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introvertguide · 3 years

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Star Wars: The Franchise

Back in the mid 70s around Modesto, California, it is doubtful that George Lucas could have imagined that his idea for a space opera would become the second highest grossing movie franchise of all time. There has been some questionable content, however, since the groundbreaking original, and the returns have not been as great. There were also some one-offs that a lot of the younger fans might not be aware of. For my own sanity and organization, here is a listing of all feature length movies in the franchise:

Star Wars IV: A New Hope (1977) -

Definitely the most successful film (heck, one of the most successful films of all time) that made almost a billion dollars at the box office worldwide...in the 80s. Amazing. The story mimics the hero's journey as described by Joseph Campbell, giving it basically the most satisfying story imaginable. Nobody except for friend of George Lucas, Steven Spielberg, thought it would be as successful as it was. This kind of popularity meant there was going to be some sequels and, since George Lucas was the man behind the whole thing, only one man was about to get tasked with future success.

Star Wars Holiday Special (1978) -

This was a TV movie that was made to cash in on the massive popularity of the first movie while the second one was in production. It is terrible. I generally try to hold back judgement and point out subjective opinions, but I think I can say that this made-for-TV movie is objectively bad. It is the equivalent of a variety show, a format which was popular at the time, and it was awful. It is widely considered to be one of the worst visual productions of all time. Just to give a hint of its awfulness, the movie follows the adventures of Chewbacca's Wookie family and they only speak in growls with no interpretation or subtitles. Laughably awful.

The Empire Strikes Back (1980) -

Arguably the best of the films as far as story and plot, this film was actually directed by Irvin Kershner with a George Lucas story adapted to the screen by Lawrence Kasdan. This film is legitimately fantastic and not just new and fun. It is so well written and directed with the famous reveal between Luke and Darth Vader. It also is incredibly downbeat at the end that perfectly sets up the next film. I personally think this is the best example of fine film in the franchise, although it doesn't have as much big action and no giant space laser. Well worth watching and makes the third film a must see.

Return of the Jedi (1983) -

Well, not as good as the first two, but still pretty darn good. This film introduced the Ewoks and the Endor moon battle. Many fans thought that the introduction of living teddy bears was a mistake that distract from the story. What really made the film, apparently, was the whole sequence at the beginning that takes place at Jabba the Hut's palace and involves Princess Leia in a metal bikini. We also find out that Luke and Leia are twins, so that kiss in the second film suddenly becomes kind of awkward. This becomes kind of a theme from here on out: should we disavow canon or put in throwaway lines and scenes to cover things that were mentioned in previous movies. It plagues the prequels.

The Ewok Adventure (1984) -

I get a lot of garbage about it, but I love these movies because I grew up with them. They are not that great and the copy that I saw over and over had ads from the early 80s throughout. Heavy nostalgia. Also, some of the Ewoks were played by established actors from what is now called Episode VI, Warwick Davis as Wicket and Tony Cox as Widdle. It was a lot of fun, but definitely a higher budgeted TV movie. It did become so successful that it got a theater release as Caravan of Courage: An Ewok Adventure. This naming style stuck around for the spin off films that were made in the late 2010s.

Ewoks: The Battle for Endor (1985) -

Hot dang, they made a second one with Wilford Brimley! Both of the Ewok films were thought up by George Lucas and sold to ABC. Both films were also given special Emmy awards for special effects. I can't fault either Ewok film as far as visuals since both got the ILM treatment. I have stated that I liked both of these movies more than some of the prequels, and I stand by that.

The Phantom Menace (1999) -

The next three films followed the first three episodes in the Star Wars saga and are now generally known as the prequels. They are also pretty widely hated. One reason for that was the introduction of young Anikan Skywalker (eventual Darth Vader) and his growing attachment to Lord Palpatine (Darth Sidious). The problem with the prequels is that it was a path leading to a result that had been established over 20 years ago in the first film. They also introduced a character named Jar-Jar Binks who was just awful. There was a great pod racing scene and an epic Sith vs. Jedi battle that really were the highlights of the film. The music was also pretty epic, but the film was otherwise not that great. It was completely made under the helm of George Lucas and fans were suddenly starting to wonder if he was the genius they had thought him to be. What I consider to be the best YouTube deep dive movie review of all time, a group called Red Letter Media made a seven part review that explains why the movie was such a problem. You can watch the first part and it will auto load all seven here:

(1) Star Wars: The Phantom Menace Review (Part 1 of 7) - YouTube

Attack of the Clones (2002) -

Alright, here is where things really start to go down hill. There is a fine actor by the name of Hayden Christiansen that is just awful in this film. He is given nothing to do for the most part. He is supposed to be this amazing Jedi general, but he spends most of his time walking around speaking in a very monotone voice. He does have some fun piloting scenes, but he is written as such a whiny brat. There are two epic battles (the coliseum and Dooku vs. Yoda) and we get to see a bounty hunter in action. It does seem like a lot of fan service glued together by boring politics and horrifically bad acting.

Revenge of the Sith (2005) -

This is widely considered the worst of the prequel movies and generally laughable at some points. There is supposed to be an epic lava battle at the end, but it is just a bunch of screaming about a failed bromance. We get to see the end of the characters in the prequel and set up the original movies...that were now almost 30 years old. It was unsatisfying and not even slightly worth the wait. It was at this time that George Lucas said that there would never be a seventh episode that would follow the original trilogy.

Star Wars: The Clone Wars (2008) -

There was a very compelling series of Star Wars shorts in 2003 made by Genndy Tartakovsky that did very well. George Lucas saw this and decided that a lot of the most interesting Star Wars events had occurred during the time between the prequels and the original series. Lucasfilm put out an animated movie to test the waters and it was so successful that 7 seasons of great animated adventures were made to show the epic battles that were supposed to take place between the second and third episode. I honestly believe that this was the very best space action of the entire franchise.

The Force Awakens (2015) -

George Lucas sold the Star Wars franchise over to Disney and fans got a new movie that was never supposed to happen. Once Disney came on board, the brand became much more prolific. Until the pandemic, there were plans to put out a Star Wars movie every year for a decade. The first was episode seven and was made by J.J. Abrams. It was similar to the first film (episode IV) in so many ways that fans started to think it was just a remake. It even had a lot of the characters from the original trilogy. It was much better received by fans following the prequels and introduced a storyline that was not already spoiled by previous movies. There was a lot of unnecessary fan service for those who loved the original trilogy. This makes since because it involved Lawrence Kasdan, who helped with the screenplay for episode five and six from the original trilogy.

Rogue One: A Star Wars Story (2016) -

A full big budget release of a Star Wars movie that wasn't one of the episodes was an interesting idea. It was an entire movie to explain a throwaway line from the original 1977 movie. I lot of people died to get some plans for the big weapon in the first film and people wanted to know exactly how that happened. Actually they didn't. But Disney thought it was a good idea and it seemed like it would make a lot of money (it did). It gave the producers a chance to make a movie with new characters and only mentions of the famous story (this was important because the other actors where making the next episode).

The Last Jedi (2017) -

This was an interesting change of pace from the rest of the films because it seemed to drop the idea of the "chosen one" and say that anyone could be a Jedi. It is basically one giant escape story and is closer to Mad Max in space than it is to the other Star Wars films. It was given in full by Disney to Rian Johnson and it shows. This was the first episode film that had nothing in common with any of the production group from the original trilogy. No Kasdan, no Kirschner, no Lucas, all Disney. It was not very well received.

Solo: A Star Wars Story (2018) -

The worst performing of any of the Star Wars live action feature length films, this was the story of Han Solo. That's it. There is not a lot of history about the character and he is so cool, fans needed to have a stand alone movie about his youth. That's a lie, Disney wanted a movie to come out between episode eight and nine. This was the best that the suits could come up with and it definitely made money, but it is lame.

The Rise of Skywalker (2019) -

Well, the movie completely helmed by Rian Johnson was not popular enough so there was a total retcon situation and this film basically picked up where episode seven left off. It was the same team from episode seven (since that film was so much more popular) and they made a final film that wraps up with a bow. Sort of. There was definitely room in the film world for more Star Wars movies to be made (it is owned by Disney) and I really don't believe it is finished as a franchise.

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Just in case there are people who were nervous that this was the end of the franchise, there is currently a stand alone film called Rogue Squadron that is supposed to come out in 2023. Thank goodness. There was also the popular Mandalorian series on Disney +. But the franchise has been making huge films for almost 45 years now, so maybe it is time to stop. We have the MCU that has made almost twice as much money as the Star Wars universe, so most movie goers have picked their setting that they want to see. Maybe there could be a crossover (I am kidding, please no) and it would be the most watched film of all time.

#star wars #franchise #lucas #disney #introvert #introverts #movie franchise

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blog-cosmosuniverse1 · 4 years

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What Have We Done? By E.P. Unum January 21, 2021

Joseph R. Biden was just inaugurated as the 46th President of the United States yesterday. I have nothing further to say about this historical event attended primarily by 26,000 National Guard Troops, FBI, NSA, CIA Operatives. That fact alone is a very telling story. Apparently, additional security was deemed necessary for a President-Elect who received allegedly 80 million votes, more than any other person in the history of our country. All of the “peaceful riots” throughout the summer and Fall, where stores and businesses were looted and destroyed, monuments toppled and police and citizens were killed, did not require the assistance of armed troops to quell these “activities”. I also will not comment on the 17 Executive Actions signed by our new President on his first afternoon in office. None of these offer any hope or unity nor are they of any benefit to the American people or to America. Indeed, they will drive us further downward. But here are some lessons we can learn from the new change in leadership to the America we know: Perhaps now you understand why there was never any action against the Clintons or Obama, how they destroyed emails and evidence and phones and servers, how they spied and wiretapped, how they lied to the FISA Court, had conversations on the tarmac, sent emails to cover their rears after key meetings, how Comey and Brennan and Clapper never were brought to any justice, how the FBI and CIA lied, how the Steele Dossier, paid for by Hillary Clinton, was passed along, how phones got factory reset, how leak after leak to an accomplice corrupt media went unchecked, why George Soros is always in the shadows, why Mitt Romney and Paul Ryan and George Bush and John McCain were all involved, why they screamed Russia and pushed a sham impeachment, why no one ever goes to jail, why no one is ever charged, why nothing ever happens.

Perhaps now you know why there was no wrongdoing in the falsification of the FISA Warrants, why the Durham Report was delayed, why Hunter Biden has not been charged, why the FBI sat on his laptop for almost a year while Trump was being impeached on fictitious charges, why the Bidens' connection to China was overlooked as was unleashed the perfect weapon, a virus that was weaponized politically to bring down the greatest ever economy known to man and at the same time usher in an unverifiable and unnecessary system of mail-in voting that corrupted the very foundation of our democracy. Maybe now you can understand why the media is 24/7 propaganda and lies, why up is down and down is up, right is wrong and wrong is right, why social media can now silence the First Amendment and speak over the President of the United States. This has been the plan by the Deep State all along. They didn’t expect Trump to win in 2016. He messed up their plans, and delayed them a little….four years to be exact. They weren’t about to let it happen again. Covid was like manna from heaven for democrats and the socialist left, it was a tool to inject fear into all Americans and it was weaponized Governors who shut down their states and crumbled their economies out of fear. The media, never to let a good crisis go to waste, helped shame and kill the economy, and the super lucky unverifiable mail-in ballots were just the trick to make sure the 47-year career politician, allegedly with hands in Chinese payrolls, the man that couldn’t finish a sentence or collect a crowd, miraculously became the most popular vote recipient of all time. You have just witnessed a silent, bloodless coup, the overthrow of the US free election system, the end of our Constitutional Republic, and the beginning of the downward slide of capitalism and the free enterprise system into the abyss of socialism and communism. What a remarkable achievement! We have sacrificed the greatest engine of freedom, growth, and prosperity known to man on the altar of ignorance and totalitarianism. What will happen next? Well, here's a brief list: · Expect the borders to open up. Increased immigration. · Expect agencies like CBP and INS and Homeland Security to be muzzled or even deleted. · Law enforcement will see continued defunding. · Elimination of the electoral college will be attempted. · History as we know it will be erased. Our children will no longer study the American Revolution, the Civil War, World War I, II, Korea or Vietnam. These will be replaced with classes on “white priviledge”, “how American racism stole lands from native Indians” and the “need for racial equity” because America is a terrible nation. · The Supreme Court will be packed with liberal judges. · Your 2nd Amendment will be attacked and there may be a gun confiscation or gun buyback programs enacted and you will find it difficult to own a weapon…and ammunition of any kind. · If you have a manufacturing job or oil industry job, get ready to be unemployed. · If you own and run a business, brace for the impact of higher taxes and more governmental regulations. · Maybe you’ll be on the hook for slavery reparations, or have your suburbs turned into Section 8 housing. · Your taxes are going to increase dramatically and businesses will pay more. · We will be paying more for gasoline at the pump and we will soon find ourselves once again dependent on foreign oil.

