazzei isn't locked into the visual confines of a computer screen. Though there's plenty of online screen time, allowing for subtle bits of commentary and satire, the looser style allows the filmmakers to really explore the life and work conditions of their protagonist, rising cam girl Alice (Madeline Brewer). We meet her friends, her family, and her customers. That type of immersion in the granular details makes the scarier bits -- like an unnerving confrontation in the finale between Alice and her evil doppelganger -- pop even more.

THE ORCHARD

Creep (2014)

Patrick Brice's found-footage movie is a no-budget answer to a certain brand of horror, but saying more would give away its sinister turns. Just know that the man behind the camera answered a Craigslist ad to create a "day in the life" video diary for Josef (Mark Duplass), who really loves life. Creep proves that found footage, the indie world's no-budget genre solution, still has life, as long as you have a performer like Duplass willing to go all the way.

The Death of Stalin (2017)

Armando Iannucci, the brilliant Veep creator, set his sights on Russia with this savage political satire. Based on a graphic novel, the film dramatizes the madcap, maniacal plots of the men jostling for power after their leader, Joseph Stalin, keels over. From there, backstabbing, furious insults, and general chaos unfolds. Anchored by performances from Shakespearean great Simon Russell Beale and American icon Steve Buscemi, it's a pleasure to see what the rest of the cast -- from Star Trek: Discovery's Jason Isaacs to Homeland's Rupert Friend -- do with Iannucci's eloquently brittle text.

Den of Thieves (2018)

If there's one thing you've probably heard about this often ridiculous bank robbery epic, it's that it steals shamelessly from Michael Mann's crime saga Heat. The broad plot elements are similar: There's a team of highly-efficient criminals led by a former Marine (Pablo Schreiber) and they must contend with a obsessive, possibly unhinged cop (Gerard Butler) over the movie's lengthy 140 minute runtime.  A screenwriter helming a feature for the first time, director Christian Gudegast is not in the same league as Mann as a filmmaker and Butler, sporting unflattering tattoos and a barrel-like gut, is hardly Al Pacino. But everyone is really going for it here, attempting to squeeze every ounce of Muscle Milk from the bottle.

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Divines (2016)

Thrillers don't come much more propulsive or elegant than Houda Benyamina's Divines, a heartwarming French drama about female friendship that spirals into a pulse-pounding crime saga. Rambunctious teenager Dounia (Oulaya Amamra) and her best friend Maimouna (Déborah Lukumuena) begin the film as low-level shoplifters and thieves, but once they fall into the orbit of a slightly older, seasoned drug dealer named Rebecca (Jisca Kalvanda), they're on a Goodfellas-like trajectory. Benyamina offsets the violent, gritty genre elements with lyrical passages where Dounia watches her ballet-dancer crush rehearse his routines from afar, and kinetic scenes of the young girls goofing off on social media. It's a cautionary tale told with joy, empathy, and an eye for beauty.

Dolemite Is My Name (2019)

Eddie Murphy has been waiting years to get this movie about comedian and blaxploitation star Rudy Ray Moore made, and you can feel his joy in finally getting to play this role every second he's on screen. The film, directed by Hustle & Flow's Craig Brewer, charts how Moore rose from record store employee, to successful underground comedian, to making his now-cult classic feature Dolemite by sheer force of passion. It's thrilling (and hilarious) to watch Murphy adopt Moore's Dolemite persona, a swaggering pimp, but it's just as satisfying to see the former SNL star capture his character at his lowest points. He's surrounded by an ensemble that matches his infectious energy.

The Edge of Seventeen (2016)

As romanticized as adolescence can be, it’s hard being young. Following the high school experience of troubled, overdramatic Nadine (Hailee Steinfeld), The Edge of Seventeen portrays the woes of adolescence with a tender, yet appropriately cheeky tone. As if junior year isn’t hellish enough, the universe essentially bursts into flames when Nadine finds out her best friend is dating her brother; their friendship begins to dissolve, and she finds the only return on young love is embarrassment and pain. That may all sound like a miserable premise for a young-adult movie, except it’s all painfully accurate, making it endearingly hilarious -- and there’s so much to love about Steinfeld’s self-aware performance.

FOCUS FEATURES

Eternal Sunshine of the Spotless Mind (2004)

Romance and love are nothing without the potential for loss and pain, but most of us would probably still consider cutting away all the worst memories of the latter. Given the option to eradicate memories of their busted relationship, Jim Carrey's Joel and Kate Winslet's Clementine go through with the procedure, only to find themselves unable to totally let go. Science fiction naturally lends itself to clockwork mechanisms, but director Michel Gondry and screenwriter Charlie Kaufman never lose the human touch as they toy with the kaleidoscope of their characters' hearts and minds.

The Evil Dead (1981)

Before Bruce Campbell's Ash was wielding his chainsaw-arm in Army of Darkness and on Starz's Ash Vs. Evil Dead, he was just a good looking guy hoping to spend a nice, quiet vacation in a cabin with some friends. Unfortunately, the book of the dead had other plans for him. With this low-budget horror classic, director Sam Raimi brings a surprising degree of technical ingenuity to bear on the splatter-film, sending his camera zooming around the woods with wonder and glee. While the sequels double-downed on laughs, the original Evil Dead still knows how to scare.

The Firm (1993)

The '90s were a golden era of sleek, movie-star-packed legal thrillers, and they don't get much better than director Sydney Pollack's The Firm. This John Grisham adaptation has a little bit of everything -- tax paperwork, sneering mobsters, and Garey Busey, for starters -- but there's one reason to watch this movie: the weirdness of Tom Cruise. He does a backflip in this movie. What else do you need to know?

A24

The Florida Project (2017)

Sean Baker's The Florida Project nuzzles into the swirling, sunny, strapped-for-cash populace of a mauve motel just within orbit of Walt Disney World. His eyes are Moonee, a 6-year-old who adventures through abandoned condos, along strip mall-encrusted highway, and across verdant fields of overgrown brush like Max in Where the Wild Things Are. But as gorgeous as the everything appears -- and The Florida Project looks stunning -- the world around here is falling apart, beginning with her mother, an ex-stripper turning to prostitution. The juxtaposition, and down-to-earth style, reconsiders modern America in the most electrifying way imaginable.

Frances Ha (2012)

Before winning hearts and Oscar nominations with her coming-of-age comedy Lady Bird, Greta Gerwig starred in the perfect companion film, about an aimless 27-year-old who hops from New York City to her hometown of Sacramento to Paris to Poughkeepsie and eventually back to New York in hopes of stumbling into the perfect job, the perfect relationship, and the perfect life. Directed by Noah Baumbach (The Meyerowitz Stories), and co-written by both, Frances Ha is a measured look at adult-ish life captured the kind of intoxicating black and white world we dream of living in.

NETFLIX

Fyre: The Greatest Party That Never Happened (2019)

Everyone's favorite disaster of a festival received not one, but two streaming documentaries in the same week. Netflix's version has rightly faced some criticism over its willingness to let marketing company Fuck Jerry off the hook (Jerry Media produced the doc), but that doesn't take away from the overall picture it portrays of the festival's haphazard planning and the addiction to grift from which Fyre's founder, Billy McFarland, apparently suffers. It's schadenfreude at its best.

Gerald's Game (2017)

Like his previous low-budget Netflix-released horror release, Hush, a captivity thriller about a deaf woman fighting off a masked intruder, Mike Flanagan's Stephen King adaptation of Gerald's Game wrings big scares from a small location. Sticking close to the grisly plot details of King's seemingly "unfilmable" novel, the movie chronicles the painstaking struggles of Jessie Burlingame (Carla Gugino) after she finds herself handcuffed to a bed in an isolated vacation home when her husband, the titular Gerald, dies from a heart attack while enacting his kinky sexual fantasies. She's trapped -- and that's it. The premise is clearly challenging to sustain for a whole movie, but Flanagan and Gugino turn the potentially one-note set-up into a forceful, thoughtful meditation on trauma, memory, and resilience in the face of near-certain doom.

A24

Good Time (2017)

In this greasy, cruel thriller from Uncut Gems directors the Safdie brothers, Robert Pattinson stars as Connie, a bank robber who races through Queens to find enough money to bail out his mentally disabled brother, who's locked up for their last botched job. Each suffocating second of Good Time, blistered by the neon backgrounds of Queens, New York and propelled by warped heartbeat of Oneothrix Point Never's synth score, finds Connie evading authorities by tripping into an even stickier situation.

