#as someone whose sense of humor is based like 80% on shit my friends and i misspell on discord | Explore Tumblr Posts and Blogs

otomeshistarlight-blog · 6 years

Text

Trucking right along, guys! We’ll be done before you know it!

51: If you were given a chance to make a request to Horikoshi, what would it be? I would request a full blown Todoroki centric arc. Like, Deku can fuck off for 100 chapters for all I care, I want to know this family’s history from front to back. What kind of environment was Endeavor raised in? Does that explain why he has such an obsessive goal of being number 1 or is it literally just a rivalry with All Might? Speaking of, did they go to school together? Tell me more. Was it an arranged marriage or did he meet his wife in a normal situation and fall in love with her? How was their relationship before the kids? Whats the deal with Dabi? Please just give me the Todoroki backstory in its entirety so I can die in peace.

52: Sing you to sleep? Jiro, no questions asked. I can’t wait for the anime to get to the culture festival so we can hear her angelic voice in action.

53: Cuddle with? Fat Gum! He looks super comfy!

54: Too pure/innocent character? Probably Nejire tbh. Her curious naivety is cute but I worry for what the life of a pro hero would do to someone with that kind of personality.

55: Deserve better? Endeavor deserves better than to be judged armchair psychiatrists whose PHd was printed off from the same website where you can become an ordained minister.

56: Wish to have a no tragic background? Dabi, probably. It remains to be seen what exactly the canon explanation is but I have a feeling its not gonna’ be pretty even if he’s not a Todoroki.

57: Most likely to be a gentleman? My instincts tell me that Fat Gum is probably quite the gentleman in an almost backwoods kind of way. That is to say, he’s a hot blooded country bumpkin samurai with a heart of gold. Now, I’m basing that bit of characterization on the fan-translated manga which gave him some interesting verbal tics that seemed to imply he doesn’t speak the same way the kids from the big city do SO I’m quite interested to hear how he talks in the anime when we get to it in 2019.

58: Fave old/middle-aged character (30+)? I’m not saying Endeavor is old but he is approaching silver fox territory and I’m more than okay with that.

59: Fav Opening song? Odd Future, hands down. Gonna’ listen to it right now, thanks.

60: Fave ending theme? The fantasy setting one.

61: Fave voice actor? I’ve really gotta’ give Bakugou’s seiyuu credit for his performance. Not only all that growling and screaming, no doubt straining his vocal chords every week no matter how much training he’s had, but also for really selling that line when he was abducted by the villains.

62: Fave Character song? *sweats nervously* I ... I haven’t listened to any of the character songs ... Do they actually exist?

63: Fave OST? Uh, what?

64: Fave battle(s)? Without spoiling too much, I’ll just say that Deku vs. Bakugou round 2 is gonna’ be a great episode and I’m really looking forward to the hero vs. villain fight we’re ramping up to in the current episode.

65: Most shocking plot twist/unexpected scene? Me subscribing to the Dabi-is-a-Todoroki theme. Ummm, not to get too spoilery but I think almost everything at the end of the Yakuza arc was pretty unexpected based on all that had happened up until that point.

66: Selfie with? I would love nothing more than to take a selfie with Bakugou’s grumpy ass. I know that might sound a little weird but I’m actually being completely serious.

67: Study in a library with? I would like to make some lewd, sex-in-the-library related joke but knowing who I am as a person, I probably legitimately need the help so I’d probably be best off with Momo or Shoto.

68: Most underrated character? Probably Tokoyami. I’m damn close to stanning him and I demand more content of his edgy bird boy immediately.

69: Most overrated character? Present Mic. He’s really not all that and I don’t get this fascination with him.

70: If you desire to see one’s ending? Who would it be? I’m not entirely sure what this is asking but if you mean who do I want to see die, it’d be either Mineta or Aoyama.

71: Change Character design? I wouldn’t change any design because Horikoshi worked hard on these characters and it would be downright foolish of me to think that I knew better than him.

72: Looks like a cinnamon roll, but it is a cinnamon roll? Nejire tbh.

73: Cinnamon roll but would actually kill you? Toga.

74: Looks like would actually kill you, but it is a cinnamon roll? Bakugou.

75: Looks like would actually kill you, and would actually kill you. Endeavor lol

76: Over sexualized character? In canon or by the fandom? Because overall, I’d say that Horikoshi doesn’t sexualize his girls very often but as per usual the fandom goes hog wild on everything and there is absolutely nothing wrong with doing that to fictional characters.