President Trump made us energy independent. For the first time in our history, the USA became an oil-exporting nation. Biden’s illogical and corrupt dismantling of the Keystone Pipeline not only displaced 42,000 high-paying union jobs but now Canada will sell the oil in Alberta BC to China while we search for new supplies at higher prices. Well done Joe! In a couple of years, we will see the onslaught of inflation, high unemployment, less productivity as more and more people become dependent on the government for subsistence, all of which is the natural course of socialist economies The dollar will no longer be the world’s reserve currency and America will no longer be the bastion of freedom it once was. America will be overtaken by China as the largest economy in the world and, because we have become so complacent, we will find ourselves in the middle of great turmoil and upheaval with lots of civil strife that will make 2020 look like a walk in the park. I could go on and on. There is no real recovery from this. The national elections from here on will be decided by New York City, Chicago, and California. The Constitutional Republic we created will be dead. Mob rule and appeasement will run rampant. The candidate who offers the most from the Treasury will get the most votes. But the votes cast won’t matter, just the ones received and counted. That precedent has been set. Benjamin Franklin was walking out of Independence Hall after the Constitutional Convention in 1787, when someone shouted out, “Doctor, what have we got? A republic or a monarchy?’” Franklin responded, “A republic, if you can keep it.” Ladies and gentlemen, we have now lost the Republic our forefathers bequeathed to us, the Republic we fought and bled for these past two hundred and forty-five years. Some of you are wondering how this came to pass. The answers are indeed quite simple. We did it to ourselves: · We turned from God. We erased God from our halls of Justice and the Town Square. · We turned from family. · We turned from our country, our Flag, our Monuments to our leaders who paved the way. We denigrated all of these with revisionist history and the tearing down of monuments to our civilization and way of life. · We replaced achievement and recognition by embracing “participation trophies” so that our children can all feel a sense of accomplishment even when there was none. · We embraced degeneracy culture, inviting pornography into our laptops and living rooms. · We became some infatuated with technology that we lost the human touch…we found it easier to send emails or Facebook or twitter posts to a friend or co-worker ten feet away from us rather than walking over to chat with them. We have, in essence, become too high tech and low touch. It sort of begs the question…what does it matter if we wire the entire world if we lose our immortal souls? · We celebrated and looked to fools as our heroes, comedians whose idea of a joke is holding up a bloody head of our President. That’s not funny. It’s sad. · We worshipped ourselves selfishly and took for granted what brave men and women fought and died to give us. Their sacrifices are no longer valued, replaced instead with scorn because they may have committed “transgressions measured by today’s standards, not theirs”.

We disregarded history and all it teaches. On our watch, America just died a little. It’s likely she’ll never be the same again. Not until the 74 million Americans who voted for President Trump stand up and shout “we will no longer tolerate this and we want our country back” and do something about it

For starters, get off Twitter and Facebook and refuse to be a part of their efforts to disrespect the First Amendment. I did. And I don’t miss it at all. If companies want to insult all the people who supported President Trump by denying them jobs, fight back. Don’t buy their products. Shun them. Until we take those steps, they will continue to wield their power, but the ultimate power is in your hands…the power of the consumer. We did this to ourselves. We made our bed, now we have to sleep in it….until we get off our asses and remake it. Some of you have no idea what you’ve done. You know now. It is time to do something about it. Sadly, some of you do know what you have done. To them, I say…if you kick a dog long enough, pretty soon he’s gonna bite. I am tired of being kicked and insulted and disregarded as if I don’t matter. We do matter. We are Americans

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perlukafarinn · 5 years

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Movies (I saw) of the 2010s, ranked

Because I had lots of better things to do but no inclination to do them.

As I went through all the new releases I watched this decade, a few things came to mind:

I missed so much! Most recently, I still haven’t seen Parasite, The Lighthouse or The Irishman. I’ve also seen only one of Disney’s live action remakes, two out of four Star Wars films of the decade, and I’ve missed quite a few of Marvel and DC’s outings. My tendency to mostly watch older films came to bite me in the ass here. But c’est la vie, there’s only so many hours in the day!

A huge part of my viewing history took place during film festivals, so festival movies are way over-represented here. I’m not mad about it.

There’s not too many outright bad movies on my list, because I tend to avoid movies that look bad or like I might not like them (shocker, I know). Even the ones in my bottom ten aren’t as dreadful as I was expecting.

There’s no way I can rank all these films numerically! What about movies that I can tell are good but just aren’t for me? What about movies that are bad but enjoyable? How can you compare tired Oscar-bait with soulless blockbusters? It’s impossible!

Hence these categories. I’m doing a top 10 worst and best, and the categories go roughly from worse to better movies, but otherwise this isn’t based on quality so much as what clever category names I could come up with (or couldn’t, as the case may be). I’m also listing the movies within each category alphabetically because that’s even less ranking I need to do.

Buckle up, this is over 6000 words...

Oh, and if you don’t feel like reading the whole thing I still encourage you to reply with your own favorite movies of the decade!

The Worst Exactly what it says on the tin. These movies aren’t just unenjoyable or disposable, they are actively unpleasant to watch.

American Hustle (2013) Wait, this got how many Oscar nominations again??

The Hobbit: The Desolation of Smaug (2013) This movie is so bloated and yet they couldn’t find any time to actually develop most of the main characters? I had such a bad time watching this one, I ended up skipping out on the last part of the trilogy.

Hurricane Bianca (2016) This looked like it might be enjoyably bad but it wasn’t. I still love Bianca Del Rio, don’t get me wrong, but her humor is not the kind you build a whole movie around, yet alone two. And yet…

Hurricane Bianca: From Russia With Hate (2018) Yeah, I watched them both. I’m a simple woman: I see Katya in a trailer, I watch. I really shouldn’t have bothered, this one is even worse.

Iron Man 2 (2010) Superhero fatigue got me bad in the past few years but even before then I hated this movie. Literally nothing enjoyable here, I was aggressively bored while watching. The Lack (2014) This is a movie about women, written and directed by a man, called “The Lack”. You might think I’m being uncharitable to say this movie is entirely about penis envy but the writer/director himself confirmed this at the Q&A I was at. This is why Q&As are always a bad idea, people!

Left Behind (2014) This one tips into “enjoyably bad” at times but in the end, it’s still two hours of your life wasted on a movie meant to make its Evangelical viewers feel vindicated in their horrible beliefs. Morgenrøde (2014) I have a fairly high tolerance for slow movies but this movie is sloooowwww and literally nothing happens in it. This is the movie that taught me not to trust it when festival brochures use the word “contemplative”.

Percy Jackson & the Olympians: The Lightning Thief (2010) Just dreadful. This is the worst kind of film in my books: the kind made to follow a trend, not to tell a story.

Pirates of the Caribbean: On Stranger Tides (2011) It’s been eight years since the fourth PotC movie came out?? God, it’s been a long decade.

The Utterly Disposable I didn’t exactly have a bad time watching these but they left no impression on me.

Alex Strangelove (2018) Netflix has released so many unremarkable-looking teen movies this decade. This is one of the few I bothered to watch and it’s cute enough, I guess.

Fyrir framan annað fólk (2016) I am Icelandic but I don’t watch a whole lot of Icelandic movies and I feel kind of guilty about that. Not guilty enough to give a boring movie a pass, though.

Ghostbusters (2016) This super did not need to exist and not even my love for Kate McKinnon makes it any less disposable.

The Great Gatsby (2013) At least it’s pretty.

Hot Tub Time Machine (2010) I remember this getting a few laughs out of me but that’s about it.

The Imitation Game (2014) I think I just… don’t like Beneditch Cumberbatch? Sorry. This movie is the perfect expression of the bland, middle-of-the-road biopic, with the added mishandling of the subject’s sexuality.

Isn’t It Romantic (2019) I love a good satire but this ain’t it, chief. This movie isn’t doing anything that Crazy Ex-Girlfriend hasn’t done 100x better.

John Carter (2012) If you’re gonna throw this much money into something, you could at least hire a charismatic lead actor. Then again, it seemed to work for Avatar. Magic Mike (2012) I did like that this sexy stripper movie kept showing how unhappy the main character is doing what he does as if that wouldn’t totally ruin the fantasy.

Mike and Dave Need Wedding Dates (2016) Watched this on an airplane, which is fitting. This feels like a quintessential airplane movie; it’s mildly entertaining but ultimately disposable enough that it has completely slipped your mind by the time you reach baggage claim.

Paul (2011) Occasionally funny, I think? Barely remember it tbh.

Planetary (2015) There’s some interesting points buried in here but the movie’s too busy trying to look important to actually get them across effectively. Also feels surprisingly padded for just 80 minutes. Valentine’s Day (2010) Taylor Swift was actually kind of funny in this, which was a pleasant surprise. Zero impact otherwise.

“I Have No Memory of This Place” Movies I literally could not remember watching until I had read the entire synopsis, but for one reason or another was not comfortable calling “disposable”.

Bobby Sands: 66 Days (2015), The Departure (2017), Hell Is Empty: All the Devils Are Here (2016), Innsæi (2016), Last of the Elephant Men (2015), Late Summer (2016), Speed Sisters (2015), Una (2016), The War Show (2016) Lumping all of these together because they’re all festival movies I have hardly any memory of and that I may have in fact fallen asleep over.

Incendies (2010) Chalk this up to me seeing it almost a decade ago. When I finally remembered it, I could vaguely recall finding it affective. Probably due for a rewatch.

Prisoners (2013), Rush (2013), Warrior (2011) Around 2012-2014 I was working my way through IMdB’s top 250 list and I saw so many forgettable movies about men committing various violent acts. Literally can’t remember a single thing about these movies.

I’m So Sick of Superheroes Dear God Make It Stop I’d probably like some of these more if not for superhero fatigue but that is the trade-off for total global dominance. A couple of superhero movies did escape this category and you’ll see them later on my list.

Thor (2011), Iron Man Three (2013), Thor: The Dark World (2013), Captain America: Winter Soldier (2014), Guardians of the Galaxy (2014), Ant-Man (2015), Avengers: Age of Ultron (2015), Captain America: Civil War (2016), Avengers: Infinity War (2018) Lumping all of Marvel’s movies in this category together because I don’t really have a lot to say about Marvel anymore. Special mention to Winter Soldier for being the movie that soured on me the most and to Age of Ultron for in hindsight being the beginning of my superhero fatigue.

The Dark Knight Rises (2012) Boy, this trilogy ended on a sour note. Man of Steel (2013) Confused story structure aside, this movie is utterly grey and joyless. It’s also army propaganda!

X-Men: Days of Future Past (2014) The only reason I watched this was because it was on IMdB’s top 250 list. Peter Dinklage was good in it, if I recall correctly.

Don’t Like This Nope.

12 Years a Slave (2013) Very uncomfortable to sit through, which I get was the point, but I’m not sure it was the right choice. It honestly feels like misery porn.

Black Swan (2010) I’ve long made peace with the fact that Darren Aronofsky will just never click with me.

The Broken Circle Breakdown (2012) This movie is exhausting to watch because of the near constant country music playing. Loudly.

Kate Plays Christine (2016) This is a movie about a really interesting topic but instead of the real tragedy that actually happened it chooses to focus on an actress’s fictional struggle to connect with her role. I think the movie wanted us to think the struggle was real (heh) but for that they would’ve needed a better actress. La La Land (2016) I love classic musicals and I really wanted to like this movie but in the end I just couldn’t. As a movie it’s okay but it’s not a good musical and the whole white savior of jazz thing was……….. an odd choice.

Last Days in the Desert (2015) I’m a sucker for good, thoughtful religious films. The idea of Jesus and the devil being played by the same actor was intriguing to me and I liked that the devil wasn’t evil so much as just tired. But ultimately, this movie felt a little too cold for me.

Magic Mike: XXL (2015) I have no idea why every critic on the planet seems to love this movie. Strippers aggressively thrusting their crotch in your face is not sexy, it’s uncomfortable!

A Silent Voice (2016) Melodramatic and not in the fun, over-the-top way.

Vonarstræti (2014) It’s good but it’s just not for me.

Wir Monster (2015) I saw this at a Q&A screening and decided I didn’t wanna stick around after the credits rolled. On my way out, I tripped and almost fell onto the actors as they were walking past me. That experience had a way bigger impact on me than the movie itself. Make of that what you will.

Guilty Pleasures/So Bad They’re Good An enjoyably bad movie is a better watch than a middlingly competent one.

#REALITYHIGH (2017) Incredibly clichéd and tries way too hard to be “hip” or “lit” or whatever it is the kids were saying back in 2017. Don’t care, I’ve seen it four times.

Bridget Jones’s Baby (2016) The first Bridget Jones is a highlight of the genre. The second one is just bad but the third tips over into enjoyably bad. I also loved having Renée Zellweger back on my screen!

A Cinderella Story: Christmas Wish (2019) Recently watched this with my sister while baking and wrapping Christmas presents. It’s a terrible movie but we had fun (mostly by making fun of it).

Descendants (2015), Descendants 2 (2017), Descendants 3 (2019) I’m not apologizing for this even though I feel like I kind of should.

The Kissing Booth (2018) This movie is like a 13-year-old’s first fanfic come to life so of course I’m gonna love it. Even if the love interest is incredibly unappealing.

The Twilight Saga: Eclipse (2010), The Twilight Saga: Breaking Dawn - Part 1 (2011), The Twilight Saga: Breaking Dawn - Part 2 (2012) Who would’ve thought at the start of the decade that Kristen Stewart and Robert Pattinson would turn into indie darlings starring in one critically acclaimed film after the next? I love that for them.

Oscar Bait but I’m Not Biting Not sure the Oscars weren’t a mistake tbh.

The Artist (2011) I kind of enjoyed this but ultimately it’s watered-down Hollywood history made appealing to modern audiences and its aim is far higher than its reach.

Birdman (2014) It was a fun watch but it left no impression.

Darkest Hour (2017) Technically a good movie but such obvious Oscar bait I just couldn’t fully enjoy it.

The Help (2011) Let’s leave the white savior narrative behind in the 2010s, shall we?

The King’s Speech (2010) I love Colin Firth. I barely remember this movie.

Three Billboards Outside Ebbing, Missouri (2017) Don’t love that the racist cop is the most fully fleshed-out character in this movie while the black characters are all unnamed extras.

Whiplash (2014) It’s just drumming, J.K. Simmons, it’s not that serious.

I Feel Like I Should Like This More This category is mostly three camps, as you’ll see.

120 battements par minute (2017), 69 Minutes of 86 Days (2017), Fire at Sea (2016), I, Daniel Blake (2016) All important movies with a worthy message that I just couldn’t connect with on a personal level.