Green Room (2015)

Green Room is a throaty, thrashing, spit-slinging punk tune belted through an invasion-movie microphone at max volume. It's nasty -- and near-perfect. As a band of 20-something rockstars recklessly defend against a neo-Nazi battalion equipped with machetes, shotguns, and snarling guard dogs, the movie blossoms into a savage coming-of-age tale, an Almost Famous for John Carpenter nuts. Anyone looking for similar mayhem should check out director Jeremy Saulnier's previous movie, the low-budget, darkly comic hillbilly noir, Blue Ruin, also streaming on Netflix.

The Guest (2014)

After writer-director Adam Wingard notched a semi-sleeper horror hit with 2011's You're Next, he'd earned a certain degree of goodwill among genre faithful and, apparently, with studio brass. How else to explain distribution for his atypical thriller The Guest through Time Warner subsidiary Picturehouse? Headlined by soon-to-be megastar Dan Stevens and kindred flick It Follows' lead scream queen Maika Monroe, The Guest introduces itself as a subtextual impostor drama, abruptly spins through a blender of '80s teen tropes, and ultimately reveals its true identity as an expertly self-conscious straight-to-video shoot 'em up, before finally circling back on itself with a well-earned wink. To say anymore about the hell that Stevens' "David" unleashes on a small New Mexico town would not only spoil the fun, but possibly get you killed.

THE WEINSTEIN COMPANY

The Hateful Eight (2015)

Quentin Tarantino has something to say about race, violence, and American life, and it's going to ruffle feathers. Like Django Unchained, the writer-director reflects modern times on the Old West, but with more scalpel-sliced dialogue, profane poetry, and gore. Stewed from bits of Agatha Christie, David Mamet, and Sam Peckinpah, The Hateful Eight traps a cast of blowhards (including Samuel L. Jackson as a Civil War veteran, Kurt Russell as a bounty hunter known as "The Hangman," and Jennifer Jason Leigh as a psychopathic gang member) in a blizzard-enveloped supply station. Tarantino ups the tension by shooting his suffocating space in "glorious 70mm." Treachery and moral compromise never looked so good.

High Flying Bird (2019)

High Flying Bird is a basketball film that has little to do with the sport itself, instead focusing on the behind-the-scenes power dynamics that play out during an NBA lockout. At the center of the Steven Soderbergh movie -- shot on an iPhone, because that's what he does now -- is André Holland's Ray Burke, a sports agent trying to protect his client's interests while also disrupting a corrupt system. It's not an easy tightrope to walk, and, as you might expect, the conditions of the labor stoppage constantly change the playing field. With his iPhone mirroring the NBA's social media-heavy culture, and appearances from actual NBA stars lending the narrative heft, Soderbergh experiments with Netflix's carte blanche and produces a unique film that adds to the streaming service's growing list of original critical hits.

PARAMOUNT PICTURES

Hugo (2011)

Martin Scorsese hit pause on mob violence and Rolling Stones singles to deliver one of the greatest kid-centric films in eons. Following Hugo (Asa Butterfield) as he traces his own origin story through cryptic automaton clues and early 20th-century movie history, the grand vision wowed in 3-D and still packs a punch at home.

I Am the Pretty Thing That Lives in the House (2016)

A meditative horror flick that's more unsettling than outright frightening, I Am the Pretty Thing That Lives in the House follows the demise of Lily, a live-in nurse (Ruth Wilson) who's caring for an ailing horror author. As Lily discovers the truth about the writer's fiction and home, the lines between the physical realm and the afterlife blur. The movie's slow pacing and muted escalation might frustrate viewers craving showy jump-scares, but writer-director Oz Perkins is worth keeping tabs on. He brings a beautiful eeriness to every scene, and his story will captivate patient streamers. Fans should be sure to check out his directorial debut, The Blackcoat's Daughter.

NETFLIX

I Don't Feel at Home in This World Anymore (2017)

In this maniacal mystery, Ruth (Melanie Lynskey), a nurse, and her rattail-sporting, weapon-obsessed neighbor Tony (Elijah Wood) hunt down a local burglar. Part Cormac McCarthy thriller, part wacky, Will Ferrell-esque comedy, I Don't Feel at Home in This World Anymore is a cathartic neo-noir about everyday troubles. Director Macon Blair's not the first person to find existential enlightenment at the end of an amateur detective tale, but he might be the first to piece one together from cussing octogenarians, ninja stars, Google montages, gallons of Big Red soda, upper-deckers, friendly raccoons, exploding body parts, and the idiocy of humanity.

Indiana Jones and the Raiders of the Lost Ark (1981)

With a bullwhip, a leather jacket, and an "only Harrison Ford can pull this off" fedora, director Steven Spielberg invented the modern Hollywood action film by doing what he does best: looking backward. As obsessed as his movie-brat pal and collaborator George Lucas with the action movie serials of their youth, the director mined James Bond, Humphrey Bogart, Westerns, and his hatred of Nazis to create an adventure classic. To watch Raiders of the Lost Ark now is to marvel at the ingenuity of specific sequences (the boulder! The truck scene! The face-melting!) and simply groove to the self-deprecating comic tone (snakes! Karen Allen! That swordsman Indy shoots!). The past has never felt so alive.

Inside Man (2006)

Denzel Washington is at his wily, sharp, and sharply dressed best as he teams up once again with Spike Lee for this wildly entertaining heist thriller. He's an NYPD hostage negotiator who discovers a whole bunch of drama when a crew of robbers (led by Clive Owen) takes a bank hostage during a 24-hour period. Jodie Foster also appears as an interested party with uncertain motivations. You'll have to figure out what's going on several times over before the truth outs.

DRAFTHOUSE FILMS

The Invitation (2015)

This slow-burn horror-thriller preys on your social anxiety. The film's first half-hour, which finds Quarry's Logan Marshall-Green arriving at his ex-wife's house to meet her new husband, plays like a Sundance dramedy about 30-something yuppies and their relationship woes. As the minutes go by, director Karyn Kusama (Jennifer's Body) burrows deeper into the awkward dinner party, finding tension in unwelcome glances, miscommunication, and the possibility that Marshall-Green's character might be misreading a bizarre situation as a dangerous one. We won't spoil what happens, but let's just say this is a party you'll be telling your friends about.

Ip Man (2008)

There aren't many biopics that also pass for decent action movies. Somehow, Hong Kong action star Donnie Yen and director Wilson Yip made Ip Man (and three sequels!) based on the life of Chinese martial arts master Yip Kai-man, who famously trained Bruce Lee. What's their trick to keeping this series fresh? Play fast and loose with the facts, up the melodrama with each film, and, when in doubt, cast Mike Tyson as an evil property developer. The fights are incredible, and Yen's portrayal of the aging master still has the power to draw a few tears from even the most grizzled tough guy.

NETFLIX

The Irishman (2019)

Opening with a tracking shot through the halls of a drab nursing home, where we meet a feeble old man telling tall tales from his wheelchair, The Irishman delights in undercutting its own grandiosity. All the pageantry a $150 million check from Netflix can buy -- the digital de-aging effects, the massive crowd scenes, the shiny rings passed between men -- is on full display. Everything looks tremendous. But, like with 2013's The Wolf of Wall Street, the characters can't escape the fundamental spiritual emptiness of their pursuits. In telling the story of Frank Sheeran (Robert De Niro), a World War II veteran and truck driver turned mob enforcer and friend to labor leader Jimmy Hoffa (Al Pacino), director Martin Scorsese and screenwriter Steven Zaillian construct an underworld-set counter-narrative of late 20th century American life. Even with a 209 minute runtime, every second counts.

It Comes at Night (2017)

In this post-apocalyptic nightmare-and-a-half, the horrors of humanity, the strain of chaotic emotions pent up in the name of survival, bleed out through wary eyes and weathered hands. The setup is blockbuster-sized -- reverts mankind to the days of the American frontier, every sole survivor fights to protect their families and themselves -- but the drama is mano-a-mano. Barricaded in a haunted-house-worthy cabin in the woods, Paul (Edgerton) takes in Will (Abbott) and his family, knowing full well they could threaten his family's existence. All the while, Paul's son, Trevor, battles bloody visions of (or induced by?) the contagion. Shults directs the hell out of every slow-push frame of this psychological thriller, and the less we know, the more confusion feels like a noose around our necks, the scarier his observations become.