77: Cook with? I bet Fat Gum knows how to cook and he could show me some pointers. It’d be fun to cook with Tamaki too, so he could show off his quirk at every turn.

78: Funniest character? Honestly there is no character that sounds out to me as being particularly funny but my sense of humor is also severely warped so take that with a grain of salt.

79: Best hardening quirk: Tetsutetsu/Kirishima? I’m gonna’ side with Kirishima on this one.

80: Whose penis would be painful to be fucked? (LOL) Am I answering questions written by a 12 year old? Just asking. So, I headcanon that Endeavor is pretty well endowed and the haters will have to literally tear that fat cock out of my cold, unresponsive hands.I also think Fat Gum is packing because the kanji in his name mean ‘thick’ and ‘full’ which, yeah, if you’re an unimaginative prude that just means they’re talking about his fat body but to me, an intellectual, all I’m seeing is dick. Incidentally, I think All Might is pretty big too (essentially all of the bara’s)

81: Best Goth character? Tokoyami is the closest we’ve got.

82: Shop with? Endeavor because he has plenty of money to spend on me and he seems like the type who wouldn’t even spare the cheap shit a second glance which is a sentiment I appreciate as a boujee bitch.

83: Fave OVA? There were only two so this isn’t even much of a choice, but I liked the zombie one.

84: Would you let Momo spoil you with her quirk? I would let literally anyone spoil me because I’m an attention starved materialist.

85: Villain that you’d wish to be a hero? Eh, probably Gentle. Maybe if he’d been able to become a hero we could’ve avoided that shoehorned appearance of his in the middle of the culture festival.

86: Needs to calm down? Honestly probably Inasa. He’s gonna’ be so damn loud in the anime ... but I can’t wait to see him anyway!

And with that my friends, we have reached the end! Apparently we just weren’t able to come up with a few more questions to round us out at an even 100 which I’m quite thankful for which means that I can finally go to bed! orz Thanks for sticking around with me through these trying times, your patience is much appreciated!

#ask

1 note · View note

weekendwarriorblog · 5 years

Text

WHAT TO WATCH THIS WEEKEND August 16, 2019 – GOOD BOYS, BLINDED BY THE LIGHT, WHERE’D YOU GO BERNADETTE and more!

Five more new wide releases this week, three of which I’ve seen, although one is embargoed until Wednesday night i.e. after this column “goes to press.”

My favorite movie of the weekend is Universal’s R-rated comedy GOOD BOYS from Bad Teacher writers Lee Eisenberg and Gene Stupnitsky, the latter making his directorial debut. It’s been one of my most anticipated movies of the year, since I’ve loved all the trailers I’ve seen. Maybe it’s just because I still have the mentality of a 10-year-old, and I generally enjoy R-rated comedy, the raunchier the better, but I’ve also been a pretty diehard fan of Seth Rogen and Evan Goldberg’s work and been itching to see this movie since it debuted at SXSW all the way back in March. It’s a nice comedic turn for Room and Wonder star Jacob Tremblay and he seems to have great chemistry with Keith L. Williams and Brady Noon, but I guess we’ll see if this is the next Superbad (after the attempt by Booksmart to be, that is)…

Mini-Review:The best comedies deliver the simplest of premises but try to fill every second with jokes that find a way to connect. In that sense, Good Boydelivers big time.

Tremblay, Williams and Noon are best friends who dub themselves the “Bean Bag Boys” who are about to enter the 6thgrade and are desperate to be seen as cool by the other kids. When Tremblay’s Max is invited to a “kissing party” by one of the cooler kids, he brings his best friends Lucas and Thor along, but first, they have to find out how to kiss.

If you’ve seen the trailers, you probably already have some idea of the hijinks they get into. Sure, there’s a danger of some of the best jokes being used in the trailer, and there’s a lot of that at least in the first half, but other jokes play out much better in the movie than they do in short bursts of marketing.

Mind you, I wasn’t a fan of the filmmaker’s Bad Teacher but having the control of directing allows them to take the humor inherent in watching young actors swearing and getting up to some crazy shit makes Good Boyswork well beyond my already high expectations. Tremblay transitions so smoothly into comedy, using all his adorable sweetness in new ways, and the other two actors are just as funny.