Adieu au langage (2014), Before We Vanish (2017), Bridesmaids (2011), Jagten (2012), A Separation (2011), Timbuktu (2014), Transit (2018), Winter’s Bone (2010) Critically acclaimed, maybe it’s just me?

Her (2013) The rest is all movies I expected to like more than I did. I’m not sure what didn’t click with this one. It’s been a while since I saw it.

Get Out (2017) I wasn’t gonna watch it because I don’t really watch horror so when I finally caved, I knew pretty much everything about it. Watching a movie the first time knowing everything that happens in it and after seeing it dissected for months on end by every critic on the planet does take a lot of the enjoyment away, as it turns out.

Gone Girl (2014) Really thought I’d love it. It’s good just didn’t click with me.

The Grand Budapest Hotel (2014) It’s pretty. Liam Neeson is always fun.

Pacific Rim (2013) Mako is great and I enjoy the chemistry between her and Raleigh but ultimately this one just kind of slipped out of my mind as soon as I’d seen it.

Toni Erdmann (2016) It’s too damn long!

The Tree of Life (2011) I just watched this the other day so it’s very possible my opinion will change. I was expecting to love it but I… didn’t. It felt like this movie was trying too hard to be profound and important, at the cost of actually saying something, well, profound and important.

No Strong Feelings One Way or the Other I actually have nothing to say about any of these movies and most of them are good but they had to go somewhere.

The Best Exotic Marigold Hotel (2011), Boyhood (2014), Brave (2012), Creed (2015), Django Unchained (2012), Exit Through the Gift Shop (2010), Flavours of Youth (2018), Frozen (2013), The Hobbit: An Unexpected Journey (2012), Interstellar (2014), Intouchable (2011), The Jungle Book (2016), Monsters University (2013), Rogue One (2016), Schaste moe (2010), Shutter Island (2010), Three Identical Strangers (2018), To All the Boys I’ve Loved Before (2018), Undir trénu (2017), Wreck-It Ralph (2012)

Middling Festival Fare I have nothing to say about these either but I couldn’t lump them in with the others. I mostly liked them more than the movies in the previous category and they took bigger risks. Some of them might even be great, just very much not my cup of tea.

3 Tage in Quiberon (2018), Acid Forest (2018), Amateurs in Space (2016), Barakah Meets Barakah (2015), Der Andständige (2014), Disappearance (2017), Dreams by the Sea (2017), En fremmed flytter ind (2017), Føniks (2018), The Girl Down Loch Aenzi (2016), God Exists, Her Name is Petrunija (2019), Gods of Molenbeek (2019), Jag är Ingrid (2015), Já, Olga Hepnarová (2016), Looking for Oum Kulthum (2017), Mister Universo (2016), Neruda (2016), The Raven and the Seagull (2018), Rester vertical (2016), Slow West (2015), Sugar Coated (2015), Summer Survivors (2018), Tickled (2016), Worldly Girl (2016)

Maybe Not the Best But a Lot of Fun Better than those guilty pleasures but generally pretty flawed. Austenland (2013) A very cute little romcom. Extra points for Jennifer Coolidge, the most underrated character actress of this century.

Baby Driver (2017) I feel like revisiting this one might not be as enjoyable for reasons that have nothing to do with the film’s quality but I had fun watching it in the theater.

Harry Potter and the Deathly Hallows: Part 1 (2010) I was a fan of this franchise from the start so even though this movie is kind of dour and dark, it was still a blast to watch. Harry Potter and the Deathly Hallows: Part 2 (2011) Do I love every choice this movie made? No. But I saw this at a midnight screening, in full cosplay with my friends, in a theater packed with fans. It was a once-in-a-lifetime experience.

I, Tonya (2017) For a movie that contains so much abuse and such a bummer ending, it’s surprisingly entertaining!

The LEGO Batman Movie (2017) Lego Batman is my favorite Batman.

Nothing Like a Dame (2018) I just really love Maggie Smith.

On - drakon (2015) This movie feels like it was pitched as “Twilight but with dragons!”. It’s fun, though, and it’s got an interesting aesthetic and a proactive heroine who gets herself out of trouble with ingenuity and bravery.

Sing Street (2016) I love the soundtrack to this movie and the characters are incredibly endearing. The story is very simple in not a great way but it doesn’t need to be deep to be enjoyable.

Spider-Man: Homecoming (2017) I like that they skip the origin story for once and keep the scope of it fairly limited. A very nice little slice-of-life teen movie combined with a superhero flick. Tom Holland is a good Spider-Man. Would’ve been better without Iron Man tbh. Star Trek Beyond (2016) I feel like they got the characters right here, which was a problem for the first Star Trek of the rebooted trilogy. It’s a fairly inconsequential movie but it’s a blast.

Star Wars: Episode VII - The Force Awakens (2015) I’m not the biggest Star Wars fan so I don’t have a lot of opinions here. It’s fun! Not a lot more I want from Star Wars. Ultimately didn’t intrigue me enough to wanna see the rest of the trilogy.

Ten no Chasuke (2015) This movie is a little weird, a little goofy and a lot of fun. I like the guy who just constantly lives through different movie plots because the angel writing his life can’t think of anything original, that tickled me.

Good Movies I Don’t Have a Clever Title Here They’re good movies, Brent.

Barbara Rubin and the Exploding NY Underground (2018) An enjoyable, well-made documentary but considering its subject matter disappointingly conventional.

Black Panther (2018) This movie could have been much better had it not been under the constraints of the MCU. Still one of the best offerings of the genre this decade.

Boy Meets Girl (2014) We need more movies like this. Not just for representation (although that is important) but also because cinema needs a greater variety of stories than are currently being told.

Brooklyn (2015) The scope of this movie is very small but the characterization is nuanced and every aspect of the film goes towards furthering that.

Bugs (2016) The focus of this movie is split between its very interesting subject matter (the use of bugs as food around the world) and the chefs we’re following around who kind of seem like dicks and honestly drag the movie down a lot.

Captain America: The First Avenger (2011) Steve Rogers is one of my favorite MCU characters, purely on the strength of this movie. In a world where no one seems to know how to adapt Superman to film, it’s nice they got this one right.

Cloud Atlas (2012) This movie has such lofty ambitions and I admire it for that, even if the execution is off at times. But the use of yellowface is..... bad. It’s very bad and the directors should have known better.

Cold War (2018) I love the music in this, which is good because it is near constant.

Damsel (2018) I love a deconstructed western and I love Robert Pattinson. It’s a shame that the female character at the center of the story wasn’t better developed, considering how much screen time she got.

Damsels in Distress (2011) This movie is quirky and cutesie, which isn’t everyone’s cup of tea (and usually isn’t mine) but I love it. Some solid acting goes a long way.

Der kommer en dag (2016) This movie is two hours of children suffering yet it comes across as so optimistic? I think it’s the space race stuff. Who doesn’t love the space race?

Frantz (2016) I am always down for stories that reckon with the effects of WWI.

Future Baby (2016) There’s a scene in this movie where a surrogate mother gives birth and it is both very graphic and heart-wrenching. If the rest of the movie were more like that one scene, it’d be on my shortlist for the best of the decade.

Fyre (2019) How was Fyre Festival a real thing that happened?

Girls Don’t Fly (2016) Girls don’t fly because the man training them to be pilots is a dick and treats them horribly. It’s a bummer but important to uncover.

Hidden Figures (2016) Kevin Costner’s character needed to be written out - black stories that don’t involve “good” white people are both possible and necessary. But I adore all three main actresses and they do some amazing work.

Hjartasteinn (2016) The subject matter is cliché but it’s handled beautifully.

The Lego Movie (2014) Everything is awesome! Everything is cool when you’re part of a team!

Journey to the Shore (2015) I honestly wasn’t sure how to feel for most of the run time of this movie but by the end it got me.

On Body and Soul (2017) This movie feels like a dream and I mean that in a good way.

The Salvation (2014) Have I mentioned that I love deconstructed westerns? Mads Mikkelsen is always on point, even with garbage material, but he’s got some good stuff to work with here.

Searching for Ingmar Bergman (2018) This movie made me more interested in its director, Margarethe von Trotta, than Bergman himself. Everyone should check out The Lost Honour of Katharina Blum!

The Shape of Water (2017) This movie is very much like a fairy-tale, which means it’s not particularly nuanced or complicated, but it is beautiful.

Still the Water (2014) This movie starts with a cow being graphically slaughtered and yet the only word I can think of to describe it is “gentle”. But maybe skip the first five minutes if you’re sensitive to blood or animal death.

Studio 54 (2018) How were the 70s even real?

Sumarbörn (2017) It’s a rare feat to get such good acting out of child actors.

Thor: Ragnarök (2017) The best MCU movie. It’s a lot of fun without once losing its heart, which is a rare thing for Marvel (just google the words “bathos” and “mcu”, other people have covered this already).

Warm Bodies (2013) The cutest rom-com of the decade features a zombie as its main lead. I’m not mad about it.

Wild Tales (2014) The dissonance between the realist shooting style and the cartoonish violence often results in some excellent dark humor. The rest of the time, it just feels kind of off.

The Wolf of Wall Street (2013) Jordan Belfast is both a lot of fun and utterly despicable and the movie is not afraid to go as balls to the walls as it needs to.

The Young Karl Marx (2017) So like... Marx and Engel were into each other? At least a little, right?

Great Movies Also No Clever Title

Andið eðlilega (2018) Okay so I don’t watch a lot of Icelandic cinema but from what I have seen, I am incredibly encouraged by the direction it is heading. Call this exhibit A.

Ága (2018) This movie is very slow and not a lot happens but that’s kind of why it works so well. It hooked me in and had me genuinely interested in every uneventful scene.

Brecht’s Threepenny Film (2018) I walked away feeling like I’d understood maybe one third of this film but it left me with a feeling of exhilaration that’s hard to define and that few films manage.

Les aventures extraordinaires d'Adèle Blanc-Sec (2010) Adèle Blanc-Sec is like Tintin and Indiana Jones combined except way better. In a just world, she would be a much more popular character and the reported film trilogy would have actually happened.

En duva satt på en gren och funderade på tillvaron (2014) This movie is delightfully weird and messed up. Nothing more to say here.

The Favourite (2018) I was honestly expecting to be let down by this movie after all the overwhelming praise but as it turns out, it deserved all of the accolades and possibly more.

Gravity (2013) This movie was kind of marketed as “realistic sci-fi” and while I can’t say it felt particularly real, the emotional arc sure as hell did.

Inception (2010) The complexity of this film was vastly over-hyped but it’s still the best work I’ve seen by Nolan (though to be fair, I still haven’t seen Dunkirk). Kreuzweg (2014) The film is composed of just fourteen still shots, representing the Stations of the Cross. That could have come across as really gimmicky but it works because the shots are well staged and the material is just that good. Loveless (2017) This is the bleakest, most depressing movie I think I’ve ever seen. The Martian (2015) The best thing about this movie is the way it shows the world coming together just to save this one guy. International cooperation is the future!

Paradies: Liebe (2012) This is a movie about sex tourism and it is as unpleasant to watch as that sounds. But it’s also incredible.

Paradies: Hoffnung (2013) The third in Seidl’s paradise trilogy (I missed the middle part, don’t remember why). Just as messed up as Liebe but mildly more palatable.

Une nouvelle amie (2014) I saw this movie with my dad, which was kind of awkward, but that doesn’t take away from its beauty. We really do need more stories like this.

Tale of Tales (2015) I am always here for a fairytale adaptation, particularly ones that stick close to the dark, gruesome, humorous tone of most traditional fairytales.

Welcome to Norway (2016) This movie is just really, really funny.

White God (2014) If you’re sensitive to animal abuse then this is not the film for you. The dogs in this movie actually won the Palm Dog Award and it was well deserved. They’re very good dogs! Tom of Finland (2017) How refreshing to see a movie about a historical gay person that isn’t all death and tragedy! It does have some of that, unavoidably, but it’s also a lot of fun and ultimately is a celebration of a very important sub-cultural figure.

Vinterbrødre (2017) I wasn’t expecting a movie set in a mining community to look this beautiful.

Wonder Woman (2017) The best superhero movie of the decade, despite the slightly messy third act. It’s such an earnest, hopeful movie and unlike most films of the genre, it’s not afraid to take itself seriously or to come across as cheesy. Superheroes are cheesy! That’s one of the best things about them!

Amazing Animation I don’t like animation being singled out from live action as if it’s somehow less, but I wanted to highlight how many excellent animated films were made this decade.

The Breadwinner (2017) I’ve seen this film’s production company, Cartoon Saloon, been called the Irish version of Disney but Disney has never made anything half this daring. Coco (2017) The ending made me sob like a little kid. This movie doesn’t get enough credit for being one of only two Pixar films this decade to live up to their early work.

How to Train Your Dragon (2010) The flight scenes in this movie gave me actual vertigo and I loved it.

How to Train Your Dragon 2 (2014) The rare sequel that’s actually better than the original! For all the franchises that exist out there just to continue milking that cash cow, it’s nice to see something get continued because the filmmakers had more stories to tell.

Loving Vincent (2017) This movie has been criticized for a weak plot, to which I say: it’s an animated movie made up of oil paintings! Do you really care about the plot? Sometimes the spectacle is all you need, especially when it’s something that touches you as deeply as Vincent van Gogh’s art does.

Moana (2016) Moana’s scenes with her grandmother and Te Fiti are up there with some of the most emotionally evocative stuff to come out of Disney studios. It’s a pity the rest of the movie couldn’t quite live up to that.

Rise of the Guardians (2012) Mostly, this movie just looks incredible. I am also an eternal sucker for Chris Pine, even if his voice sounds weird coming out of a teenager’s mouth.