WARNER BROS. PICTURES

Jupiter Ascending (2015)

Jupiter Ascending is one of those "bad" movies that might genuinely be quite good. Yes, Channing Tatum is a man-wolf and Mila Kunis is the princess of space and bees don't sting space royalty and Eddie Redmayne hollers his little head off about "harvesting" people -- but what makes this movie great is how all of those things make total, absolute sense in the context of the story. The world the Wachowskis (yes, the Wachowskis!) created is so vibrant and strange and exciting, you almost can't help but get drawn in, even when Redmayne vamps so hard you're afraid he's about to pull a muscle. (And if you're a ballet fan, we have some good news for you.)

Jurassic Park (1993)

Perhaps the only movie that ever truly deserved a conversion to a theme-park ride, Steven Spielberg's thrilling adaptation of the Michael Crichton novel brought long-extinct creatures back to life in more ways than one. Benevolent Netflix gives us more than just the franchise starter, too: The Lost World and JP3 sequels are also available, so you can make a marathon of it.

THE WEINSTEIN COMPANY

Killing Them Softly (2012)

Brad Pitt doesn't make conventional blockbusters anymore -- even World War Z had epidemic-movie ambitions -- so it's not surprising that this crime thriller is a little out there. Set during the financial crisis and presidential election of 2008, the film follows Pitt's hitman character as he makes sense of a poker heist gone wrong, leaving a trail of bodies and one-liners along the way. Mixed in with the carnage, you get lots of musings about the economy and American exceptionalism. It's not subtle -- there's a scene where Scoot McNairy and Ben Mendelsohn do heroin while the Velvet Underground's "Heroin" plays -- but, like a blunt object to the head, it gets the job done.

Lady Bird (2017)

The dizzying, frustrating, exhilarating rite of passage that is senior year of high school is the focus of actress Greta Gerwig's first directorial effort, the story of girl named Lady Bird (her given name, in that "it’s given to me, by me") who rebels against everyday Sacramento, California life to obtain whatever it is "freedom" turns out to be. Laurie Metcalf is an understated powerhouse as Lady Bird's mother, a constant source of contention who doggedly pushes her daughter to be successful in the face of the family's dwindling economic resources. It's a tragic note in total complement to Gerwig's hysterical love letter to home, high school, and the history of ourselves.

A24

The Lobster (2016)

Greek style master Yorgos Lanthimos' dystopian allegory against romance sees Colin Farrell forced to choose a partner in 45 days or he'll be turned into an animal of his choice, which is a lobster. Stuck in a group home with similarly unlucky singles, Farrell's David decides to bust out and join other renegades in a kind of anti-love terror cell that lives in the woods. It's part comedy of manners, part futuristic thriller, and it looks absolutely beautiful -- Lanthimos handles the bizarre premise with grace and a naturalistic eye that reminds the viewer that humans remain one of the most interesting animals to exist on this planet.

Mad Max (1979)

Before Tom Hardy was grunting his way through the desert and crushing tiny two-headed reptiles as Max Rockatansky, there was Mel Gibson. George Miller's 1979 original introduces the iconic character and paints the maximum force of his dystopian mythology in a somewhat more grounded light -- Australian police factions, communities, and glimmers of hope still in existence. Badass homemade vehicles and chase scenes abound in this taut, 88-minute romp. It's aged just fine.

Magic Mike (2012)

Steven Soderbergh's story of a Tampa exotic dancer with a heart of gold (Channing Tatum) has body-rolled its way to Netflix. Sexy dance routines aside, Mike's story is just gritty enough to be subversive. Did we mention Matthew McConaughey shows up in a pair of ass-less chaps?

The Master (2012)

Loosely inspired by the life of Scientology founder L. Ron Hubbard -- Dianetics buffs, we strongly recommend Alex Gibney's Going Clear documentary as a companion piece -- The Master boasts one of the late Philip Seymour Hoffman’s finest performances, as the enigmatic cult leader Lancaster Dodd. Joaquin Phoenix burns just as brightly as his emotionally stunted, loose-cannon protege Freddie Quell, who has a taste for homemade liquor. Paul Thomas Anderson’s cerebral epic lends itself to many different readings; it’s a cult story, it's a love story, it's a story about post-war disillusionment and the American dream, it's a story of individualism and the desire to belong. But the auteur's popping visuals and heady thematic currents will still sweep you away, even if you’re not quite sure where the tide is taking you.

NETFLIX

The Meyerowitz Stories (New and Selected) (2017)

When Danny (Adam Sandler), Matthew (Ben Stiller) and Jean (Elizabeth Marvel), three half-siblings from three different mothers, gather at their family brownstone in New York to tend to their ailing father (Dustin Hoffman), a lifetime of familial politics explode out of every minute of conversation. Their narcissistic sculptor dad didn't have time for Danny. Matthew was the golden child. Jean was weird… or maybe disturbed by memories no one ever knew. Expertly sketched by writer-director Noah Baumbach (The Squid and the Whale) this memoir-like portrait of lives half-lived is the kind of bittersweet, dimensional character comedy we're now used to seeing told in three seasons of prestige television. Baumbach gives us the whole package in two hours.

Monty Python and the Holy Grail (1975)

The legendary British comedy troupe took the legend of King Arthur and offered a characteristically irreverent take on it in their second feature film. It's rare for comedy to hold up this well, but the timelessness of lines like, "I fart in your general direction!" "It's just a flesh wound," and "Run away!" makes this a movie worth watching again and again.

A24

Moonlight (2016)

Chronicling the boyhood years, teenage stretch, and muted adult life of Chiron, a black gay man making it in Miami, this triptych altarpiece is at once hyper-specific and cosmically universal. Director Barry Jenkins roots each moment in the last; Chiron's desire for a lost lover can't burn in a diner booth over a bottle of wine without his beachside identity crisis years prior, blurred and violent, or encounters from deeper in his past, when glimpses of his mother's drug addiction, or the mentoring acts of her crack supplier, felt like secrets delivered in code. Panging colors, sounds, and the delicate movements of its perfect cast like the notes of a symphony, Moonlight is the real deal, a movie that will only grow and complicate as you wrestle with it.

Mudbound (2017)

The South's post-slavery existence is, for Hollywood, mostly uncharted territory. Rees rectifies the overlooked stretch of history with this novelistic drama about two Mississippi families working a rain-drenched farm in 1941. The white McAllans settle on a muddy patch of land to realize their dreams. The Jacksons, a family of black sharecroppers working the land, have their own hopes, which their neighbors manage to nurture and curtail. To capture a multitude of perspectives, Mudbound weaves together specific scenes of daily life, vivid and memory-like, with family member reflections, recorded in whispered voice-over. The epic patchwork stretches from the Jackson family dinner table, where the youngest daughter dreams of becoming a stenographer, to the vistas of Mississippi, where incoming storms threaten an essential batch of crops, to the battlefields of World War II Germany, a harrowing scene that will affect both families. Confronting race, class, war, and the possibility of unity, Mudbound spellbinding drama reckons with the past to understand the present.

NETFLIX

My Happy Family (2017)

At 52, Manana (Ia Shughliashvili) packs a bag and walks out on her husband, son, daughter, daughter's live-in boyfriend, and elderly mother and father, all of whom live together in a single apartment. The family is cantankerous and blustery, asking everything of Manana, who spends her days teaching better-behaved teenagers about literature. But as Nana Ekvtimishvili and Simon Groß's striking character study unfolds, the motivation behind Manana's departure is a deeper strain of frustration, despite what her brother, aunts, uncles, and anyone else who can cram themselves into the situation would like us to think. Anchored by Ia Shughliashvili's stunningly internal performance, and punctured by a dark sense of humor akin to Darren Aronofsky's mother! (which would have been the perfect alternate title), My Happy Family is both delicate and brutal in its portrayal of independence, and should get under the skin of anyone with their own family drama.

The Naked Gun (1988)

The short-lived Dragnet TV spoof Police Squad! found a second life as The Naked Gun action-comedy movie franchise, and the first installment goes all in on Airplane! co-star Leslie Nielsen's brand of straight-laced dementia. Trying to explain The Naked Gun only makes the stupid sound stupider, but keen viewers will find jokes on top of jokes on top of jokes. It's the kind of movie that can crack "nice beaver," then pass a stuffed beaver through the frame and actually get away with it. Nielsen has everything to do with it; his Frank Drebin continues the grand Inspector Clouseau tradition in oh-so-'80s style.