Like Booksmart, and yes, Superbad, and other comedies as well, this is a simple story about a group of kids on a mission to get to a party and the adventures and mishaps they get into along the way. This includes having a run-in with two older girls whose molly ends up in the boy’s hands, one of the longer over-arching subplots which leads the boys into deeper and deeper shit.

You have to give Stupnitsky a lot of credit to be able to get so much funny stuff out of the movie’s young cast and just being able to work with kids in general, but especially getting them to do and say such funny stuff without (hopefully) scarring them for life. (And if there’s an opportunity for a third movie in a Will Forte awkward Dad trilogy, I cannot wait!)

At times Good Boys goes into some obvious territory as it heads into the final act – just like in Booksmart and many of Rogen/Goldberg’s comedies, the friends have a falling out -- but it recovers nicely, keeping the laughs coming as it resolves many of the jokes set-up much earlier in the movie with a solid pay-offs.

Basically, I haven’t laughed this hard in a very long time.

Rating: 8.5/10

I did finally get to see Gurinder Chadha’s BLINDED BY THE LIGHT (New Line/WB), which was all the rave out of Sundance (and I kind of missed at CinemaCon cause the screening was too late at night). It stars Viveik Chalra as Javed, a young man living in Luton, England in the mid-80s, who wants to be writer, much to the chagrin of his traditionalist Pakistani father (Kulvinder Ghir). When he meets a classmate named Roops (Aaron Phagura), Javed is turned onto Bruce Springsteen, and hearing his music inspires him to go for his dreams, including his classmate Eliza (Nell Williams). This musical comedy is based on the memoir “Greetings from Bury Park: Race, Religion and Rock N’ Roll” by Sarfraz Manzoor, and it uses a LOT of Bruce Springsteen in the movie, for better or worse.

Let me explain…

I have never been a fan of Bruce Springsteen. Sure, I’ve always been familiar with his music, but maybe it was because I lived in New England and was more into prog rock and new wave/punk that I just never really cared to buy any of his records. (Also, I was never into the whole “rah rah USA” themes that were emerging in the ‘80s around the time of “Born in the USA.”) Oddly, the one Springsteen album I DO own and enjoy is “Magic,” which is about as big an anomaly to the rest of his discography as you can get. It’s with that in mind that I went into see Chadha’s latest movie unsure if I could bear so much Springsteen in such a short period of time…

Mini-Review: Making a movie based on a memoir generally has its limitations that may sometimes limit or constrict a filmmaker, and that might be the case with Blinded by the Light, based on Sarfraz Manzoor’s book, since he also co-wrote the screenplay.

We meet Javed (Viveik Chalra) as a boy as he hangs with his best friend Matt and navigates living in a strict Pakistani household in Luton, England with a father who wants everything a certain way. The idea of his son becoming a writer is foreign to Javed’s father Malik (beautifully portrayed by Kulvinder Ghir) but Javed perseveres and takes a creative writing class in school that inspires him to continue. (He’s driven by his teacher, played by Hayley (Agent Carter) Atwell, but gives up frequently out of frustration.)

Surprisingly, I could relate to a lot of what Javed is going through Blinded by the Light, even though I myself didn’t start writing until a much later age. The biggest immediate problem with the film is that it takes quite some time for Viveik Chalra to show any sort of personality, and this is the movie’s lead, someone that you’re supposed to care about.

Surely, there will be comparisons to other music movies of the year including the recent hit Yesterday, which under the aegis of Danny Boyle, was just a tighter piece of storytelling, maybe because he was not beholden to a real-life person like this and Rocketman.

Still, the movie does go off on too many tangents that don’t seem necessary to the overall story, like spending time with Javed’s sister at a daytime disco, something that was obviously supposed to explain her situation, but just feels extraneous. Also, the whole subplot with Javed’s childhood friend Matt feeling like Javed is growing apart from him feels unnecessary and both things take away from the main story.

The thing is that I love all the ‘80s new wave and pop that permeates the movie’s first half hour and when it’s replaced by “Born in the U.S.A.” and “Born to Run” and other Springsteen hits, it just wasn’t as enjoyable to me.

I totally can understand Chadha relating to what Sarfraz went through in terms of racism and dealing with the National Front in the ‘80s, and that aspect of the movie really comes through the best. Similarly, I enjoyed the budding romance between Javed and his classmate Eliza, although the way the film breaks out into song seems rather silly and off-putting compared to how this same thing was done in Rocketman.