Song of the Sea (2014) This is the most beautiful animated film I’ve ever seen outside of Studio Ghibli’s best, both the look and the feel of it.

Tangled (2010) I know I sound like an old fogy but this movie would’ve been much better if it had been traditionally animated. Still pretty good!

Toy Story 3 (2010) It’s been nine years since the third Toy Story came out?? Christ, this decade.

Your Name (2016) I really should be watching more anime.

Zootopia (2016) Disney’s best work since Treasure Planet, which is an underrated masterpiece. It’s almost worth the resurgence in furries (jk furries, you’re okay).

This Is Why You Guys Should Be Watching Documentaries Because documentaries are a seriously underrated art form.

Ama-San (2016) This is the kind of cinema vérité filmmaking I live for.

Behind the Curve (2018) The existence of flat earthers remains baffling (well, maybe not that baffling when you look at the rest of our society) but this documentary is excellent.

Dawson City: Frozen Time (2016) This is a documentary about a cache of lost silent films that were found in the 70s and most of the movie is silent, with information being conveyed through text and images. It’s these kinds of choices that elevate a good documentary beyond just educational programming.

Exodus: Where I Come From Is Disappearing (2016) Absolutely heart-wrenching. It’s difficult to watch but the issues it discusses shouldn’t be looked away from.

Foodies (2014) There’s a foodie in this movie who rates his food on looks before he even tastes it and a chef whose signature dish is a dessert called “sex on the beach” which includes a very realistic-looking used condom. I wanted those two to meet but they never did and that is my one criticism of this film.

Free Solo (2018) I developed a fear of heights after watching this movie.

The Great Green Wall (2019) I had never heard of the great green wall before seeing this movie. It’s so surreal to get a window into a society where no one is arguing about climate change because they are already undeniably feeling the effects of it. And by strange, I mean incredibly sad and upsetting.

How to Let Go of the World: and Love All the Things Climate Can’t Change (2016) Speaking of climate change. This movie takes on climate grief and shows why you can’t stop at that, why you need to push past it and keep fighting. I’d argue The Great Green Wall actually does that same thing and better but it’s still a very necessary message.

Into the Inferno (2016) Werner Herzog is just. The best. Especially his documentaries.

Kismet (2014) This movie examines how art affects people by way of one of the least respected art forms out there (soap operas). I just really love that premise and the execution is even better.

Merchants of Doubt (2014) Honestly fuck every single person making money by hastening our descent towards climate catastrophe. Good movie, though.

My Scientology Movie (2015) This was the first Louis Theroux movie I saw and it’s a great one to start with. For all they’ve been treated like a joke, Scientologists are actually pretty scary.

The Other Side of Everything (2017) The personal is the political in this film. What an incredible look at the ways our past shapes our present and future.

Pervert Park (2014) This movie fucked me up.

The Prison in Twelve Landscapes (2016) The conceit of this film is looking at the US prison system indirectly by keeping the camera outside the actual prisons and off actual prisoners. It works incredibly well, just astounding documentary film making.

Push (2019) Just when you thought you couldn’t hate the rental market any more!

Safari (2016) Fuck trophy hunters.

The Silence of Others (2018) I didn’t even know about the Spanish 1977 Amnesty Law until I saw this movie. Maybe that’s just my own ignorance but I feel it shows how necessary documentaries like these are.

Tower (2016) I cried like a baby watching this movie. Using rotoscope animation to tell the story of the 1966 shootings a the University of Texas was I think an excellent choice and made for a unique documentary.

Visages villages (2017) Agnès Varda is possibly my favorite director and it hurts to leave this one off the “best” list (call it an unofficial #11). Still not sure I shouldn’t have swapped out one of the actual top ten for it.

Welcome to Sodom (2018) The world is so fucked up.

It Stayed With Me Movies that left me reeling and that I couldn’t get out of my head for days after watching (call all of them an unofficial joint #12).

The Act of Killing (2012) Speaking of fucked up! It is absolutely surreal seeing these mass murderers try to justify their actions to the interviewers. “I was just doing my job” is no excuse and trying to use it as one is actually reprehensible.

Arrival (2016) I didn’t actually see it until this year and I felt it couldn’t possibly live up to the hype but it did! It’s reminiscent of Interstellar in that in this ‘hard’ science fiction story the ultimate solution is based on an emotional revelation but Arrival pulled it off much better. The Congress (2013) This is basically two movies in one; one is fairly grounded sci-fi and the other is just a straight up acid trip in film form. In any case, Robin Wright is absolutely flawless.

Carol (2015) Cate Blanchett please date me. Grüße aus Fukushima (2016) I’m always gonna be a sucker for a movie about women connecting and helping each other through trauma.

High Life (2018) I saw this one knowing nothing about it and ngl it shocked me a bit. The way it incrementally got more and more fucked up made me feel a bit like a frog being slowly boiled alive. November (2017) The atmosphere this movie creates is unreal. Maybe not the strongest characterization but it balances a feeling of magic and wonder with just utter bleakness and it left me reeling. Paterson (2016) I can’t even fully explain why I loved this movie so much or why it stuck me. Mostly, it’s just so damn cozy. The Square (2017) I mean, that scene with the ape man was fucked up right? Tangerine (2015) I don’t think filming on your iPhone is the future of cinema or anything but it does show how accessible filmmaking is slowly becoming. Also, that scene of Alexandra performing Toyland is one of the best musical moments in cinema this decade and that is not up for debate. Team Hurricane (2017) I’ve never seen a movie with an aesthetic like this before (it’s very vaporwave) but this film is about and was mostly shot by a group of actual teenage girls. It’s a little melodramatic in places but at the same time that feels very sincere and the girls all clearly have a lot of talent and a lot to say. Varda par Agnes (2019) This movie probably wouldn’t have stuck with me so much if Agnès Varda hadn’t died earlier this year. She is a truly unparalleled figure in film history.

The Best According to me, anyway. But I’m right.

Cameraperson (2016) This is a different kind of documentary filmmaking. What it most reminds me of is Beaches of Agnès (no, I’m never done talking about Agnès Varda) but even that is not a perfect comparison. It’s deeply personal while also covering an insane variety of topics. Embrace of the Serpent (2015) This movie feels like a dream and I mean that in the best way possible. At turns beautiful, brutal, and absolutely baffling. The Florida Project (2017) I’ve seen this movie criticized for glorifying poverty and I can’t discount that opinion. For my part, I thought this movie did an incredible job balancing the world as seen through the eyes of a carefree child enjoying her summer and the dangerous, precarious reality of living in poverty. Inside Out (2015) When Pixar gets it right, they get it really right. The Love Witch (2016) I just really, really love witches. The best looking live action movie of the decade. The fact that writer/director/editor/producer Anna Biller hasn’t made another film since is an actual crime. Melancholia (2011) No movie has ever hit me this hard in such a visceral way; I was miserable for days after seeing it. Lars von Trier is an asshole but he knows how to film depression. Mad Max: Fury Road (2015) Believe the hype, it is actually perfect. And I don’t even like action movies! Moonlight (2016) It’s rare to see a movie this deeply, devastatingly human. The final two shots of the film, paired together, are literally the most beautiful thing I have ever seen in a theater. Kona fer í stríð (2018) The best Icelandic movie that’s been made yet. Halldóra Geirharðsdóttir is a national treasure. Shoplifters (2018) I mean, who’s expecting a movie called ‘Shoplifters’ to be so devastating? It’s such a painful film but it is also heartwarming and intimate. Un couteau dans le coeur (2018) This movie is strange and funny and violent and gorgeous. I’ve never had such a good experience at a film festival as I did the two times I went to see this movie.

#well it's done #this was mostly written for an audience of one aka me #but hey this took a while so do check it out if you want

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that-shamrock-vibe · 5 years

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Movie Review: The Lion King (Spoilers)

Spoiler Warning: So I am slightly later to the party than originally intended but I will be talking about this movie in detail and am posting this review a day or so after it is released in U.K. cinemas, so if you haven’t yet seen the movie, either go and watch the original or wait until you have seen it before reading on.

General Reaction:

I have several problems with Disney’s “live-action” remake of The Lion King, not only with the choices the actual movie makes, but unfortunately also some of my ranting will be down to the live-action remake fatigue that has struck almost every Disney fan with the recent onslaught of remakes coming out. For me, The Lion King is where I have reached my peak because up until now the live-action remakes at least brought something different from the originals for me.

Here however, if for some strange reason you haven’t seen the original animated version of this movie...as I know at least one person who hasn’t...then this may be a brand new enjoyable movie for you. However, for the rest of the world that has, this was pretty much the exact same movie scene for scene with dialogue that seems very tired and characters that lack the basic sense of emotion.

I just want to clarify something, anyone who knows me knows I do not talk follow trends when writing these reviews, so the fact that I am going to spend a lot of this review pretty much complaining about the movie is not because it seems to be the “it thing” to hate it, but instead I have actual reasons as to my disdain.

I do blame Jon Favreau for some of the problems with the movie, especially because he hit it out of the park with The Jungle Book remake back in 2016. I can remember walking out of the cinema after seeing that movie with such a sense of enjoyment from my cinema experience which was decorated in Jungle Book paraphernalia, to the actual movie which was obviously based on the original animated version but also took inspiration from the novel the original was based on.

Here though there was no decor save for one lion totem hidden away, and from the very start of the movie I was seriously underwhelmed by it all.

I don’t know if something got lost between the 2D animation and the CG animation but the movie just felt rather slow compared to the 1994 animated version. There was something so iconic and special about the original version that maybe it was simply the case that nothing could match up to it, but if that is the case then the talent behind the scenes should have at least tried to do something different with the story like Aladdin and Dumbo tried to do.

I genuinely believe that Jonny Fav blinked when tackling this compared to The Jungle Book because while The Jungle Book is a classic it isn’t as iconic or beloved as The Lion King and therefore maybe he didn’t want the backlash if he changed it and it wasn’t received well.

Also, this “live-action” version of the animated movie has 30 minutes more content in it than the original 1994 animated version, this is both a good and a bad thing. The two worst crimes of this movie, aside from it lacking originality and emotive facial expressions, as well as one particular song which I will get into, are two minor scenes that stretch-out pointless plot-points.

The first just after the “Circle of Life” opening where the movie follows the travels of the mouse that Scar eventually tries to eat. But this mouse is followed from the bottom of the cliff-face into the cave that Scar is in.

The second is after Simba begins to question everything he has been told about life and slumps down on that ledge. In the original 1994 version there are leaves and particles that originally spell out “Sex” that are now replaced by a piece of Simba’s mane flying away and going on a journey for five long minutes.

This hair lands in a lake, floats across a Savannah, is eaten and subsequently pooped out by a giraffe, rolled away in a poop ball by a dung beetle before being separated from the pile and being carried up to Rafiki’s tree by worker ants. In the original, a breeze carries leaves across Rafiki’s path which he catches and it is over in about 2 minutes.

Both scenes are dragged out, almost completely irrelevant to the plot and just took me out of the movie questioning why I’m following a mouse and a piece of hair.

Then I have to quickly talk about the stampede scene which leads to Mufasa’s death. 2-D Animation vs. photo-realistic technology is becoming a massive battle in cinema recently particularly at Disney, but there are many things that hand-drawn animation can get away with that live-action cannot. Not only did I get zero facial expressions from Simba or Mufasa in this scene but also that stampede scene in the original animated movie is so grand and has such an emotive response from audience members no matter how many times you see it whereas here, it didn’t seem as epic. It still felt grand because it’s a stampede but not on the level of the animated version.

To end this section on a positive, I do appreciate the photo-realistic CG because it does comprise the entire movie, even the scenery, because it all does make it seem like watching realistic animals for the most part.

Cast:

Alright so there are some good and bad thing about the cast and characters. For a start, the characters in “live-action” are emotionless, lack any real form of empathy and require your love of their 2D animated counterparts to gain any affection from the audience.

The best characters in this version are Timon, Pumbaa and the Hyenas, even Zazu is high-up for me...this presents another problem with the movie, the comic relief of the movie is the best part about it. But it is true, while Billy Eichner as Timon and Seth Rogen as Pumbaa may not be as strong a double act as Nathan Lane and Ernie Sabella, they are still rather funny together and actually are given more of a meta humour than in the original movie. Not only with their version of “Hakuna Matata” but also the new Hyena distraction scene which in the original is the Hula scene but now starts off as the beginning of Beauty and the Beast’s “Be Our Guest”.

The hyenas meanwhile are made more formidable and fearsome in this movie, not only is Florence Kasumba as Shenzi more of a leader of her clan even opposing Scar at times, but both Keegan Michael-Kay and Eric André prove to be almost as good a double act as Kay & Peele. For this reason they’re high up on my list.

Donald Glover is an okay adult Simba. He has got that innocent youthful tone that adult Simba should have given the experiences of his life, but he does just feel like he’s reading a script rather than actually acting..

Beyoncé is, well Beyoncé in lioness form but the thing that lets her down is the lack of emotion on Nala’s face. Also I don’t understand why the back of her ears and tail were blackened aside from the fact that Favreau wanted Nala to stand out from the other lionesses.

Scar is as fierce as ever and Chiwetel Ejiofor proves once again why he is a great villain actor.

I was also pleasantly surprised by Simba’s mother Sarabi in this movie as not only did she have more to do but her backstory with Mufasa and Scar, which doesn’t necessarily make me want a prequel but adds to the Hamlet story that this story is based on, and has Scar state that she chose Mufasa over him...so does that mean she was somehow romantically involved with her now brother-in-law? Also Alfre Woodard is great in the role.

James Earl Jones is back and...it’s simply for nostalgic purposes because there is nothing really elevated in his performance. If anything his performance falls slightly flat in parts but otherwise he’s fine.