The Notebook (2004)

"If you’re a bird, I’m a bird." It's a simple statement and a declaration of devotion that captures the staying power of this Nicholas Sparks classic. The film made Ryan Gosling a certified heartthrob, charting his working class character Noah's lovelorn romance with Rachel McAdam's wealthy character Allie. The star-crossed lovers narrative is enough to make even the most cynical among us swoon, but given that their story is told through an elderly man reading (you guessed it!) a notebook to a woman with dementia, it hits all of the tragic romance benchmarks to make you melt. Noah's commitment to following his heart -- and that passionate kiss in the rain -- make this a love story for the ages.

NETFLIX

Okja (2017)

This wild ride, part action heist, part Miyazaki-like travelogue, and part scathing satire, is fueled by fairy tale whimsy -- but the Grimm kind, where there are smiles and spilled blood. Ahn Seo-hyun plays Mija, the young keeper of a "super-pig," bred by a food manufacturer to be the next step in human-consumption evolution. When the corporate overlords come for her roly-poly pal, Mija hightails it from the farm to the big city to break him out, crossing environmental terrorists, a zany Steve Irwin-type (Gyllenhaal), and the icy psychos at the top of the food chain (including Swinton's childlike CEO) along the way. Okja won't pluck your heartstrings like E.T., but there's grandeur in its frenzy, and the film's cross-species friendship will strike up every other emotion with its empathetic, eco-friendly, and eccentric observations.

On Body and Soul (2017)

This Hungarian film earned an Academy Award nomination for Best Foreign Film, and it's easy to see why. The sparse love story begins when two slaughterhouse employees discover they have the same dream at night, in which they're both deer searching the winter forest for food. Endre, a longtime executive at the slaughterhouse, has a physically damaged arm, whereas Maria is a temporary replacement who seems to be on the autism spectrum. If the setup sounds a bit on-the-nose, the moving performances and the unflinching direction save On Body and Soul from turning into a Thomas Aquinas 101 class, resulting in the kind of bleak beauty you can find in a dead winter forest.

NETFLIX

The Other Side of the Wind (2018)

Don't go into Orson Welles' final film expecting it to be an easy watch. The Other Side of the Wind, which follows fictional veteran Hollywood director Jake Hannaford (tooootally not modeled after Welles himself) and his protegé (also tooootally not a surrogate for Welles' own friend and mentee Peter Bogdanovich, who also plays the character) as they attend a party in celebration of Hannaford's latest film and are beset on all sides by Hannaford's friends, enemies, and everyone in between. The film, which Welles hoped would be his big comeback to Hollywood, was left famously unfinished for decades after his death in 1985. Thanks to Bogdanovich and producer Frank Marshall, it was finally completed in 2018, and the result is a vibrant and bizarre throwback to Welles' own experimental 1970s style, made even more resonant if you know how intertwined the movie is with its own backstory. If you want to dive even deeper, Netflix also released a documentary about the restoration and completion of the film, They'll Love Me When I'm Dead, which delves into Welles' own complicated and tragic relationship with Hollywood and the craft of moviemaking.

Pan’s Labyrinth (2006)

Guillermo Del Toro’s dark odyssey Pan’s Labyrinth takes a fantasy setting to mirror the horrible political realities of the human realm. Set in 1940s Falangist Spain, the film documents the hero’s journey of a young girl and stepdaughter of a ruthless Spanish army officer as she seeks an escape from her war-occupied world. When a fairy informs her that her true destiny may be as the princess of the underworld, she seizes her chance. Like Alice in Wonderland if Alice had gone to Hell instead of down the rabbit hole, the Academy Award-winning film is a wondrous, frightening fairy tale where that depicts how perilous the human-created monster of war can be.

Paranormal Activity (2007)

This documentary-style film budgeted at a mere $15,000 made millions at the box office and went on to inspire a number of sequels, all because of how well its scrappiness lent to capturing what feels like a terrifying haunted reality. Centered on a young couple who is convinced an evil spirit is lurking in their home, the two attempt to capture its activity on camera, which, obviously, only makes their supernatural matters worse. It leans on found footage horror tropes made popular by The Blair Witch Project and as it tessellates between showing the viewer what’s captured on their camcorders and the characters’ perspectives, it’s easy to get lost in this disorienting supernatural thriller.

UNIVERSAL PICTURES

Poltergeist (1982)

If you saw Poltergeist growing up, chances are you’re probably equally as haunted by Heather O’Rourke as she is in the film, playing a little girl tormented by ghosts in her family home. This Steven Spielberg-penned, Tobe Hooper-directed (The Texas Chainsaw Massacre) paranormal flick is a certified cult classic and one of the best horror films of all time, coming from a simple premise about a couple whose home is infested with spirits obsessed with reclaiming the space and kidnapping their daughter. Poltergeist made rearranged furniture freaky, and you may remember a particularly iconic scene with a fuzzed out vintage television set. It’s may be nearly 40 years old, but the creepiness holds up.

Pride & Prejudice (2005)

Taking Jane Austen's literary classic and tricking it out with gorgeous long takes, director Joe Wright turns this tale of manners into a visceral, luminescent portrait of passion and desire. While Succession's Matthew MacFadyen might not make you forget Colin Firth from 1995's BBC adaptation, Keira Knightley is a revelation as the tough, nervy Lizzie Bennett. With fun supporting turns from Donald Sutherland, Rosamund Pike, and Judi Dench, it's a sumptuous period romance that transports you from the couch to the ballroom of your dreams -- without changing out of sweatpants.

NETFLIX

Private Life (2018)

Over a decade since the release of her last dark comedy, The Savages, writer and director Tamara Jenkins returned with a sprawling movie in the same vein: more hyper-verbal jerks you can't help but love. Richard (Paul Giamatti) and Rachel (Kathryn Hahn) are a Manhattan-dwelling couple who have spent the last few years attempting to have a baby with little success. When we meet them, they're already in the grips of fertility mania, willing to try almost anything to secure the offspring they think they desire. With all the details about injections, side effects, and pricey medical procedures, the movie functions as a taxonomy of modern pregnancy anxieties, and Hahn brings each part of the process to glorious life.

The Ritual (2018)

The Ritual, a horror film where a group of middle-aged men embark on a hiking trip in honor of a dead friend, understands the tension between natural beauty of the outdoors and the unsettling panic of the unknown. The group's de facto leader Luke (an understated Rafe Spall) attempts to keep the adventure from spiralling out of control, but the forest has other plans. (Maybe brush up on your Scandinavian mythology before viewing.) Like a backpacking variation on Neil Marshall's 2005 cave spelunking classic The Descent, The Ritual deftly explores inter-personal dynamics while delivering jolts of other-worldly terror. It'll have you rethinking that weekend getaway on your calendar.

NETFLIX

Roma (2018)

All those billions Netflix spent paid off in the form of several Oscar nominations for Roma, including one for Best Picture and a win for Best Director. Whether experienced in the hushed reverence of a theater, watched on the glowing screen of a laptop, or, as Netflix executive Ted Sarandos has suggested, binged on the perilous surface of a phone, Alfonso Cuarón's black-and-white passion project seeks to stun. A technical craftsman of the highest order, the Children of Men and Gravity director has an aesthetic that aims to overwhelm -- with the amount of extras, the sense of despair, and the constant whir of exhilaration -- and this autobiographical portrait of kind-hearted maid Cleo (Yalitza Aparicio) caring for a family in the early 1970s has been staged on a staggering, mind-boggling scale.

Schindler's List (1993)

A passion project for Steven Spielberg, who shot it back-to-back with another masterpiece, Jurassic Park, Schindler's List tells the story of Oskar Schindler, a German businessman who reportedly saved over 1,200 Jews during the Holocaust. Frank, honest, and stark in its depiction of Nazi violence, the three-hour historical drama is a haunting reminder of the world's past, every frame a relic, every lost voice channeled through Itzhak Perlman's mourning violin.

A Serious Man (2009)

This dramedy from the Coen brothers stars Michael Stuhlbarg as Larry Gopnik, a Midwestern physics professor who just can't catch a break, whether it's with his wife, his boss, or his rabbi. (Seriously, if you're having a bad day, this airy flick gives you ample time to brood and then come to the realization that your life isn't as shitty as you think.) Meditating on the spiritual and the temporal, Gopnik's improbable run of bad luck is a smart modern retelling of the Book of Job, with more irony and fewer plagues and pestilences. But not much fewer.