Essentially, Blinded by the Light is a thoroughly enjoyable film with a lot to like about it, even if you’re not a fan of “The Boss.” It’s a film that has tonal issues and could have used some tighter editing but generally gets Sarfraz’s story across in a relatable way.

Rating: 8/10

I have seen Richard Linklater’s new film WHERE’D YOU GO, BERNADETTE (U.A. Releasing), starring Cate Blanchett, Billy Crudup, Kristen Wiig, Judy Greer and newcomer, but I’m under embargo so I’ll have to add the review later on Wednesday night. I can say that Blanchett plays Bernadette Fox and she’s a rather difficult woman, although you do generally root for her when she gets into a feud with her neighbor, played by Wiig. The movie won’t really be for everyone, although I guess I can find 30-something-plus women finding it empowering but I’ll save my thoughts for the review.

Mini-Review:

There are times when I feel bad for the pressures Richard Linklater must face just by being Richard Linklater. He makes a movie like Before Midnight or Boyhood which just puts a bigger onus on him to live up to those movies, even when he wants to do something lighter or less weighty. After 2017’s Last Flag Flying, which dealt with heady topics like war in a fairly light way, Bernadette must have seemed like the perfect antiseptic.

Cate Blanchet’s Bernadette Fox was once one of the hottest up and coming architects in L.A. but after a series of disappointments, she moves to Seattle with her tech-savvy husband Elgie (Billy Crudup) where they have a now-teenage daughter named Bee (newcomer Emma Nelson). The thing is that Bernadette is rather abrasive, and she’s made enemies in the community, particularly her neighbor (Kristen Wiig) who has been complaining about blackberry bushes that are infiltrating her own yard. One thing leads to another and then another and before you know it, Bernadette has decided to pull a runner.

I should really like this movie more. I loved Ben Stiller’s remake of The Secret Life of Walter Mitty, and Bernadette is very much in a similar vein but about a middle-aged woman trying to find herself.

The movie just putters around for a good hour or more trying to be funny or witty and generally failing at being even remotely entertaining. It finally gets into gear when the story moves to Antarctica as Elgie and Bee try to find Bernadette, who has gone off on a voyage to the South Pole. (Trust me, to explain her logic would involve so much time and effort that I’m not going to bother.)

The movie offers such a sweet payoff ending, but it’s hard to discount the rest of the movie leading up to that, and it never really earns that payoff since it’s wasted much of the early part of the movie trying to be a budget-rate version of HBO’s Big Little Lies.

Even the title is rather deceptive, because it’s not about everyone looking for Bernadette as much as the more metaphysical “Where’d you go?” as in “what happened to that promising architecture career you gave up?” That is what you're dealing with here.

It’s hard to completely fault Linklater for trying something different, but Bernadette is not the witty mainstream comedy it’s being advertised as and probably veers more into Cameron Crowe’s recent, experimental work in terms of tone and pacing. I’m trying hard not to outright name the movie, but you probably know the one I’m referring to. Think Hawaii.

In other words,Bernadette won’t be for everyone. I wish it luck finding its fans, but this is likely to be a cult movie that only finds a rather small following. I’m honestly surprised this isn’t a Netflix movie.

Rating: 5.5/10

Also, Entertainment Studios is releasing the underwater thriller sequel47 METERS DOWN: UNCAGED on Friday night (with Thursday previews). The first movie was a surprise hit, and it was an enjoyable entry into the shark movie oeuvre, so we’ll have to see how director Johannes Roberts takes the concept to a new level with a cast that includes a couple second-gen actors like Sistine Stallone and Corrine Foxx, the daughters of Sly Stallone and Jamie Foxx.

I was invited to see Sony’s THE ANGRY BIRDS MOVIE 2, but I saw the first movie, so I didn’t feel like waking up early on a Saturday to catch the press screening. Basically, this is what it is with most of the same voice cast joined by Leslie Jones, Tiffany Haddish (of course) and a few others. It looks cute and I’m sure the characters have some fans from the multitude of games, but I’m not sure a late summer release is the way to go with this rather than just holding it for Sept. where Sony had success with the Hotel Transylvania and Cloudy with a Chance of Meatballs movies.