The biggest letdown for me is the character of Rafiki, who in the original 1994 version is my favourite character. I love the fact he’s a shaman, I loved his first meeting with Simba I could easily watch it over and over again. I do not understand why they effectively cut that scene and the message of morality that comes with it.

Then he only had his stick when preparing for that climactic fight. It seemed as if they were saying that point was him coming out of pacifism but it isn’t fully shown, but I wanted to see Rafiki walk around with his stick like he did in the original, they copied pretty much everything else but got rid of that?!

Also the one bit of facial emotion that any of these characters show is in the beginning “Circle of Life” sequence when Rafiki carries baby Simba to the edge of Pride Rock and Simba looks genuinely sad to be pulled away from his mother.

Speaking of young Simba, both JD McCrary and Shahadi Wright Joseph do a good job as the young versions of Simba and Nala respectively. I think McCrary tries very hard to recapture the emotion that can bring grown men to tears when Simba finds his father dead, it doesn’t quite stick but he tries.

Songs:

I don’t know if it is because the original score and soundtrack is so iconic and ingrained in popular culture, or just that reworks of the same songs don’t really work...Aladdin for all its plusses still fell into that category...but the songs from the original movie in this version do nothing good for me.

“Circle of Life” is supposed to be the energised introduction to the movie, but if you were to watch the opening to this movie and the original side-by-side, it is practically a shot for shot copy but this version is slower and therefore misses a lot of the cues. Even the shot where you first see Zazu flying over to Pride Rock is underwhelming and they screwed that up twice, first at the start and then again at the end of the movie.

“I Just Can’t Wait To Be King” was also slightly lackluster because of the fact this movie seemed to take away the fantastical elements of the performances in favour of apparently making it more grounded, but it was still a fun performance. I think the two young actors playing the two young cubs did a great job vocally and the performance of them hiding from Zazu amongst the animals was an okay alternative.

“Be Prepared” is the one time I have been actually offended in one of these Disney live-action remakes, this song is one of the greatest villain songs in history. They take a performance which fully executes the Elephant Graveyard but also turns the hyenas into the New Reich! This is Scar monologuing for a couple of minutes and the “song” lasts about maybe 30 seconds. This was my favourite song in the original and it fizzles out completely.

“Hakuna Matata” is a fun song as it was in the original, like “I Just Can’t Wait to Be King” the fantastical elements are taken out of it so Pumbaa swinging on the vine swing and the use of the bugs and the diving into water are all taken out. Even so, Billy Eichner and Seth Rogen do a good job singing as does JD McCrary...Donald Glover on the other hand is not a singer.

“The Lion Sleeps Tonight” is probably my favourite song in the movie, and it’s a song not original to The Lion King which is more of a problem for the revision of the soundtrack to the original 1994 version but the fact Timon and Pumbaa got essentially their own doo-wop group going of the animals that also inhabit their home, it’s just such a good rendition.

“Can You Feel the Love Tonight?”...if it wasn’t for Beyoncé would be an absolute bomb because Donald Glover, again, cannot sing. Also the song happens way too quickly. The movie is effectively a shot-for-shot remake but some scenes are cut short and Simba and Nala’s reunion is made very short before this song kicks in.

Recommendation:

I can’t say this is a perfect movie, if you love the original and want to see that again you will like this just fine, if you were wanting something different like how Aladdin and Beauty and the Beast altered themselves slightly then you won’t really get that here.

I still recommend it as a movie to see just one because it is an important movie to see just to see how stretched out these live-action remakes are becoming. However, I will agree with those that say it is one of the worst remakes.

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remainseatedatalltimes · 6 years

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A Trip Down the 2018 Cinema Lane

And so, with a single snap of two fingers, 2018 comes to an end. Or, if you happen to be an intergalactic titan, so does half the Universe. At least until April 2019. More on that a little later.

For now, let’s take a look back at the year that was. A year where Super Heroes, Super Villains, and the Super Ambivalent reigned; board, school and video games became a spectator sport; the divide between actors and musicians became blurry(er); and synchronized swimming (amongst other aquatic themed activities) awed audiences worldwide, not once, but twice!

But whilst 2018 certainly dazzled with blockbuster spectacle and musical crescendos, as a whole, I actually feel the year was a bit, well…blah.

I mean, there were plenty of good, bordering on great films – and very few outright travesties (although, I haven’t seen Holmes and Watson), but as I sit and write this year in review, I’m struggling to find many films that I can say I truly loved. You know, those films that you want to watch over and over again, and shout from the rooftops about (such as last year’s Coco – seriously – if you haven’t seen this movie yet, stop reading, and get your priorities in order)!

Now, don’t get me wrong, there were a number of films that I thoroughly enjoyed including Molly’s Game which delivered Aaron Sorkin’s regular witty banter and complex characters; the ingenious and highly original Wreck It Ralph sequel, Ralph Breaks The Internet; and the Marvel juggernauts (see what I did there) Black Panther AND Avengers: Infinity War.

But my top two films of the year couldn’t be further removed from each other if they tried.

In second place, the absolutely stunning and “practically perfect in every way” sequel to Mary Poppins - Mary Poppins Returns. I believe it’s an extraordinary accomplishment to deliver a sequel to a genuine film classic 54 years after the original and make it feel like a completely natural and complementary sequel. From brief traces of the original films score stitched effortlessly (I’m sure it was not effortless at all) into the new score – itself both completely original and yet also still in the same style as its predecessor; to the seemingly carbon copy but in reality shrewdly clever and timely story-line; and of course, then there is the brilliance that is Emily Blunt: Mary Poppins Returns is that rare example of a near perfect sequel. It doesn’t attempt to upstage its predecessor. It simply complements it. And the result is a heart-warming, charming and oh so nostalgic trip down memory lane.

And then there’s my number one film of the year. The slick, stylish, visually dynamic, unsettling and violent tale of a mysterious hotel nestled on the border of California and Nevada: Bad Times at the El Royale. I have to admit, even I was a little surprised to discover this film at the top of my list, but Drew Goddard’s dark film noir-esque tale of seven strangers and one fateful night had me transfixed for its entire 2+ hour run-time. But I shouldn’t have been surprised. Since his early career as a writer for Buffy the Vampire Slayer, Drew Goddard has always demonstrated an astute ability to cunningly weave together elements of horror, thriller, drama and comedy in a way few others can. And Bad Times at the El Royale is no exception. Throw in a brilliant cast, some phenomenal cinematography and a well-conceived mystery that is based more around what the audience doesn’t know yet – rather than a big audacious twist in the final act that doesn’t make sense – and you have an enormously entertaining and clever thriller that I feel will become a bit of a cult classic in years to come.

Now as I mentioned earlier, whilst many of the other films of 2018 fell a little short of expectations and potential, the good news is, very few were outright travesties. Still, at the lower end of my list was the uneven and somewhat boring sequel to the 2016 smash hit – Deadpool 2; the clichéd and beyond cheesy J-Lo workplace dramedy Second Act; and the visually impressive, but ultimately just uneven and peculiar, A Wrinkle In Time.

But it was another odd combination that took out the not-so-illustrious honour of being my least favourite films of the year.

The first, the part animation, part live action re-telling of Peter Rabbit. Now don’t get me wrong, my reason for disliking this film may be a bit ridiculous – but here it is. I like James Corden. He’s a very funny, charismatic, clever comedian and host. But in animated bunny form with almost non-stop dialogue for 90 minutes – well – let’s just say, I would have been way too happy to make rabbit stew of his oh-so-annoying take on Peter Rabbit.

And speaking of annoying voices, then there was Tom Hardy’s hideous portrayal on my favourite Marvel villain of all time – Venom. From Hardy’s horrible, whiny and dull portrayal of Eddie Brock, to a nonsensical – and frankly clichéd and humdrum plot, Venom was a mess of movie that turned one of Marvel’s greatest villains into a wearisome and somewhat pathetic character. Sure, there may have been worse Super Hero movies (I’m looking at you Batman vs Superman), but in terms of under-delivering on its potential, Venom is pretty hard to beat.

So that’s it for another year and another movie list! Now it’s onward and upwards in 2019.

With half the Universe sitting on the edge of their seat (and oblivion) until April’s Avengers: Endgame, the rest of us will sit in gleeful anticipation of a year where nostalgia reigns supreme. Between the inevitable 90’s overload that will be Captain Marvel, to the Mouse House’s string of live action ‘remakes’ Dumbo, Aladdin and the unstoppable force that is set to be The Lion King, not to mention 2 X-Men films (Dark Phoenix and The New Mutants), another musical biopic – this time based around Elton John – Rocketman, and a string of sequels including Frozen 2, Star Wars: Episode IX, and Spiderman: Far From Home to name a few, needless to say, 2019 is going to be nothing short of epic.

Is it possible to get an annual pass to a cinema?

Until next year…

#movies #movie review #movie list #best movies #Film Review #best films #film #best of 2018 #year in review #the year that was #mary poppins #bad times at the el royale

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galacticnewsnetwork · 6 years

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What Happens When Fandom Doesn't Grow Up?

Adults are insisting childhood brands from 'Star Wars' to Marvel continue to cater to them, but does preserving the past limit the future?

There’s a proverb that says, “you can’t take it with you,” popularized by playwrights George S. Kaufman and Moss Hart in their 1936 Pulitzer Prize-winning production of the same name. The expression was in reference to our inability to take our material possessions with us to the afterlife, though opinion differs on whether this advice is a suggestion to spend freely, or to not worry about collecting pricey material possessions at all — the conclusion being that our possessions only have worth in the present, or that they may not have as much value in the grand scheme of life as we think.

Though the idiom is seen through the perspective of mortality, it works just as well when viewed through the lens of life’s transitional periods, particularly childhood to adulthood. The notion that we can’t take it with us is arguably a sibling to 1 Corinthians 13:11, which states: When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I set aside childish ways.” Perhaps these expressions once carried weight, but in our current age of pop culture, a living and breathing monument to nostalgia, it has become harder and harder for adults to leave the things they loved as children behind.

From superheroes, Star Wars, fairy tales, and cartoons, the things many of us loved as children remain something we love today – protectively, passionately, and even problematically. This fierce nostalgia is arguably even more common with Millennials whose instantaneous embrace of the internet has allowed very few childhood staples to slip through the cracks in memory. Even if we’re not buying lightsabers, Hulk hands, or Barbie Dream Houses anymore, these characters and concepts are possessions that reside with many of us and sometimes define a key aspect of our identities. Previous generations, less driven by early age consumerist culture, don’t quite have the same involvement as late game Gen Xers and Millennials. In other words, no one is asking for a Lincoln Logs movie. Our inability, or maybe our unwillingness, to put childish things behind us and accept their temporary value isn’t an inherently negative facet of generational culture. But it is interesting how this modern nostalgia presents itself.

Courtesy of Walt Disney Studios Motion PicturesAvengers: Infinity War Still

If you take a brief perusal of the Twitter reactions to the teaser for the live-action Kim Possible TV movie that Disney Channel released last Aug. 10, you’ll find plenty of opinions from people upset with the casting, claims it could never live up to the cartoon, or fans hyped with the addendum that "this is for us, not the kids." These passionate, often volatile responses about a once popular kids cartoon are overwhelming from adults. Similar sentiments came after Nickelodeon announced a CGI animated version of the Rugrats and released an image of the updated Chucky. More alarming were male commenters on Twitter photos for the new She-Ra cartoon, noise that basically resulted in a claim that the cartoon character should be “hotter,” and closer to the depiction of the character in the 1985 Filmation cartoon.

There’s an intense desire that these new iterations and reboots not be for the kids of today, but for those in their 20s and 30s. A quick search online will deliver any cartoon character from the '90s you could think of as adult contemporary versions. Some artists, like Brandon Avant, whose work went viral last year, have brought a real craft to these reimaginings of the characters from Doug, Goof Troop, and Arthur, as adults in their 20s, tattooed and stylish. There’s certainly fun to be had in alternative depictions of fictional characters, but there’s also a sense that many fans of these '90s shows would prefer these versions brought back to life on TV and movie screens, as opposed to anything geared towards children.

This feeling of ownership stems from an idea that kids today don’t care about certain characters anymore, at least not in the same way that those of us who grew up in the late '80s and '90s did, or do. Perhaps there is something to that. How many of the properties popularized in the '80s or '90s would still be popular without the adult fandom that keeps it alive through memes and Buzzfeed posts? Of course there are properties like Star Wars, Marvel, and Disney animated movies that are eternal. But there are also properties like Gargoyles, Animaniacs, and So Weird that would draw a blank for many kids today. Even once popular shows and platforms like Looney Tunes and The Muppets have fallen out of favor among children in terms of the position they used to hold with previous generations. While the rumored Space Jam 2 starring Lebron James may bring some children back on board with Warner Bros’ classic library of toons, there’s also the fact that that project currently seems to be more anticipated by those who grew up with the original 1996 film. Perhaps the only way to keep some of these characters and concepts alive is to cater to the now adult audiences. But what happens when these characters grow up?

Properties like Marvel, Star Wars, and Disney’s reimaginings of animated classics have managed to bridge the generational gap, appealing to children, adults, and elderly audiences. While Disney collectively has managed to find a way to appeal to almost everyone, there are a few recent examples that call into question the desire to really see our childhood heroes grow up. Rian Johnson’s Star Wars: The Last Jedi created controversy last December, a controversy that has unfortunately bled into 2018 in regards to its depiction of Luke Skywalker, who has become bitter and disconnected from the force. Luke Skywalker grew up, got old, got tired, and got fandom in their feelings over the fact that the Jedi wasn’t leading the charge across space, green lightsaber in hand. While The Last Jedi is a commentary on the failure of the previous generation, setting the stage for new characters Rey, Finn, Rose, and Poe to start their own revolution on their own terms and “let the past die,” many Star Wars viewers weren’t interested in seeing the next generation take charge and instead clung to defunct canon. While many want these characters to grow up with them, they want them to grow up on their own terms, and if not to remake the plot points of their childhoods, then at least to recreate the feeling they got from those original films.