WELL GO USA

Shadow (2019)

In Shadow, the visually stunning action epic from Hero and House of Flying Daggers wuxia master Zhang Yimou, parasols are more than helpful sun-blockers: They can be turned into deadly weapons, shooting boomerang-like blades of steel at oncoming attackers and transforming into protective sleds for traveling through the slick streets. These devices are one of many imaginative leaps made in telling this Shakespearean saga of palace intrigue, vengeance, and secret doppelgangers set in China's Three Kingdoms period. This is a martial arts epic where the dense plotting is as tricky as the often balletic fight scenes. If the battles in Game of Thrones left you frustrated, Shadow provides a thrilling alternative.

She's Gotta Have It (1986)

Before checking out Spike Lee's Netflix original series of the same name, be sure to catch up with where it all began. Nola (Tracy Camilla Johns) juggles three men during her sexual pinnacle, and it's all working out until they discover one another. She's Gotta Have It takes some dark turns, but each revelation speaks volumes about what real romantic independence is all about.

The Silence of the Lambs (1991)

The late director Jonathan Demme's 1991 film is the touchstone for virtually every serial killer film and television show that came after. The iconic closeup shots of an icy, confident Hannibal Lecter (Anthony Hopkins) as he and FBI newbie Clarice Starling (Jodie Foster) engage in their "quid pro quo" interrogation sessions create almost unbearable tension as Buffalo Bill (Ted Levine) remains on the loose, killing more victims. Hopkins delivers the more memorable lines, and Buffalo Bill's dance is the stuff of nerve-wracking anxiety nightmares, but it's Foster's nuanced performance as a scared, determined, smart-yet-hesitant agent that sets Silence of the Lambs apart from the rest of the serial killer pack.

THE WEINSTEIN COMPANY

Silver Linings Playbook (2012)

Jennifer Lawrence, Bradley Cooper, and David O. Russell’s first collaboration -- and the film that turned J-Law into a bona fide golden girl -- is a romantic comedy/dramedy/dance-flick that bounces across its tonal shifts. A love story between Pat (Cooper), a man struggling with bipolar disease and a history of violent outbursts, and Tiffany (Lawrence), a widow grappling with depression, who come together while rehearsing for an amateur dance competition, Silver Linings balances an emotionally realistic depiction of mental illness with some of the best twirls and dips this side of Step Up. Even if you're allergic to rom-coms, Lawrence and Cooper’s winning chemistry will win you over, as will this sweet little gem of a film: a feel-good, affecting love story that doesn’t feel contrived or treacly.

Sin City (2005)

Frank Miller enlisted Robert Rodriguez as co-director to translate the former's wildly popular series of the same name to the big screen, and with some added directorial work from Quentin Tarantino, the result became a watershed moment in the visual history of film. The signature black-and-white palette with splashes of color provided a grim backdrop to the sensational violence of the miniaturized plotlines -- this is perhaps the movie that feels more like a comic than any other movie you'll ever see.

Sinister (2012)

Horror-movie lesson #32: If you move into a creepy new house, do not read the dusty book, listen to the decaying cassette tapes, or watch the Super 8 reels you find in the attic -- they will inevitably lead to your demise. In Sinister, a true-crime author (played by Ethan Hawke) makes the final mistake, losing his mind to home movies haunted by the "Bughuul."

NETFLIX

Small Crimes (2017)

It's always a little discombobulating to see your favorite Game of Thrones actors in movies that don't call on them to fight dragons, swing swords, or at least wear some armor. But that shouldn't stop you from checking out Small Crimes, a carefully paced thriller starring the Kingslayer Jaime Lannister himself, Nikolaj Coster-Waldau. As Joe Denton, a crooked cop turned ex-con, Coster-Waldau plays yet another character with a twisted moral compass, but here he's not part of some mythical narrative. He's just another conniving, scheming dirtbag in director E.L. Katz's Coen brothers-like moral universe. While some of the plot details are confusing -- Katz and co-writer Macon Blair skimp on the exposition so much that some of the dialogue can feel incomprehensible -- the mood of Midwestern dread and Coster-Waldau's patient, lived-in performance make this one worth checking out. Despite the lack of dragons.

Snowpiercer (2013)

Did people go overboard in praising Snowpiercer when it came out? Maybe. But it's important to remember that the movie arrived in the sweaty dog days of summer, hitting critics and sci-fi lovers like a welcome blast of icy water from a hose. The film's simple, almost video game-like plot -- get to the front of the train, or die trying -- allowed visionary South Korean director Bong Joon-ho to fill the screen with excitement, absurdity, and radical politics. Chris Evans never looked more alive, Tilda Swinton never stole more scenes, and mainstream blockbuster filmmaking never felt so tepid in comparison. Come on, ride the train!

The Social Network (2010)

After making films like Seven, The Game, Fight Club, Panic Room, and Zodiac, director David Fincher left behind the world of scumbags and crime for a fantastical, historical epic in 2008's The Curious Case of Benjamin Button. The Social Network was another swerve, but yielded his greatest film. There's no murder on screen, but Fincher treats Jesse Eisenberg's Mark Zuckerberg like a dorky, socially awkward mob boss operating on an operatic scale. Screenwriter Aaron Sorkin's rapid-fire, screwball-like dialogue burns with a moral indignation that Fincher's watchful, steady-handed camera chills with an icy distance. It's the rare biopic that's not begging you to smash the "like" button.

SONY PICTURES RELEASING

Spider-Man: Into the Spider-Verse (2018)

In this shrewd twist on the superhero genre, the audience's familiarity with the origin story of your friendly neighborhood web-slinger -- the character has already starred in three different blockbuster franchises, in addition to countless comics and cartoon TV adaptations -- is used as an asset instead of a liability. The relatively straight-forward coming-of-age tale of Miles Morales (Shameik Moore), a Brooklyn teenager who takes on the powers and responsibilities of Spider-Man following the death of Peter Parker, gets a remix built around an increasingly absurd parallel dimension plotline that introduces a cast of other Spider-Heroes like Spider-Woman (Hailee Steinfeld), Spider-Man Noir (Nicolas Cage), Peni Parker (Kimiko Glen), and, most ridiculously, Spider-Ham (John Mulaney), a talking pig in a Spider-Suit. The convoluted set-up is mostly an excuse to cram the movie with rapid-fire jokes, comic book allusions, and dream-like imagery that puts the rubbery CGI of most contemporary animated films to shame.

Spotlight (2015)

Tom McCarthy stretches the drama taut as he renders Boston Globe's 2000 Catholic Church sex scandal investigation into a Hollywood vehicle. McCarthy's notable cast members crank like gears as they uncover evidence and reflect on a horrifying discovery of which they shoulder partial blame. Spotlight was the cardigan of 2015's Oscar nominees, but even cardigans look sharp when Mark Ruffalo is involved.

The Squid and the Whale (2005)

No movie captures the prolonged pain of divorce quite like Noah Baumbach's brutal Brooklyn-based comedy The Squid and the Whale. While the performances from Jeff Daniels and Laura Linney as bitter writers going through a separation are top-notch, the film truly belongs to the kids, played by Jesse Eisenberg and Owen Kline, who you watch struggle in the face of their parents' mounting immaturity and pettiness. That Baumbach is able to wring big, cathartic laughs from such emotionally raw material is a testament to his gifts as a writer -- and an observer of human cruelty.

SONY PICTURES RELEASING

Starship Troopers (1997)

Paul Verhoeven is undoubtedly the master of the sly sci-fi satire. With RoboCop, he laid waste to the police state with wicked, trigger-happy glee. He took on evil corporations with Total Recall. And with Starship Troopers, a bouncy, bloody war picture, he skewered the chest-thumping theatrics of pro-military propaganda, offering up a pitch-perfect parody of the post-9/11 Bush presidency years before troops set foot in Iraq or Afghanistan. Come for the exploding alien guts, but stay for the winking comedy -- or stay for both! Bug guts have their charms, too.

Swiss Army Man (2016)

You might think a movie that opens with a suicidal man riding a farting corpse like a Jet Ski wears thin after the fourth or fifth flatulence gag. You would be wrong. Brimming with imagination and expression, the directorial debut of Adult Swim auteurs "The Daniels" wields sophomoric humor to speak to friendship. As Radcliffe's dead body springs back to life -- through karate-chopping, water-vomiting, and wind-breaking -- he becomes the id to Dano's struggling everyman, who is also lost in the woods. If your childhood backyard adventures took the shape of The Revenant, it would look something like Swiss Army Man, and be pure bliss.