LOCAL FESTIVALS

Before we get to the limited releases, I want to shine a special spotlight on Film at Lincoln Center’s 12th installment of its annual “Scary Movies” series, which will kick off on Friday with Dan Berk and Robert Olsen’s Villains, starring Maika Monroe (It Follows) and Bill Skarsgard (from It) as a renegade couple who break into a house in the woods. This year’s closing night film (and party!) on August 21 is Radio Silence’s gory Ready or Not, essentially on the same night of its nationwide release. Also, Andrés Kaiser’s Feral will get its New York Premiere (also Friday), as will Søren Juul Petersen’s Finale. Ari Aster will debut his longer director’s cut of his recent horror film Midsommar, but what I’m really excited about is the “Terrible Bears” double feature of the 1976 movie Grizzly and a 40thanniversary screening of John Frankenheimer’s Prophecy, two movies that scared the shit out of me as a kid and guaranteed I’d never go camping – I’ll be there for that double feature on Saturday. Basically, it’s six days of scary fun and movies that shouldn’t be missed seeing them with an audience.

LIMITED RELEASES

It’s a wild and eclectic mix of limited releases this week, beginning with Victor Kossakovsky’s doc AQUARELA (Sony Pictures Classics), opening in New York and L.A. and playing at 48FPS in the theaters capable of that tech. Kossokovsky’s film centers around the theme of water, and it travels across the globe filming all sorts of scenes most humans will never have had a chance to see from rescuing cars that have fallen through the ice at Russia’s Lake Bailal to Venezuela’s Angel Falls to Miami being hit by a hurricane. The film does have a meditative quality that I quite enjoyed, but as with many cinema verité films, there just wasn’t enough of a narrative, so you never really know what you’re watching. It’s beautifully-shot with some of the most impressive cinematography you’re likely to see (and shot in 96 FPS to really create such vivid clarity). I also kind of liked some of the music, but even at a short 90 minutes I found myself getting bored, so this probably won’t be for everyone.

Although I mentioned I’m not a fan of cinema verité docs, I thoroughly enjoyed Iván Osnovikoff and Betinna Perut’s LOS REYES (Grasshopper Film), which looks at two homeless dogs, Chola and Football, that live at a skatepark in Santiago, Chile. The movie basically films the two dogs and follows their exploits 24/7 and pieces together a compelling story that shows these animals to have true emotions equal to that of any human. The footage of the dogs is superimposed with dialogue between some of the skaters (and drugdealers) that convene at the park, which is an interesting dichotomy to watch. It’s a beautiful film that opens Wednesday at Film Forum on Wednesday, and while I will recommend it to dog lovers, I will mention one caveat that there is a sadder portion to the movie that might upset those who love watching the dogs. (In other words, I’m not sure it would be a good movie for younger kids.)

Yet ANOTHER cinema verité doc out this weekend is Roberto Minervini’s What You Gonna Do When the World’s on Fire (KimStim), the filmmaker’s follow-up to his Texas Trilogy. This one is a portrait of disparate African-Americans in New Orleans dealing with the cultural racism that has kept them down their entire lives. I can’t say that I was a huge fan of the movie, because I tend to prefer docs that have a stronger narrative rather than being random scenes – beautifully-shot in black and white, mind you. After a preview screening at the Maysles Documentary Center up in Harlem on Wednesday night, the movie will open at Film at Lincoln Center on Friday… and then it’s back at the Maysles for five days starting August 23, before it goes to L.A. Laemmle Glendale on Sept. 6 and other cities after that.

Not cinema verité but still a documentary, kind of, is Danish filmmaker Mads Brügger’s COLD CASE HAMMARSKJÖLD (Magnolia), which begins as his examination to try to prove that UN secretary-general Dag Hammarskjöld’s 1961 plane crash in Congo was a deliberate assassination attempt. In trying to solve the case about what happened, the filmmaker -- who inserts himself into the movie similarly as Werner Herzog might, almost to a fault -- discovers something even more nefarious involving Apartheid in South Africa. I will give Brügger points for being innovative with this quirky pseudo-doc, but after two hours, the movie leaves you with more questions than answers, which is frustrating. It opens in New York, L.A., San Fran, Philly and a couple other theaters this weekend.

From GKIDs comes Salvador Simó’s animated BUÑUEL IN THE LABYRINTH OF THE TURTLES which follows the Spanish surrealist who has been shunned from making films in France and has had a falling out with his collaborator Salvador Dali. Broke, he returns to Spain where his poet friend Ramón Acin offers to fund his next movie if he wins the lottery, which he does, as the two of them go into the mountains to film the documentary Las Hurdes in the impoverished village.