Laurie Sparham/DisneyChristopher Robin

A similar situation of childhood properties expected to grow up under strict terms followed the release of Marc Forster’s Christopher Robin. While Winnie the Pooh remains a beloved children’s property, kept alive by various television shows and animated movies, Christopher Robin tells a story where the titular boy has become a man and left his childhood friends, Pooh, Piglet, Tigger, Eeyore behind in the Hundred Acre Wood. Christopher Robinisn’t only the first iteration of the property to be rated PG, it’s also deeply melancholy, and grounded in the working class struggle of post-World War II London. Favoring dark grays and weather-worn cinematography, along with allusions to the directorial touches of Terrence Malick, Christopher Robin often feels explicitly geared towards adults. Yes, there are moments of warmth, brightness, and the humor that made A.A. Milne and E.H. Shepard’s stories so beloved in the first place, but unless you have a kid who’s eagerly sitting down to watch Days of Heaven, there’s a lot in Forster’s presentation geared towards adults. The reaction to this take has been somewhat mixed, with a number of critics lamenting the film’s more serious insights and a lack of fun. But what’s interesting is that Christopher Robin speaks directly to the phenomenon we’ve been discussing. Christopher Robin (Ewan McGregor) realizes that being an adult doesn’t necessarily mean leaving childhood things behind, but incorporating them into adulthood. While this revelation doesn’t take Christopher Robin into Ted (2012) territory, there are interesting parallels to these stories of men who are incomplete without the literal representations of their childhood in tow.

The Happytime Murders

Perhaps this is all a rather roundabout way to approach the issue of Muppets offering unsolicited sex and hard drugs in Happytime Murders, but nonetheless, the sentiment remains true. We don’t really want to put away childish things, we want them to grow up with us. Brian Henson’s R-rated crime-comedy film starring Melissa McCarthy, earned its share of pre-release controversy, with the Sesame Workshop suing production company STX for the use of the tagline “No Sesame. All Street.” Sesame Street remains popular among young audiences, but the Disney owned Muppets have largely fallen out of favor with the last movie The Muppets Most Wantedmaking a poor box office showing ($80.4 million on a $50 million budget), and sitcom The Muppets being canceled in 2016 after one season. With Disney seemingly having no plans for the characters anytime soon, perhaps Brian Henson’s best bet to keep his father’s art-form alive, if not the characters themselves, was to appeal to a desire to see Muppet-esque characters in adult situations, something that worked well for the popular Broadway musical Avenue Q.

Not every modern resurrection of once sensational properties has opted to appeal to adults. R.L. Stine’s book series Goosebumps, which led to a popular television series in the '90s, was adapted as a film in 2015. A sequel, Goosebumps 2: Haunted Halloween is set for release on Oct. 12 this year. The first film is kids’ movies through and through, and trailer for the sequel indicates that this new installment will go even further in that direction, given its younger cast. This doesn’t mean the films don’t register with adults, but rather they aren’t appealing to our nostalgia, going as far to drastically redesign some of the characters popularized by Fox Kids/YTV show and refrain from utilizing the classic theme song. The Goosebumps films haven’t grown up with us, but rather see kids of Gen Z as their primary audience.

Ava DuVernay’s A Wrinkle in Time (2018) is another film that struck a chord with younger audiences more so than adults who read the book series growing up, or those who remember the 2003 ABC television film. It’s a film that aims to be an intelligent kids’ movie, a big-budget PG experience that we rarely see in live-action theatrical releases anymore. Films like Goosebumps and A Wrinkle in Time ask us to meet kids on their level, rather than asking them to rise to an adolescent or adult level to enjoy the things we refuse to loosen our grips on. With films based on Are You Afraid of the Dark and Barbie set to receive new interpretations, and a Sandlot(1993) prequel in development, it will be interesting to see which audience demographic they appeal to and how much nostalgia they’ll give into. We’re living in the height of pop culture adaptations, and if we’ve proven anything, it’s that we’ll take these childish ways with us as far as we can.

Source: Hollywood Reporter by Richard Newby

#star wars #marvel #toxic #toxic fandom #fandom #fans #truefan #movies #audience #hollywood reporter #article #news

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charleskenny · 6 years

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Disney Isn't Running Out of New Ideas, but it is Allergic To Them

New Post has been published on http://animationanomaly.com/2018/10/02/disney-isnt-running-out-of-new-ideas-but-it-is-allergic-to-them/

Disney Isn't Running Out of New Ideas, but it is Allergic To Them

Rather amusingly, the question of whether Disney is running out of new ideas pops up more regularly than you might think. In the latest version, Maya Phillips points out the discrepancy in the variety of content the company used to put out even twenty years ago, and what it puts out today. The reasons aren’t mysterious or secreted away in the vault, they’re much more straightforward. Yet they are indicative of a corporation with an allergy to new ideas and their rewarding results.

Disney’s Ideas

Many articles like Ms. Phillips’ are distinctively narrow and focus on feature films; a valid base for such an argument. The company’s cinematic output mirrors the wider industry with an emphasis on franchises and tentpole films designed to wow the audience and give them a reason to keep coming back. The facts bear it out too. Disney’s feature film releases are increasingly either a thematic universe feature, a sequel, a live-action remake of an animated film, or a theme park adaptation. The last original animated feature Coco came out in 2017, and Moana came out in 2016.

The reasons why are obvious too. Shifting consumer habits mean less cinemagoers in general. Smaller audiences mean a drive to acquire the largest share of that audience. That means catering to as many people as possible with every film made; i.e. mainstream audiences with mainstream tastes.

Disney releases sequels and rehashes old ideas because audiences are more likely to go and see that kind of thing. Never mind that sequels are not the surefire winners and live-action adaptations have no shelf life. Even original films don’t do much more than strike gold at the box office. I wrote about that back in 2013 and it’s only become more potent since.

Disney’s DNA

The current state of the feature market means that Disney is not desirous of creative, new, and risky ideas. The upside for them does not outweigh the downside of a flop at a time when every film must make bank. Tomorrowland and John Carter only emphasise and reinforce this line of thinking.

All of this is quite ironic when you consider how willing Netflix is to pump out new shows and films that almost entirely consist of new ideas. Netflix is not beholden to old ways where films and TV shows are locked into scheduled seasons and advertising upfronts. It also draws its revenue from monthly subscriptions, not a hodgepodge mix of box office takings, licensing fees, retransmission fees, and advertising.

In his rather excellent post on the topic, David Perell points out that the internet reflects the belief that creative ideas always start on the fringes of society before gradually making their way towards the much larger mainstream in the middle. Disney is about a mainstream as you can get and unsurprisingly does not produce truly creative content as Pixar so amply demonstrated back in 1994 with Toy Story, and Nickelodeon did with their Nicktoons before that.

The end result is that Disney can’t commit to new ideas because it is beholden to legacy business and revenue models, and must satisfy an audience that inherently prefers ideas that are inoffensive and have been through a few rounds of polishing to remove any rough edges. It is allergic to creative, innovative, and boundary-pushing ideas almost by design. It will never be seen on the cutting edge of culture and will not be seen to take the risks that Netflix does because that firm does (for the moment) live much closer to the cultural edge by virtue of its Silicon Valley roots.

Disney’s Dilemma

Rather than stop asking the question of whether Disney has run out of ideas, we should be asking why it isn’t innovating its business model to allow more creative ideas without the same degree of risk. Big-budget feature films are not going to be sustainable for much longer and the sooner the company can learn to make them cheaper without compromising on quality the better because a repeat of the terribly expensive Sleeping Beauty is entirely possible if the current mindset continues.

Disney has thousands of inspired, talented and creative artists working for it who no doubt have great ideas that would find a waiting audience. There’s no time like the present to mine a rich resource they already have access to. If they don’t they might truly find themselves out of new ideas, and no way to find any more.

#creativity #Disney #Film #state of the industry

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aion-rsa · 4 years

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The Rod Serling Christmas Movie You Never Saw

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A Christmas Carol is the definitive Christmas story. Yes, you might try and argue it’s the nativity, but the volume of movie adaptations begs to differ, and I can tell your heart’s not in it. And yes, I see those of you rushing to the comments to tell us it’s Die Hard and I think you’re very big and clever.

But A Christmas Carol has everything, all the trappings of Christmas, that sliver of darkness running through the whole thing, and above all a strong seasonal message to remind us what Christmas is about.

The story has been reimagined and retold endless times since Charles Dickens’ book came out, from textually accurate recreations such as A Muppet Christmas Carol (seriously) to modern-day reimagining like the Bill Murray vehicle, Scrooged.

And across all of these different retellings, the seasonal message is usually the first casualty. Scrooge’s lesson is often softened into “charity is good” or “don’t be mean to people”, or, at its worst, Scrooge’s sin is made out to be that he doesn’t like Christmas.

But A Christmas Carol itself is unflinching in its look at poverty, and poverty as a direct result of the actions of the powerful, and Scrooge’s argument for “decreasing the surplus population” still wouldn’t look out of place in several mainstream journalism outlets today. Very few adaptations of the book, even the faithful ones, capture the anger that runs through the original story. It’s not a general anger at the idea of “meanness”. It’s a very specific anger targeting political ideas and rhetoric that people held then and now.

Over a hundred years later, Rod Serling was another writer who wasn’t afraid of using his writing to express political anger. Anyone who’s seen even a handful of episodes of The Twilight Zone will know Serling used his platform to target McCarthyism, war, bigotry, and conformity.

The opening narration of one of the most famous episodes, ‘To Serve Man’, reads:

“The world went on much as it had been going on, with the tentative tip-toeing alongside a precipice of crisis. There was Berlin to worry about, and Indo-China and Algeria and all the other myriad of problems, major and minor, that somehow had lost their edge of horror because we were so familiar with them.”

That atmosphere of dull, routine, existential terror will sound familiar to anyone who has just lived through the post-2016 Hell Years.

But while Serling was determined that The Twilight Zone would tell stories about the issues he cared about, he also had to fight tooth and nail against networks and advertisers that wanted nothing less than to be associated with anything “political”. So Serling’s political messages were frequently veiled in magic, “Men from Mars” and hypothetical futures.

So it’s surprising that, in all 156 original Twilight Zone episodes, most of them written by Rod Serling himself, that the show never tried its own twist on the classic Christmas story that was in many ways tailor-made for the Twilight Zone treatment.

Except Rod Serling did write his own take on A Christmas Carol, as a TV movie featuring Peter Sellers, and it’s been almost completely forgotten.

A Carol for Another Christmas

A Carol for Another Christmas was a TV movie, aired on the American Broadcasting Company on the December 28 1964. It was the first in a planned series of movies promoting the United Nations. The final one of these films, about a UN narcotics agent, is believed to be the last story written by Ian Fleming before his death.

Movies

A Christmas Carol: The Best and Worst Adaptations

By Robert Keeling

That A Carol for Another Christmas was part of this series is probably why Serling was free to be far more openly and explicitly political than we’ve seen in even the angriest episodes of The Twilight Zone. It takes the line “Mankind was my business!” from Charles Dickens’s story, and turns it into a tale about America’s role on the international stage. It doesn’t linger on the trimmings of Christmas, instead taking a long, hard look at the dead, the dying and the suffering. At times it feels like a Christmas special from the makers of Threads.

The film also boasts a turn by Peter Sellers as a terrifying post-apocalyptic cult leader.

Peter Sellers appears in a modern remake of A Christmas Carol penned by the writer of The Twilight Zone and Planet of the Apes seems like a genuine piece of television history, and yet it’s virtually impossible to find today. Since its first broadcast in 1964, the film was only available to view at the Paley Center for Media in New York and Los Angeles and the UCLA Film and Television Archive in Los Angeles, and rare bootleg copies.

In 2012 TCM broadcast it for the first time since its original showing, and has done annually since, and has made it available for limited-time on-demand streaming via TCM.com. But there has never been a home video or DVD release and the film has never been broadcast elsewhere.

So as we go into a recap of the film itself, we’ll issue the standard spoiler warning, but also beware that if you’re waiting to watch it yourself you might have a long search ahead of you.

Three Very Different Ghosts

Watching A Carol for Another Christmas is a strange experience. The film is both frighteningly relevant but also weirdly dated, and extremely of its time. The structure of the story is the one you already know.

Scrooge- here called “Daniel Grudge”, is approached by his nephew, argues with him about Christmas, then is approached by three ghosts bearing the three usual messages, “You weren’t always this way”, “Others are not like you”, and finally “This is what will happen if you continue this way”.

Grudge, a wealthy industrialist, is approached by his nephew, Fred, who is furious because Grudge has put a stop to a foreign academic exchange scheme, and we’re already seeing here where Serling is leaving the source material behind.

Grudge’s sin isn’t mere miserliness. He’s an all-out American isolationist. He wants the foreigners to stay behind their fences while America stays behind its own, and Fred’s argument that America has no choice but to engage in the international community falls on deaf ears.

Grudge’s motive for this is that his son, Marley, is a soldier who has died fighting a war elsewhere (based on the timing we can reasonably guess it’s Vietnam). He’s angry that every 20 years the US gets dragged into a foreign war, and sees the UN and foreign exchange schemes and similar as getting involved in and giving handouts to places where it isn’t America’s business. His ideal is for the USA to stay behind its fence, building faster jets and bigger bombs so that other countries know to leave it alone.

After seeing a brief apparition of Marley, Grudge is transported to a boat, filled with coffins covered in the flags of different nations. The Ghost of Christmas past that introduces himself to us is as the war dead. Not just the American war dead, but an amalgamation of everyone who ever died in a war.