NETFLIX

Tallulah (2016)

From Orange Is the New Black writer Sian Heder, Tallulah follows the title character (played by Ellen Page) after she inadvertently "kidnaps" a toddler from an alcoholic rich woman and passes the child off as her own to appeal to her run-out boyfriend's mother (Allison Janney). A messy knot of familial woes and wayward instincts, Heder's directorial debut achieves the same kind of balancing act as her hit Netflix series -- frank social drama with just the right amount of humorous hijinks. As Tallulah grows into a mother figure, her on-the-lam parenting course only makes her more and more of a criminal in the eyes of... just about everyone. You want to root for her, but that would be too easy.

Taxi Driver (1976)

Travis Bickle (a young Bobby De Niro) comes back from the Vietnam War and, having some trouble acclimating to daily life, slowly unravels while fending off brutal insomnia by picking up work as a... taxi driver... in New York City. Eventually he snaps, shaves his hair into a mohawk and goes on a murderous rampage while still managing to squeeze in one of the most New York lines ever captured on film ("You talkin' to me?"). It's not exactly a heartwarmer -- Jodie Foster plays a 12-year-old prostitute -- but Martin Scorsese's 1976 Taxi Driver is a movie in the cinematic canon that you'd be legitimately missing out on if you didn't watch it.

FOCUS FEATURES

The Theory of Everything (2014)

In his Oscar-winning performance, Eddie Redmayne portrays famed physicist Stephen Hawking -- though The Theory of Everything is less of a biopic than it is a beautiful, sweet film about his lifelong relationship with his wife, Jane (Felicity Jones). Covering his days as a young cosmology student ahead of his diagnosis of ALS at 21, through his struggle with the illness and rise as a theoretical scientist, this film illustrates the trying romance through it all. While it may be written in the cosmos, this James Marsh-directed film that weaves in and out of love will have you experience everything there is to feel.

There Will Be Blood (2007)

Paul Thomas Anderson found modern American greed in the pages of Upton Sinclair's depression-era novel, Oil!. Daniel Day-Lewis found the role of a lifetime behind the bushy mustache of Daniel Plainview, thunderous entrepreneur. Paul Dano found his milkshake drunk up. Their discoveries are our reward -- There Will Be Blood is a stark vision of tycoon terror.

Time to Hunt (2020)

Unrelenting in its pursuit of scenarios where guys point big guns at each other in sparsely lit empty hallways, the South Korean thriller Time to Hunt knows exactly what stylistic register it's playing in. A group of four friends, including Parasite and Train to Busan break-out Choi Woo-shik, knock over a gambling house, stealing a hefty bag of money and a set of even more valuable hard-drives, and then find themselves targeted by a ruthless contract killer (Park Hae-soo) who moves like the T-1000 and shoots like a henchmen in a Michael Mann movie. There are dystopian elements to the world -- protests play out in the streets, the police wage a tech-savvy war on citizens, automatic rifles are readily available to all potential buyers -- but they all serve the simmering tension and elevate the pounding set-pieces instead of feeling like unnecessary allegorical padding. Even with its long runtime, this movie moves.

STUDIOCANAL

Tinker Tailor Soldier Spy (2011)

If a season of 24 took place in the smoky, well-tailored underground of British intelligence crica 1973, it might look a little like this precision-made John le Carré adaptation from Let the Right One In director Tomas Alfredson. Even if you can't follow terse and tightly-woven mystery, the search for Soviet mole led by retired operative George Smiley (Gary Oldman), the ice-cold frames and stellar cast will suck you into the intrigue. It's very possible Oldman, Colin Firth, Tom Hardy, John Hurt, Toby Jones, Mark Strong, and Benedict Cumberbatch are reading pages of the British phone book, but egad, it's absorbing. A movie that rewards your full concentration.

To All the Boys I've Loved Before (2018)

Of all the entries in the rom-com revival, this one is heavier on the rom than the com. But even though it won't make your sides hurt, it will make your heart flutter. The plot is ripe with high school movie hijinks that arise when the love letters of Lara Jean Covey (the wonderful Lana Condor) accidentally get mailed to her crushes, namely the contractual faux relationship she starts with heartthrob Peter Kavinsky (Noah Centineo). Like its heroine, it's big-hearted but skeptical in all the right places.

Total Recall (1990)

Skip the completely forgettable Colin Farrell remake from 2012. This Arnold Schwarzenegger-powered, action-filled sci-fi movie is the one to go with. Working from a short story by writer Philip K. Dick, director Paul Verhoeven (Robocop) uses a brain-teasing premise -- you can buy "fake" vacation memories from a mysterious company called Rekall -- to stage one of his hyper-violent, winkingly absurd cartoons. The bizarre images of life on Mars and silly one-liners from Arnold fly so fast that you'll begin to think the whole movie was designed to be implanted in your mind.

NETFLIX

Tramps (2017)

There are heists pulled off by slick gentlemen in suits, then there are heists pulled off by two wayward 20-somethings rambling along on a steamy, summer day in New York City. This dog-day crime-romance stages the latter, pairing a lanky Russian kid (Callum Tanner) who ditches his fast-food register job for a one-off thieving gig, with his driver, an aloof strip club waitress (Grace Van Patten) looking for the cash to restart her life. When a briefcase handoff goes awry, the pair head upstate to track down the missing package, where train rides and curbside walks force them to open up. With a laid-back, '70s soul, Tramps is the rare doe-eyed relationship movie where playing third-wheel is a joy.

Uncut Gems (2019)

In Uncut Gems, the immersive crime film from sibling director duo Josh and Benny Safdie, gambling is a matter of faith. Whether he's placing a bet on the Boston Celtics, attempting to rig an auction, or outrunning debt-collecting goons at his daughter's high school play, the movie's jeweler protagonist Howard Ratner (Adam Sandler) believes in his ability to beat the odds. Does that mean he always succeeds? No, that would be absurd, undercutting the character's Job-like status, which Sandler imbues with an endearing weariness that holds the story together. But every financial setback, emotional humbling, and spiritual humiliation he suffers gets interpreted by Howard as a sign that his circumstances might be turning around. After all, a big score could be right around the corner.

Velvet Buzzsaw (2018)

Nightcrawler filmmaker Dan Gilroy teams up with Jake Gyllenhaal again to create another piece of cinematic art, this time a satirical horror film about the exclusive, over-the-top LA art scene. The movie centers around a greedy group of art buyers who come into the possession of stolen paintings that, unbeknownst to them, turn out to be haunted, making their luxurious lives of wheeling and dealing overpriced paintings a living hell. Also featuring the likes of John Malkovich, Toni Collette, Billy Magnussen, and others, Velvet Buzzsaw looks like Netflix’s next great original.

COLUMBIA PICTURES

Walk Hard: The Dewey Cox Story (2007)

Oscar-baiting, musician biopics became so cookie-cutter by the mid-'00s that it was easy for John C. Reilly, Judd Apatow, and writer-director Jake Kasdan (Jumanji: Welcome to the Jungle) to knot them all together for the ultimate spoof. Dewey Cox is part Johnny Cash, part Bob Dylan, part Ray Charles, part John Lennon, part anyone-you-can-think-of, rising with hit singles, rubbing shoulders with greats of many eras, stumbling with eight-too-many drug addictions, then rising once again. When it comes to relentless wisecracking, Walk Hard is like a Greatest Hits compilation -- every second is gold.

The Witch (2015)

The Witch delivers everything we don't see in horror today. The backdrop, a farm in 17th-century New England, is pure misty, macabre mood. The circumstance, a Puritanical family making it on the fringe of society because they're too religious, bubbles with terror. And the question, whether devil-worshipping is hocus pocus or true black magic, keeps each character on their toes, and begging God for answers. The Witch tests its audience with its (nearly impenetrable) old English dialogue and the (anxiety-inducing) trials of early American life, but the payoff will keep your mind racing, and your face hiding under the covers, for days.

Y Tu Mamá También (2001)

Before taking us to space with Gravity, director Alfonso Cuarón steamed up screens with this provocative, comedic drama about two teenage boys (Diego Luna and Gael García Bernal) road-trippin' it with an older woman. Like a sunbaked Jules and Jim, the movie makes nimble use of its central love triangle, setting up conflicts between the characters as they move through the complicated political and social realities of Mexican life. It's a confident, relaxed film that's got an equal amount of brains and sex appeal. Watch this one with a friend -- or two.