This is a really interesting film, not only because the story itself is quite fascinating, but also Simó’s decision to use animation to tell the story. The animation is fairly simplistic, but it works, and it gets even more interesting as Simó actually intersperses footage from the documentary Las Hurdes into the animation showing them make the movie. I honestly know very little about Buñuel other than his classic works, so it’s interesting to see his transition after the disappointing showing for his feature L’Age D’Or, as well as how both his provocative and more humanistic sides come out while making the movie. Simó’s film will open at the Quad Cinema in New York and L.A.’s Landmark Nuart on Friday, plus other cities later.

Shinsuko (Bleach) Sato’s action epic KINGDOM (FUNimation Films), based on the Japanese manga, will open in select theaters nationwide Friday. Oddly, it’s set in China during the 3rd Century where the kingdom of Qin is separated into seven divisions constantly battling against each other. The story mainly focuses on two boys who were raised as slaves and then separated, one to go work under the king.This film was also frustrating, because I generally love this genre, but the storytelling was all over the place in terms of tone and the pacing was off, especially with the sporadic spacing of the action scenes. Also, it covers some of the same territory as Zhang Yimou’s Hero, which is one of my favorite Asian martial arts films of all time, and this pales by comparison. I’ll be curious to see how wide FUNimation Films releases this on Friday and if there’s enough of a fanbase for the Manga stateside for it to have any sort of impact, but I was generally disappointed.

Opening at the IFC Center Wednesday is Rhys Ernst’s coming-of-age comedy (of sorts) ADAM, which premiered at Sundance this year. It stars Nicholas Alexander as high school senior Adam Freeman who goes to visit his older sister Casey (Margaret Qualley) in New York City over the summer and falls for Bobbi Salvör Menuez’s lesbian Gillian who presumes that Adam is trans, and he doesn’t bother to correct her. This is a really fascinating film written by Ariel Schrag, writer on “The L Word,” that takes an honest look at gender and sexuality in a way I haven’t really seen in many movies. It’s a light film with humor but it handles the topic in a serious and almost educational way for those of us CIS-hetero-males who may still be somewhat lost when it comes to some aspects of the LGBTQ+ community. The cast is fantastic, particularly Alexander and Menuez, but also Leo Sheng as Casey’s roommate who befriends Adam. It’s kind of interesting seeing Qualley playing a modern-day woman – the movie actually takes place in 2006 – since I’ve only seen her in period films like Novitiate and Once Upon a Time … in Hollywood, but her role is fairly minor even if it helps explore the different types of lesbians. The movie has sweet moments but most of it works due to Schrag’s fine script and Ernst’s ability to get such great performances out of the cast. A worthy addition to the conversation.

Also opening at the IFC Center Friday isArgentine filmmaker Lucio Castro’s debut End of the Century (Cinema Guild), which follows a 30-something Argentine poet named Ocho (Juan Barberini) who travels to Barcelona where he falls for as Spaniard from Berlin named Javi (Ramón Pujol) and after a few failed attempts to meet, they finally hook-up.

Also opening at the Maysles Thursday night is Danniel Krikke’s Scared of Revolution (Film Movement), a documentary about Last Poets performer Umar Bin Hassan, who is struggling as he reaches his 70s decades after influencing many later hip-hop artists.

Opening on Thursday in about 200 theaters is the Bollywood release Mission Mangal (FIP) from director Jagan Shakti, based on the true story of the women scientists who take part in India’s space program. Akshay Kumar plays Rakesh Dhawan and Vidya Balan is Tara Shinde, who lead a team of scientists to launch India’s first satellite to Mars.

After that is a bunch of odds and ends…

William McGregor’s thriller Gwen (RLJEFilms/Shudder) stars Eleanor Worthington-Cox as the title character whose world is collapsing around as she deals with a malevolent presence, while the Korean thriller The Divine Fury (Well GO USA) is about an MMA fighter who helps an exorcist fight evil.

Nick Hamm’s comedic crime-thriller Driven (Universal Pictures Home Entertainment), starring Jason Sudeikis, Lee Pace, Judy Greer and Justin Bartha with Pace playing John DeLorean and Sudeikis playing his ex-con FBI informant friend Jim Hoffman who lured him into a cocaine trafficking ring. It gets a theatrical and On Demand release almost a year after it premiered at Toronto.