In a line that will have unexpected resonance for modern viewers, Grudge describes the war dead as a “sucker brigade”.

It’s a fascinating but confusing exchange. Serling, through his stories and his words, was openly against the Vietnam War, and yet his proxy, the Ghost of Christmas Past, makes a passionate case for America’s involvement in foreign wars “every twenty years” with a clear nod towards the combat in Vietnam. Ultimately, the Ghost of Christmas Past is arguing for the importance of talking. “When you don’t talk, you fight,” he says.

The most chilling moment comes when the Ghost reminds Grudge of his comment that other countries need to know America “isn’t too chicken to use the bomb”, and points out that they already know it.

The next scene takes Grudge back to his naval service, inspecting a hospital in Hiroshima after the bomb was dropped, and for a piece of 1960s prime-time Christmas viewing, it does not pull its punches. Rod Serling served in the occupational force in Japan and he has no time for sugar-coating this.

A doctor introduces young Grudge to Japanese children who looked up as the bomb detonated and had their faces flash burned off. The film lingers on these children and refuses to move on until you get a sense of the true horror of Hiroshima. It’s something you can’t picture TV doing today, and definitely not on ABC on the 28th of December.

“Watching Makes all the Difference”

The Ghost of Christmas Present at first seems far more like the one we remember from the Muppets. A man in a dressing gown gorging himself on a banquet. The Ghost of Christmas Present isn’t here to take Grudge on a rooftop flight, however- even with 1960s TV budget permitting.

How The Twilight Zone Influenced Are You Afraid of the Dark?

By Chris Longo

Instead, the dark background lights up to reveal this banquet table is right next to the barbed wire fence of an internment camp for displaced peoples, another image that is horribly resonant for modern audiences. As Grudge criticises the ghost for eating his feast while starving refugees watch, the Ghost simply responds that the “watching makes all the difference”.

Once again, Serling isn’t here to talk about “the needy” as some vague concept to make people feel better about themselves. He talks about giving people around the world vaccinations for their children, rolls off figures such as 13 million people with tuberculosis, 130 million with malaria, three billion suffering from hunger. He talks about people closing their windows as violent crimes occur in the street- mere months after the murder of Catherine Susan Genovese, the story which would eventually lead to the codifying of the “By-Stander Effect”.

The Ghost of Christmas Past says “You were not always like this”, the “you” is America, the “were not always like this” is (even with Hiroshima) a somewhat rose-tinted view of America’s foreign policy interventions.

The Ghost of Christmas Present says “Others are not like you”, and in this case shows us the suffering around the world and the USA’s responsibility to it.

Anyone who’s seen a version of A Christmas Carol before knows what comes next, and it doesn’t take a Ghost of Christmas Future to guess what the next vision will entail.

Grudge finds himself in his local town hall, a bombed-out wreck. The Ghost of Christmas Yet to Come, a far more verbose spirit of Christmas future than we’ve come to expect, points out that in this future people have “less need for a platform for debate”.

One of the things that most jars with a modern audience watching this film, aside from an oddly uncritical perception of America’s role on the world stage, is the film’s constant refrain that “debate” is a good thing. In this film “debate” is what you do instead of fighting, it’s a way to find compromise, to solve problems. It rings very strangely in a time when “debate” is mostly associated with rhetorical games played in bad faith, and the idea we have some sort of duty to listen to and validate even the most toxic ideas.

We learn, unsurprisingly, that when the talking stopped the fighting started, and now the last few humans are living in the radioactive ruins of the civilisation that came before.

Then we meet Peter Sellers’ character, the Imperial Me. This is Sellers at his most comic and sinister, dressed up like an 18th-century pilgrim wearing a huge hat with “ME” written on it in giant sequins. Sellers is leading a horde of post-apocalyptic cultists to war against a nearby community that wants to “talk” and “debate”. The Imperial Me takes Grudge’s philosophy to its ultimate extreme, all that anyone should look out for is themselves. The Individual Me is above all, and after this tribe has killed off all the other rival tribes, they will set to killing each other, until the last individual is alone in the perfect society.

I’ve friends who work in the NHS with patients who won’t wear a mask “because it protects you, it doesn’t protect me”, so this scene hasn’t lost any of its bite.

Anyway, you know how the story goes from here. Grudge asks if these are things that will be or things that may be. He wakes up at home on Christmas morning. He reconciles with his nephew, admitting that “no man is an island”.

The Twilight Zone Forever: Celebrating 60 Years of Rod Serling’s Classic Anthology

By Anne Serling

But one thing this version misses is Grudge doesn’t then go on to eat a fabulous feast with his family. Instead, he takes his morning coffee in the kitchen, while his black servants work around him (and probably wish he’d sod off back to his study). It’s an oddly sparse ending compared to what we’re used to with our Christmas Carols.

Carols for Other Christmases

At the time this strange, didactic retelling of A Christmas Carol saw mixed reactions. It’s a film that doesn’t mind lecturing its audience, and quite a few reviewers took against it for that. The right-wing advocacy group the John Birch Society particularly took against it, organising a letter-writing campaign against the film before it was even broadcast.

Is the film preachy? Hell yes. But so is the source material. Where it differs from the source material is that it offers far less comfort, far less of the warmth we see with Fred and Fezziwig and Bob Cratchit, while the threats it warns of are a great deal more severe.

Perhaps it’s a film that is most interesting as an artefact of a particular time and the anxieties it had.

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But also it’s an example of the power of Charles Dickens’s story when it’s allowed to be more than a twee festive tradition. It’s a story that should have a sharp political bite as much as warm fuzzy nostalgia. As much as it’s a Christmas story, A Christmas Carol is a ghost story, and ghost stories are meant to be scary.

The post The Rod Serling Christmas Movie You Never Saw appeared first on Den of Geek.

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flashhdtv · 4 years

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‘Episode 1’ | Tale of the nine tailed Ep.1 [EngSub] Korean Drama Series 2020

Watch Tale of the Nine Tailed Season 1 Episode 1–10 1–2–3–4–5–1–7–8–9–10 Full Episode Tale of the Nine Tailed Temporada 1 Capítulo 1 Sub English / Español 2020 ➤ http://flashserieshd.dplaytv.net/series/386917/1/1 VISIT HERE ➤➤ http://flashserieshd.dplaytv.net/series/386917/1/1

The story features the mythical nine-tailed fox, or gumiho, Lee Yeon who has just settled in the city. Able to transform into human form, he goes about cleansing human spirits, all the while creating havoc. Enter the talented television producer Nam Ji Ah whose current show features urban myths. With nerves of steel, she will stop at nothing to secure unusual, if not dangerous, subject matter to showcase. She sets her sights on Lee Yeon who appears just too good to be true; irresistibly handsome, intelligent, fit; in fact the ideal guest. But his heartlessness will render doubt in her that he is indeed of this world. Step-brother to Lee Yeon is the captivating Lee Rang, reputed to be the most dangerous of all gumihos living among humans. Despite being half-human himself, he harbors a deep-seated contempt for all people.

🎬 Tale of the Nine Tailed Season 1 Episode 1 Online Free 🎬

Watch Tale of the Nine Tailed — Season 1 Episode 1 : Episode 1 Online Free | TV Shows & Movies The story features the mythical nine-tailed fox, or gumiho, Lee Yeon who has just settled in the city. Able to…flashserieshd.dplaytv.net

Title : Tale of the Nine Tailed Episode Title : Episode 1 Release Date : 07 Oct 2020 Runtime : 60 minutes Genres : Action , Drama , Fantasy , Mystery , Romance Networks : tvN

Tale of the Nine Tailed

Tale of the Nine Tailed follows the life of the gumiho, who once ruled as a living god of the Baekdudaegan Mountain Range but now works as a sort of public official between this world and the underworld. His main job is to clean up the mess left behind by those who disturb the world of the living while hiding behind the guise of ghost tales.

Show Info

Network: Korea, Republic of tvN (2020 — now) Schedule: Wednesdays, Thursdays at 22:50 (80 min) Status: In Development; premiering October 2020 Language: Korean Show Type: Scripted Genres: Drama Thriller Supernatural Episodes ordered: 16 episodes

With dozens of films genre being released each year, a typical one that gets overlooked by the more popular ones (action, drama, comedy, animation, etc.) is the subgenre category of religious movie. These films (sometimes called “faith-based” features) usually center around the struggles and ideas of a person (or groups) identity of a religious faith, which is, more or less, has a profound event or obstacle to overcome. While not entirely, the most commonplace religious type movies focus on the religion of Christianity, sometimes venturing back into the past in cinematic retelling classic biblical tales, including famed epic films like Ten Commandments and Ben-Hur (the original 1959 version) to some more modern endeavors from Hollywood like Risen, The Young Messiah, and Paul, Apostle of Christ. Other Christian “faith” films finds a more contemporary setting to tell its story, with some being “based on a true-life account” like the movies Unconditional, Heaven is Real, Unbroken, I Can Only Imagine, Indivisible, and Miracles from Heaven, while others might find inspiration from literary novels / fictionalized narratives like The Shack, Overcomer, War Room, and Same Kind of Different as Me. Regardless, whether finding inspiration from true life, references from the bible, or originality, these movies usually speaks on a person’s faith and the inner struggle he or she has within or one society’s views, spreading a message of belief and the understand of one’s belief. Now, after the success of 2018’s I Can Only Imagine, directors Andrew and Jon Erwin (the Erwin Brothers) and Lionsgate studios release the 2020 faith-based film / music biopic feature I Still Believe. Does the film walk a fine line between its religious aspects and cinematic entertainment or does the movie get entangled in its own faith-based preaching?

THE STORY

Its 1999 and Jeremy Camp (K.J. Apa) is a young and aspiring musician who would like nothing more than to honor his God through the power of music. Leaving his Indiana home for the warmer climate of California and a college education, Jeremy soon comes across one Melissa Henning (Britt Robertson), a fellow college student that he takes notices in the audience at a local concert. Falling for cupid’s arrow immediately, he introduces himself to her and quickly discovers that she is attracted to him too. However, Melissa holds back from forming a budding relationship as she fears it will create an awkward situation between Jeremy and their mutual friend, Jean-Luc (Nathan Parson), a fellow musician and who also has feeling for Melissa. Still, Jeremy is relentless in his pursuit of her until they eventually find themselves in a loving dating relationship. However, their youthful courtship with each other comes to a halt when life-threating news of Melissa having cancer takes center stage. The diagnosis does nothing to deter Jeremey’s love for her and the couple eventually marries shortly thereafter. Howsoever, they soon find themselves walking a fine line between a life together and suffering by her illness; with Jeremy questioning his faith in music, himself, and with God himself.