PARAMOUNT PICTURES

Zodiac (2007)

David Fincher's period drama is for obsessives. In telling the story of the Zodiac Killer, a serial murderer who captured the public imagination by sending letters and puzzles to the Bay Area press, the famously meticulous director zeroes in on the cops, journalists, and amateur code-breakers who made identifying the criminal their life's work. With Jake Gyllenhaal's cartoonist-turned-gumshoe Robert Graysmith at the center, and Robert Downey Jr.'s barfly reporter Paul Avery stumbling around the margins, the film stretches across time and space, becoming a rich study of how people search for meaning in life. Zodiac is a procedural thriller that makes digging through old manilla folders feel like a cosmic quest.

13th (2016)

Selma director Ava DuVernay snuck away from the Hollywood spotlight to direct this sweeping documentary on the state of race in America. DuVernay's focus is the country's growing incarceration rates and an imbalance in the way black men and women are sentenced based on their crimes. Throughout the exploration, 13th dives into post-Emancipation migration, systemic racism that built in the early 20th century, and moments of modern political history that continue to spin a broken gear in our well-oiled national machine. You'll be blown away by what DuVernay uncovers in her interview-heavy research.

20th Century Women (2016)

If there's such thing as an epistolary movie, 20th Century Women is it. Touring 1970s Santa Barbara through a living flipbook, Mike Mills's semi-autobiographical film transcends documentation with a cast of wayward souls and Jamie (Lucas Jade Zumann), an impressionable young teenager. Annette Bening plays his mother, and the matriarch of a ragtag family, who gather together for safety, dance to music when the moment strikes, and teach Jamie the important lesson of What Women Want, which ranges from feminist theory to love-making techniques. The kid soaks it up like a sponge. Through Mills's caring direction, and characters we feel extending infinitely through past and present, so do we.

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[thedeaditeslayer]

FanExpo Canada Interview: Actor and Host Bruce Campbell for Ripley’s Believe It or Not.

Here’s an interview that mostly covers Ripley’s Believe it or Not!

If you’ve ever watched a cop show, seen someone fight a Deadite, or stayed up late enough to watch offbeat flicks on basic cable, you’ve probably seen Bruce Campbell. Campbell has a long history on screen, starting with his breakout performance in The Evil Dead, a small film he made with his buddy, Sam Raimi, that went on to spawn sequels, spin-offs, comics, games, and a series.  Though horror fans most recognize him as Ashley “Ash” Williams from that franchise, Bruce has had a robust career. With the “face of a soap opera star”, he went on to star in shows like Ellen, Xena, and Burn Notice.  Now an actor and an author, he’s added “host,” to his hyphens, having hosted the touring live show Last Fan Standing and now, Ripley’s Believe It or Not.

The first season of this new show hit the Travel Channel this year, and so Bruce sat down with some of us at FanExpo Canada to discuss the show and his illustrious career.  The show is different from the Ripley’s of the past, focusing on the strength and perseverance of different people, what they’re able to overcome in the face of adversity.  The warmer side of the horror icon was fully on display as we pulled up some chairs to chat.

You’ve shot a few episodes now. Will you be back for any more?

Bruce Campbell: You need to call the Travel Channel and work that out. We don’t know yet. I think they haven’t decided because it hasn’t even opened in Canada yet. So, I don’t think you make those decisions until you figure out how it’s going to play everywhere.

And how did you get these hosting gigs? There’s obviously not something that you’d usually do.

Bruce Campbell: No, but other people get ideas and they pitch them out. And this one I thought was pretty good to do because it was a very reputable company that’s been around for 100 years now, which is rare, especially in America.  Companies don’t last that long. They last 20 years. They think, “Wow, Amazon, 20 years.”

This is FanExpo’s 25th year.

Bruce Campbell: That is impressive though. That’s a quarter-century but you know Ripley’s is kicking your ass too. So that’s why I thought it was worth exploring. I followed Ripley’s. I read the books and watch the TV shows and I knew exactly what was going on.

[The Ripley’s exhibit], obviously, they have this section, which is the props and movies and the film. Is there something for one of your movies that you would love to see in the Ripley’s exhibit one day?

Bruce Campbell: Yes. Yeah, they should have some stuff in Ripley’s, but Ripley’s is kind of, unless it’s amazing, they won’t have it. That’s the thing. They don’t just play it [as this] history game. It’s got to be amazing. It has to be a strange animal, a strange device, something unique that’s never been done before. So yeah, that’s what makes their collection cool.

Will you be revisiting any of the [Ripley’s stories] that were previously covered? Or like kind of a look back?

Bruce Campbell:  I think over time, they’ll have to do everything to choke the airwaves of material. You know, if you get three, four seasons into something, you have to get clever. But the thing that this first season showed me is how many stories there actually are. We did sixty stories. This for the first season alone. So, can you imagine over three, four years? That’s a lot of stories. Which shows you it’s a big world out there, and there’s a lot of crazy stuff going on. I feel like we’re playing catch up.

Any examples you can give us from those sixty?

Bruce Campbell: No, no, because it’s…I can’t.  It’s silly to single anything out.  But they are amazing. The show is higher quality than I had hoped for. You never know when you get involved in something, is it going to be something they slapped together? Or do they care about it? So, as an executive producer, it was important to, I thought on my part, to work on the tone so we treat these people with respect. Because not one of them are normal. Normal as in our traditional normal. But that’s what’s cool about the show.

And do we get to see you kind of going out and about on location?

Bruce Campbell: No, I’m a studio guy.  I tied all together. The crew goes out in films, the folks.  They filmed themselves a lot. We’re using their footage at the time. Everyone has a camera like you, we’re all running around filming their exploits.  We found some of these people on YouTube. You know, they have their own channel. It’s easier nowadays to find them than it was 10 years ago. Type in “weird shit,” and stuff comes up.

Would you ever like to travel in the future with the show?

Bruce Campbell: I travel enough. I, you know, last three years, I think it was thirty-five cities or forty cities.  I’m only twenty-five cities this year. I’ve got off easy this year.

This is Ripley’s Believe It or Not. Is there anything that you’ve come across that you just do not believe?

Bruce Campbell: I believe it. But it is amazing. Still, it’s believable. But you go “I don’t know how but it’s believable. Unbelievable.”

And I was wondering just one of the exhibits that Ripley’s is famous for is the hairball.  Have you contributed to the hairball? Have you contributed a lock of hair?

Bruce Campbell:  Screw that.  I’ll bring my cat by and give it a furball. Where is it? Where is the big ball?

Here.

Bruce Campbell:  In Toronto?

No, it’s downstairs. It’s there now people are contributing their hair to the hairball.

[PR chimed in to let us know it got stuck for a while at Canadian customs]

You mentioned the longevity of Ripley’s.  What do you think it is about the exhibit that in this day and age where there’s so much in terms of entertainment, this kind of old school form of entertaining is still popular?

Bruce Campbell:  Well, you get to know the people.  Anyone can find weird footage on the interwebs, but get to know the people that’s what’s different from us on a security camera. Showing weird things happen.  We get to know these people and then we see it act out. We see what they’re trying to accomplish, overcome. They’re always trying to meet some new challenge mostly. We’re documenting that we’re taking their footage, we’re stealing their footage.  

It’s about a good story.

Bruce Campbell: Yeah, it is because most of it, it’s come from behind because people are born, you know, kid’s born blind, just wants to ride his bike. So how do you learn? How do you ride a bike if you’re blind? You just want to be a normal kid. So, he learned that bats can echolocate, and make little clicking noises and they can see and can tell things from the sound bounced back. Is it a hard surface, a porous surface? Is it closer or further away? Is that an alley? Is it open space? Is it dirt? He learned it all and he started riding his bike by making little clicking echolocating noises just like a bat. And he got so good. You can teach other blind kids. It’s amazing.

Could you do it? Maybe? Could I do it? I don’t know. But you know, it’s how we think someone is born with a negative what you see if you make it into such a positive, the kids like abnormally gifted, in my opinion, to overcome what most of us would go “well, I’m blind. Guess I’m not riding that bike.” It’s great to see someone go, “no, I think I want to try that.” It’s great. We all get very convinced of our own limitations, and I think we could fool ourselves sometimes.

Do you think then in that vein, the show is quite inspirational?

Bruce Campbell:  It’s 100% inspirational. Most of these people have lives that kind of blew before good things started to happen. Or they had physical challenges or were hurt, injured.

You mentioned tone there. Had they ever run segments past you that you turned down?