Opening in L.A. on Friday and then in New York on August 23 is Nick Richey’s teen drama Low Low (Halfway Crooks Entertainment, Gravitas Ventures); the Jonathan Rhys-Myers-led suspense thriller Awake (Cinedigm) directed by Alex Cher and Fedor Lyass; and Brazilian-American director Alexandre Moratto’s gay drama Socrates (Breaking Glass Pictures), which opens at the Laemmle Music Hall in L.A. on Friday and at New York’s Cinema Village on August 23.

STREAMING AND CABLE

By now, you’ve probably already heard the consternation of Marlon Wayans going full Eddie Murphy for his comedy SEXTUPLETS premiering on Netflix Friday. The concept involves Wayans as an expectant father who learns that he’s actually 1/6thof a series of sextuplets, so he goes out to meet them… and they’re all played by Wayans in various make-up prosthetic and fat suits.

Netflix is also debuting the new docu-series Happy Jail about a Philippines jail that becomes known for a viral Michael Jackson video that’s then taken charge by a convict.

I’m embarrassed to say that I still haven’t seen the first season of Mindhunter, but the 2ndseason premieres on Friday as well.

Also Friday, there’s an animated movie called Invader Zim: Enter the Florpus which continues from the popular Adult Swim cartoon show from the early ‘00s.

REPERTORY

Opening on Thursday night nationwide is Francis Ford Coppola’s Apocalypse Now Final Cut, the 3-hour plus version of his 1979 movie being released in IMAX theaters on its 40th Anniversary following its premiere at the Tribeca Film Festival. Check theater listings as it’s only playing once a day at some theatres and might only be for a few days.

METROGRAPH (NYC):

Starting this Friday is the new series Minelli Widescreen, as in Vincente Minelli, the Oscar-winning filmmaker behind films like Gigi (1958), An American in Paris (1958), Some Came Running (1958), Bells are Ringing (1960) and many more, all shown using the filmmaker’s 2:35:1 widescreen frame, so this should be something special. This week’s Late Nites at Metrograph is Leos Carax’s 2012 film Holy Motors and the Playtime: Family Matinees is the 1973 film (one of my favorites) The Golden Voyage of Sinbad. This week’s installment of “Godard/Karina Late Nights” is Alphaville (1965) on Thursday through Saturday nights. Unless it’s extended, Thursday will be your last chance to see the 4k restoration of Juraj Herz’s 1969 film The Cremator. It’s a very strange movie, kind of like if David Lynch directed an Addams Family movie, but then it gets far darker and more nefarious. Not to be shown up by BAM’s recent Millennial series, Metrograph is bringing back two of what I consider the most overrated movies of the year i.e. two movies that Millennials love – Joanna Hogg’s The Souvenir and Claire Dennis’ English debut High Life, starring Robert Pattinson. I didn’t care for either movie.

THE NEW BEVERLY (L.A.):

Just because it’s his theater and he can do whatever he wants Quentin Tarantino continues to use the theater to mostly show Once Upon a Time… in Hollywood through the end of August. As far as rep stuff, this Wed’s matinee is the Rock Hudson-Doris Day film Lover Come Back (1961), the weekend’s KIDDEE MATINEE is Norman Tokar’s 1969 film Rascaland then Monday’s matinee is James Mangold’s Girl, Interruptedfrom 1999, for which Angelina Jolie won an Oscar.

FILM FORUM (NYC):

The Burt Lancaster series ends Thursday so you have one last chance to see Criss Cross, Elmer Gantry, The Rose Tattoo and Conversation Piece, as another fantastic rep series comes to a close. Starting Friday is the next three-week series called “Marty and Jay’s Double Features.” The “Marty” is one Martin Scorsese and the Jay is film critic Jay Cocks, and they’ve put together a pretty amazing line-up, beginning with Robert Bresson’s Pickpocket (1959) paired with Hitchcock’s The Wrong Man (1956) on Friday, Saturday is Renoir’sThe Golden Coach (1952) with Minnelli’s The Band Wagon (1953), and a double feature of Olivier’s Richard III (1955) with Roger Corman’s The Tomb of Ligeia (1964). By the way, those are the only days you’ll be able to see these movies, since they won’t be screening multiple times. The one exception is Sunday and Monday’s double feature of Kubrick’s Barry Lyndon (1975) with a very rare Peter Sellers short called The Case of the Mukkinese Battle-Horn from 1956. I’m not going to go through the whole series but click on the link above and start planning accordingly. Remember, it’s two classic films for the price of one!