Bruce Campbell: No, because as long as it’s real, and that is the most amazing thing about Ripley’s it’s not faked. So we move kind of beyond the reality show aspect. Reality shows are manipulated, every single aspect of The Bachelor, every aspect is manipulated no matter what you think, it’s producers behind the scenes, pulling the strings, figuring out who would be the most entertaining to put together. We don’t do that. Everything you see is completely real. The guy says he can cut an Oreo cookie and half in the middle of the air through the cream sideways, he can do it, you know, verified. We have a bunch of the Guinness World Records folks doing stuff to sell. So, there’s a lot to look at.

You came a couple of years ago doing Last Fan Standing. What have you brought over or learned from Last Fan Standing that helped you host or what did you really have to change?

Bruce Campbell:  I learned that people don’t need that show. Otherwise, we would get the show on the air by now.  Sometimes it just takes a while to learn things. It was fine. We had fun. But we tried to pitch it as a TV show and nobody wanted it. I think they don’t want to white middle-aged guys running around acting like your crazy uncle. It’s when we realized we’re a little past our demographic.

It was good in the ’90s.

Bruce Campbell: Yeah, would have been great in the ’90s probably.

Was there anything in the Ripley’s warehouse that you were excited to see or are most looking forward to seeing?

Bruce Campbell: No, because I don’t know what they have. I’d love to see the inventory. I’m sure there’s stuff in there that’s more amazing than you would think. It’d be fun to do some shows where you just get the crates, get the crowbar. Get the curator, you know, come on, let’s show some stuff and tell the stories behind it.  Because they wouldn’t have it in the museum if it wasn’t amazing. They’ll have a two-headed goat. They won’t have a one headed goat they’ll have a two-headed or a four-eyed something. Smithsonian doesn’t have that.

What do you want audiences to take from the show?

Bruce Campbell:  Just a positive experience.  Because you can sometimes see the normal side of people through extreme activity in a weird sort of way.  Doesn’t really make sense. But yeah, mostly a positive experience. The “it factor” is not that hot. We don’t want to turn people off, that’s not the idea.  But there are people who are doing stuff that’s both amazing and repulsive, at the same time. So you’re gonna have to deal with that to.

Granny’s not gonna want to watch everything and little Billy’s not gonna want to watch everything but, tough, that’s half the fun. There’s no reason for us to flinch away from it because it is real.  A guy wanted to become a parrot, so he did everything he possibly physically could to become a parrot. So what would that entail? Surgery tattoo on his eyes, removing your ears, tattooing your face, like the patterns of a feather.  He wanted to fly, so he rigged up some crazy fly rig. Amazing? Yes. Horrifying? Potentially. So, some stories have a two-edged sword. Yet at the same time, you celebrate that person’s independence. “I want to be a parrot. Here I go. Fly a little bird.”

Certainly innovative.

Bruce Campbell:  Let’s go with that.

Well, you can be whatever you want when you grow up.

Bruce Campbell: You can do whatever you want. I want to be a parrot.  Some guys want to be a fireman.

You mentioned that you have been a fan of Ripley’s for some time. So, what was your first experience?

Bruce Campbell:  Their book, they had a leather, clothbound red book. It was a good-sized book. And then they have their very unique illustrations that they always had. That was just a permanent fixture on our bookshelf in the living room.  Most people had a Ripley’s book of some kind. That’s what you get with an institution

What do you think Ash Williams would make of the Ripley’s exhibit?

Bruce Campbell:  He’d be like it’s cool.  We did a story about a woman with a bionic arm. She has parts that she can put on, clip-on and clip off. Yeah.

You’ve done some pretty cool mutilation and gory scenes like being thrown through a glass window in Lodge 49 and cutting off your own hand in The Evil Dead 2. What’s been your most favorite gory scene to shoot?

Bruce Campbell: I’m not a gore guy, so I don’t have a favorite gore. Gore is a drag to me. Yeah. Blood is sticky. Blood is cold. Not fun, sticks on all your clothes. Yeah, I’m so over it.

You’re past it. You’re in your host life now.

Bruce Campbell:  You know, once you realize you’re in your late fifties, should I really still be lying on dirt floors covered in blood? Is that really what’s on the agenda still, like still? It’s having it off the floor.

Personally, I would love to see you return to Sam Axe.

Bruce Campbell:  It’s about time. People are starting to get nostalgic.  All you gotta do is wait the right amount of time, which could be right about it now.

Quick letter-writing campaign.

Bruce Campbell: Especially when the world’s going to shit, everyone wants to find the shows that make them feel comfortable. They want that meatloaf sandwich that made them feel good. Like everything was safe.

Do you have any characters that you’d love to do one last hurrah with?

Bruce Campbell: I never sort of play that game. But you know, I could do this Western again. The Adventures of Brisco Country, Jr., Brisco Rides Again.  Could do that. Sam Axe, Burn Notice could be good. There are still d-bags in the world that need to be taken down. You know, come out of retirement. Yeah, there’s stories in there.  You know, these days with the structure of television. Everything’s going that way, anyway. Everything’s always a limited series, eight episodes or ten episodes. But that’s how you get Kirsten Dunst for Fargo. One year obligation, it’s not a seven-year contract.  All TV contracts were always seven years and actors, they really start to bristle at that.  Why you can’t get bigshot actors because they’re like “seven years. You kidding me? No chance, Lance.”

So, it’s kind of interesting how the format of TV shows works professionally because now you can get someone like Kirsten Dunst because she’ll go, “Great. I can do a whole season of a character study.” For an actor, it’s awesome. That’s the best part of Ash vs. Evil Dead, going back with experience now as an actor to that guy. To bring the character forward now and try and mess with it. It’s a very appealing aspect of it. So, I don’t know. Never say never about any remake.  Everyone’s got remake fever. But they always have. The first movie ever made in Hollywood is The Great Train Robbery. You see cowboy pointing a pistol at the camera.  And what’s the second movie? It’s the sequel, The Great Train Robbery 2.  That didn’t take long. That’s how Hollywood works.  I don’t know Marvel themselves into the ground.

Are you hoping to get a call to appear in Spider-man to prove to Tobey Maguire that you did outlast him?

Bruce Campbell:  No.  I don’t need that to prove my ability to outlast Tobey Maguire.

What is next for you then in terms of directing or acting?

Bruce Campbell:  I have stuff coming up that’s not official so I can’t really talk about it. But I’ve written some of my own stuff that I’ve just finished up. Because I realized that you can’t… I want to get back into the movie game. Sort of where I started. I got diverted into TV for years, so it’s time to go back.  But you need material. So I’ve just been writing more books, stuff like that.

Will you be working with the Raimi Brothers?

Bruce Campbell:  If it falls off the truck that way. If that’s how it works, yeah.

Is it harder to get projects greenlit these days?

Bruce Campbell:  I’m going to find out.  All the executives are twenty-five. So it could be easier, it could be impossible. They might go, “Thanks, gramps. Nice meetin’ with you.” I mean, it’s time to find out.

On Ripley’s, will we be seeing a Ripley-esque ability from yourself?

Bruce Campbell:  I don’t have those skills. Look, I got stunt guys for that. They’re there to make me look good. It’s all smoke and mirrors, you know.  But Ripley’s is not fake. I’d have to have a skill it was real. I don’t have any skills that are real, other than riding electric bikes really well.

Was there any particular character you’ve ever played that you really identify with and miss playing?

Bruce Campbell:  Most of ‘em.  But Evil Dead, Ash, I’m done with.  I’ve done that. Got that box checked. Because I think I played with enough to get my, you know, I left everything on the table. I don’t know, usually, when I’m done with the character, I’m happy to walk away from it. Burn Notice, same thing. Seven years, it’s a long run. Hundred and eleven episodes. That’s enough. Yeah, so we’ll see. Could be here next year. touting the Burn Notice movie.

What’s your favorite scary movie?

Bruce Campbell:  Well, it’s the guy who sort of, persona non grata, Mr. Roman Polanski, The Tenant. A movie that haunted me for weeks after I saw it because it messes with your head. It’s trying to make you think you’re going crazy and by the end of the movie you actually really wonder if you’re going fucking crazy and it really disturbed me.  I found it completely disturbing and not a drop of blood in the whole movie. No gore, no monsters, no nothing. I mean, it’s creepy as shit because that’s what Polanski’s really good at. And he’s in it and so it’s really weird. Yeah, he’s a weird actor. Yeah.