EGYPTIAN THEATRE (LA):

Not to be outshone by Tarantino and the New Bev, the theaters is doing “Once Upon a Time” double features… no, not Tarantino’s movie but a double feature of Once Upon a Time in China (1991) and its 1992 sequel Once Upon a Time in China 2on Thursday, then on Friday, Robert Rodriguez’s Once Upon a Time in Mexico (2003) with the 2012 Turkish film Once Upon a Time in Anatolia. Of course, they’ll show Charles Bronson’s Once Upon a Time in the West (1968) on Saturday and then the Sergio Leone crime-thriller Once Upon a Time in America (1984), starring De Niro and James Woods, on Sunday

AERO (LA):

Weds night, the AERO is screening the musical comedy How to Succeed in Business without Really Trying (1967) with star Robert Morse in person! Thursday begins a series called “The Neo-Noir of John Dahl” with filmmaker John Dahl in person for double features of The Last Seduction (1994) and Rounders (1998) on Thursday, then Val Kilmer’s Kill Me Again (1989) and Nicolas Cage’s Red Rock West (1993) on Friday. The “Highballs and Screwballs” series continues Saturday with The Lady Eve (1941), starring Henry Fonda and Barbara Stanwyck, and Fritz Lang’s Scarlet Street(1945). The AERO has also started a “Dysfunctional Family Matinees” series with Ozu’s Tokyo Story (1953)screening Tuesday afternoon.

QUAD CINEMA (NYC):

You have a couple more days to catch a few of the “Beach Reads: From Sun to Screen” movies, basically Airport, The Deep and The Island on Wednesday, and then Hotel, Valley of the Dolls and The Love Machine on Thursday. Beginning Friday is a restoration DCP of Jacqueline Audry’s Olivia (1951) set in a French finishing school where an English girl finds herself falling for her teacher Clara.

IFC CENTER (NYC)

This week’s Weekend Classics: Staff Picks Summer 2019 is Satyajit Ray’s 1955 film Pather Panchali, Waverly Midnights: Staff Picks Summer 2019 is chosen by some guy named “Ezra” who picked Lexi Alexander’s 2008 movie Punisher: War Zone, while Late Night Favorites: Summer 2019 is… once again… James Cameron’s Aliens. (Seriously, these movies really seem to be on a loop.) On Tuesday, as part of its “Movies with MZS” aka film critic Matt Zoller Seitz, the IFC will screen James Cameron’s 198 movie The Abyss in 35mm print)

BAM CINEMATEK (NYC):

Punks, Poets & Valley Girls: Women Filmmakers in 1980s America continues through the weekend, screening Julia Bashore’s 1986 film Kamikaze Hearts, Kathryn Bigelow’s 1987 vampire flick Near Dark, Allison Anders’ Border Radio (also from ’87), and then from 1988, there’s Genevieve Roberts’ Casual Sex? And Penny Marshall’s Big, Martha Coolidge’s 1983 film Valley Girl, and Amy Heckerling’s classic Fast Times at Ridgemont High from 1982. On Sunday, the series will screen Mary Lambert’s Pet Sematary with some of her music videos. Also, on Thursday night, BAM is screening Spike Lee’s School Daze (1988).

MUSEUM OF THE MOVING IMAGE (NYC):

With Netflix’s The Dark Crystal: Age of Resistance premiering later this month, MOMI is going to show the original The Dark Crystal… and while you’re there, you might as well check out the Jim Henson Exhibit, which has been running there since January.

ROXY CINEMA (NYC)

The downtown New York theater will screen Truffaut’s 400 Blows (1959) on Weds and Saturday and Jacques Demy’s musical The Young Girls of Rochefort(1968) on Thursday and Sunday.

LANDMARK THEATRES NUART (LA):

Friday night’s midnight offering is Harmony Korine’s The Beach Bum.

Next week, fewer movies as we get further into the “Dog Days of Summer” although I’m kind of looking forward to seeing Angel Has Fallen, the third movie in the Gerard Butler action franchise.

#WhatToWatchThisWeekend GoodBoys AngryGirds BlindedByTheLight WheredYouGoBernadette Movies Reviews

0 notes