THE GOOD / THE BAD

Sorry if this sounds a bit familiar pieces from my review of I Can Only Imagine, but it definitely says what I feel about these films. While I am a devout Christian (not a crazy zealot or anything like that) for my bases of religion and my outlook beliefs in life, I’m not a huge fan of the “faith-based” feature films. That’s not to say that they’re bad or that I find them deplorable to the other more popular movie genres out there, but sometimes they can a bit preachy and corny / honky in their religious overtones and overall dramatic direction. Personally, I like the more biblical tales that Hollywood as put over, with Cecil B. Demile’s The Ten Commandments and William Wyler’s Ben-Hur; both of have proven to stand the test of time within filmmaking. Of course, Hollywood’s recent trend of put out more “remakes” movies puts an overcast on those biblical epics with 2014’s Exodus: Gods and Kings and 2016’s Ben-Hur; both of which failed to capture a sense of cinematic integrity and had a messy religious outlook in its zeal aspect. Of late, however, Hollywood as retreated more into contemporary pieces, finding narratives that are, more or less, set in a more “modern” day and age to their Christian-faithful based features. As I mentioned above, some have found success in their literary forms (being based on a book and adapted to the big screen), but most derive their inspiration from true life accounts, translating into something that’s meant to strike a chord (with moviegoers) due to its “based on a true story” aspect and nuances. Again, some are good (as I liked Unbroken and The Shack), while others kind of become a bit too preachy and let the religious overtures hamper the film, making them less-than desirable to mainstream audiences or even members of their own faiths. Thus, these religious-esque films can sometimes be problematic in their final presentation for both its viewers and in the film itself; sometimes making the movie feel like a TV channel movie rather than a theatrical feature film. This brings me around to talking about I Still Believe, a 2020 motion picture release of the Christian religious faith-based genre. As almost customary, Hollywood usually puts out two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases usually being around spring time and / or fall respectfully. I didn’t hear much when this movie was first announced (probably got buried underneath all the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer was released, which looked somewhat interesting to me. Yes, it looked the movie was gonna be the typical “faith-based” vibe, but it was going to be directed by the Erwin Brothers, who directed I Can Only Imagine (a film that I did like). Plus, the trailer for I Still Believe premiered for quite some time, so I kept on seeing it a lot of time when I went to my local movie theater. You can kind of say that it was a bit “engrained in my brain”. Thus, I was a bit keen on seeing it. Fortunately, I was able to see it before the COVID-19 outbreak closed the movie theaters down (saw it during its opening night), but, due to work scheduling, I haven’t had the time to do my review for it…. until now. And what did I think of it? Well, it was pretty “meh”. While its heart is definitely in the right place and quite sincere, I Still Believe is a bit too preachy and unbalanced within its narrative execution and character developments. The religious message is clearly there, but takes too many detours and not focusing on certain aspects that weigh the feature’s presentation. As mentioned, I Still Believe is directed by the Erwin Brothers (Andrew and Jon), whose previous directorial works include such films like Moms’ Night Out, Woodlawn, and I Can Only Imagine. Given their affinity attraction religious based Christian movies, the Erwin Brothers seem like a suitable choice in bringing Jeremy Camp’s story to a cinematic representation; approaching the material with a certain type of gentleness and sincerity to the proceedings. Much like I Can Only Imagine, the Erwin Brothers shape the feature around the life of a popular Christian singer; presenting his humble beginnings and all the trials and tribulations that he must face along the way, while musical songs / performance taking importance into account of the film’s narrative story progression. That’s not to say that the movie isn’t without its heavier moments, with the Erwin, who (again) are familiar with religious overtones themes in their endeavors, frame I Still Believe compelling messages of love, loss, and redemption, which (as always) are quite fundamental to watch and experience through tragedy. This even speaks to the film’s script, which was penned by Erwin brothers playing double duty on the project, that has plenty of heartfelt dramatic moments that will certainly tug on the heartstrings of some viewers out there as well as provide to be quite an engaging tale of going through tragedy and hardship and finding a redemption arc to get out of it. This is especially made abundantly clear when dealing with a fatal illness that’s similar to what Melissa undergoes in the film, which is quite universal and reflective in everyone’s world, with the Erwin Brothers painting the painful journey that Melissa takes along with Jeremy by her side, who must learn to cope with pain of a loved one. There is a “double edge” sword to the film’s script, but I’ll mention that below. Suffice to say, the movie settles quickly into the familiar pattern of a religious faith-based feature that, while not exactly polished or original, can be quite the “comfort food” to some; projecting a wholesome message of faith, hope, and love. Personally, I didn’t know of Jeremy Camp and the story of he and Melissa Henning, so it was quite a poignant journey that was invested unfolding throughout the film’s proceedings. As a side-note, the movie is a bit a “tear jerker”, so for those who prone to crying during these dramatic heartfelt movies….get your tissues out. In terms of presentation, I Still Believe meets the industry standard of a religious faith-based motion pictures. Of course, theatrical endeavors like these don’t really have big budged production money to invest in the film’s creation. Thus, filmmakers have to spend their money wisely in bringing their cinematic tales to life on the silver screen. To that effect, the Erwin Brothers smartly utilized this knowledge in the movie’s creation; budgeting the various aspects of the background and genetic theatrical make-up that feel appropriate and genuine in the film’s narrative. So, all the various “behind the scenes” team / areas that I usually mention (i.e. production designs, set decorations, costumes, and cinematography, etc.) are all relatively good as I really don’t have much to complain (whether good or bad) about them. Again, they meet the industry standard for a faith-based movie. Additionally, the musical song parts are pretty good as well. As mentioned, I really didn’t know anything about Jeremy Camp, so I couldn’t say what songs of his were good, but the songs that are presented in the film were pretty decent enough to certain highlight points throughout the movie. Though they are somewhat short (assuming not the whole song is being played), but still effectively good and nice to listen to. Might have to check out a few of the real songs one day. Lastly, the film’s score, which was done by John Debney, fits perfect with this movie; projecting the right amount of heartfelt tenderness in some scenes and inspirational melodies of enlightenment in others. Unfortunately, not all is found to be pure and religiously cinematic in the movie as I Still Believe gets weighed down with several major points of criticism and execution in the feature. How so? For starters, the movie feels a bit incomplete in Jeremy Camp’s journey. What’s presented works (somewhat), but it doesn’t hold up, especially because the Erwin Brothers have a difficult time in nailing down the right narrative path for the film to take. Of course, the thread of Jeremy and Melissa are the main central focus (and justly so), but pretty much everything else gets completely pushed aside, including Jeremy’s musical career rise to stardom and many of the various characters and their importance (more on that below). This also causes the film to have a certain pacing issues throughout the movie, with I Still Believe runtime of 116 minutes (one hour and fifty-six minutes) feeling longer than it should be, especially with how much narrative that the Erwin Brothers skip out on (i.e. several plot chunks / fragments are left unanswered or missing). Additionally, even if a viewer doesn’t know of Jeremy Camp’s story, I Still Believe does, for better or worse, follow a fairly predictable path that’s quite customary for faith-based movie. Without even reading anything about the real lives of Jeremy and Melissa prior to seeing the feature, it’s quite clearly as to where the story is heading and what will ultimately play out (i.e. plot beats and theatrical narrative act progression). Basically, if you’ve seeing one or two Christian faith-based film, you’ll know what to expect from I Still Believe. Thus, the Erwin Brothers don’t really try to creatively do something different with the film…. instead they reinforce the idealisms of Christian and of faith in a formulaic narrative way that becomes quite conventional and almost a bit lazy. There is also the movie’s dialogue and script handling, which does become problematic in the movie’s execution, which is hampered by some wooden / forced dialogue at certain scenes (becoming very preachy and cheesy at times) as well as the feeling of the movie’s story being rather incomplete. There’s a stopping point where the Erwin Brothers settle on, but I felt that there could’ve more added, including more expansion on his music career and several other characters. Then there is the notion of the film being quite secular in its appeal, which is quite understandable, but relies too heavy on its religious thematic messages that can be a bit “off-putting” for some. It didn’t bother me as much, but after seeing several other faith-based movies prior to this (i.e. I Can Only Imagine, Overcomer, Indivisible, etc.), this particular movie doesn’t really rise to Cursed in Love and falls prey to being rather generic and flat for most of its runtime. As you can imagine, I Still Believe, while certainly sincere and meaningful in its storytelling, struggles to find a happy balance in its narrative and execution presentation; proving to be difficult in conveying the whole “big picture” of its message and Jeremey Camp’s journey. The cast in I Still Believe is a mixed bag. To me, none of the acting talents are relatively bad (some are better than others…. I admit), but their characterizations and / or involvement in the film’s story is problematic to say the least. Leading the film’s narrative are two protagonist characters of Jeremy Camp and Melissa Henning, who are played by the young talents of K.J. Apa and Britt Robertson respectfully. Of the two, Apa, known for his roles in Riverdale, The Last Summer, and The Hate U Give, is the better equipped in character development and performance as the young and aspiring musical talent of Jeremy Camp. From the get-go, Apa has a likeable charm / swagger to him, which make his portrayal of Jeremy immediately endearing from onset to conclusion. All the scenes he does are well-represented (be it character-based or dramatic) and certainly sells the journey that Jeremy undergoes in the movie. Plus, Apa can also sing, which does lend credence to many of the scene’s musical performance. For Robertson, known for her roles in Tomorrowland, Ask Me Anything, and The Space Between Us, she gets hampered by some of the film’s wooden / cheesy dialogue. True, Robertson’s performance is well-placed and well-mannered in projecting a sense of youthful and dewy-eyed admiration in Mellissa, especially since the hardships here character undergoes in the feature, but it’s hard to get passed the cringeworthy dialogue written for her. Thus, Robertson’s Melissa ends up being the weaker of the two. That being said, both Apa and Robertson do have good on-screen chemistry with each other, which certainly does sell the likeable / loving young relationship of Jeremy and Melissa. In more supporting roles, seasoned talents like actor Gary Sinise (Forest Gump and Apollo 13) and musician singer Shania Twain play Jeremey’s parents, Tom and Terry Camp. While both Sinise and Twain are suitable for their roles as a sort of small town / Midwest couple vibe, their characters are little more than window dressing for the feature’s story. Their screen presence / star power lends weigh to the project, but that’s pretty much it; offering up a few nuggets to bolster a few particular scenes here and there, which is disappointing. Everyone else, including actor Nathan Parsons (General Hospital and Nadia: The Secret of Blue Water) as musical talent and mutual friend to both Jeremy and Melissa, Jean-Luc Lajoie, young actor Reuben Dodd (The Bridge and Teachers) as Jeremy’s handicapped younger brother, Joshua Camp, and his other younger brother, Jared Camp (though I can’t find out who played him the movie), are relatively made up in smaller minor roles that, while acted fine, are reduced to little more than just underdeveloped caricatures in the film, which is a shame and disappointing.

FINAL THOUGHTS

The power of faith, love, and affinity for music take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life and times of Jeremy Camp’s life story; pin-pointing his early life with his relationship Melissa Henning as they battle hardships and their enduring love for one another through difficult times. While the movie’s intent and thematic message of a person’s faith through trouble times is indeed palpable as well as the likeable musical performances, the film certainly struggles to find a cinematic footing in its execution, including a sluggish pace, fragmented pieces, predicable plot beats, too preachy / cheesy dialogue moments, over utilized religious overtones, and mismanagement of many of its secondary /supporting characters. To me, this movie was somewhere between okay and “meh”. It was definitely a Christian faith-based movie endeavor (from start to finish) and definitely had its moments, but it just failed to resonate with me; struggling to find a proper balance in its undertaking. Personally, despite the story, it could’ve been better. Thus, my recommendation for this movie is an “iffy choice” at best as some will like (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religious faith-based flicks, I Still Believe stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama can be problematic when translating it to a cinematic endeavor. For me, I believe in Jeremy Camp’s story / message, but not so much the feature.

#drama #romance

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dweemeister · 7 years

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A Star Is Born (1937)

Hollywood fame and fortune and everything that goes with it has been a favorite topic of American movies since popular fan-driven culture around the art form has existed. Show People (1928), Sunset Boulevard (1950), and most recently La La Land (2016) have been crafted by Hollywood about Hollywood. One film about Hollywood that has been remade twice and, soon, thrice, is A Star Is Born – originally starring Janet Gaynor and Fredric March, directed by William A. Wellman, and produced by David O. Selznick. The 1954 version starred Judy Garland and James Mason; the 1976 version starred Barbra Streisand and Kris Kristofferson; the 2018 version will star Stefani Germanotta (Lady Gaga’s given name) and Bradley Cooper. I have not seen the 1976 A Star Is Born, and the 1954 remake is the subject of the first write-up I ever published on this blog (it’s short and embarrassing; I knew much less about writing on cinema than I do now... and I still don’t think I’m good at this).

Before A Star Is Born, Hollywood movies about Hollywood painted a rosy picture of the movie industry, where the greatest cinematic talents come to work and where success is no stranger to those to dedicate everything they have. Of course, that image is a sanitized one, and did not apply to countless ethnic and racial minorities, as well as advantaging men over women. Some things just have not changed, obviously (although the industry continues to make improvements), but A Star Is Born has never approached these inequalities from that angle. Nevertheless, it is still within this context that A Star Is Born frames a desire for stardom – the fantasy of what it looks like, the disappointment and personal tragedies that can occur.

Esther Victoria Blodgett (Gaynor) lives in an agricultural North Dakota town with her family. The local movie theater is one of her few means of escape, and she aspires to be the next Greta Garbo, Katharine Hepburn, or Mae West. Everyone in the family disparages those dreams, except Grandmother Lettie (May Robson). Grandmother Lettie lends Esther money for the train ride to and lodgings in Southern California. Esther begins living in a boarding house with other Hollywood hopefuls, like out-of-work assistant director Danny McGuire (Andy Devine), but is stonewalled when the casting agency refuses to accept any more applications for extra parts. Danny pulls some strings and gets Esther a job serving at a high-end Hollywood party. Actor Norman Maine (March) – whose career has been slowly declining – finds himself attracted to Esther, and convinces producer Oliver Niles (Adolphe Menjou) to allow her a screen test. She does well. In the tradition of the old Hollywood Studio System providing their newest contractees stage names, Esther is renamed “Vicki Lester”, and has a sensational debut film starring opposite Norman, her love. But as Norman’s career and mental health continue to tumble, Vicki Lester becomes the world’s darling.

As A Star Is Born was released to theaters, the career trajectories of Janet Gaynor and Fredric March were the reverse of the characters they played. Gaynor (1927′s 7th Heaven and Sunrise: A Song of Two Humans) became a premier box office draw for Fox Film Corporation (renamed “20th Century Fox” in 1935) in the later silent years, but her draw had waned by the mid-1930s, and she retired from the movies in 1939, at age thirty-three – her reason: to seek out other adventures and raise a family. For Fredric March, after years wallowing as an extra with Paramount, breakout leading roles came in Dr. Jekyll and Mr. Hyde (1932) and this film. March sustained an excellent standard of work into a decades-spanning career with highlights such as The Best Years of Our Lives (1946) and Inherit the Wind (1960).

Though March sometimes outperforms his co-star, do not underestimate Gaynor’s ability to sell the small-town-girl to the audience. There is an awkwardness and innocence in her performance as this North Dakotan transplant to Southern California. As the initial wonderment fades into a grind of job searching, Esther finds herself within touching distance of Hollywood royalty, but with the financial comforts of cinematic success galaxies away. When she receives her big break, Esther is a natural at acting (her brief imitations of the most popular American actresses of the 1930s during the party she is waitressing at are a treasure). But when she is no longer in the soundstage shooting a scene, Gaynor believably makes the transition from artifice to reality. As meta as that sounds (movies about Tinseltown tend to be riddled with self-references, whether self-important or satirical), we notice that Esther Blodgett – Vicki Lester – has changed with experience and the long hours her work demands. Compared to Judy Garland’s interpretation of the same role, there is more sunny optimism in Gaynor’s performance compared to Garland’s anxiety and natural melancholy. The latter is the better actress and produces the better performance. Even then, Gaynor’s turn as Esther Blodgett is worthy of acclaim.

March, whose character of Norman Maine is on the descendancy, is heartbreaking. Here, he plays of a man weakened by personal exhaustion, professional disappointment, feelings of worthlessness. His attitude swings are remarkable – at times, displaying a lovely intimacy with Gaynor; other times, going through the motions of a fearsome, drunken rage that frightens onlookers and enthralls the sensationalized press.

Since five years ago after viewing the 1954 Judy Garland-James Mason remake for the first time and dealing with my own mental health problems, your reviewer has become more sensitive to the portrayal of mental illness in movies – I am no expert, nor are my problems perfectly transferable to a piece of fiction or to the lives of others. Both the original and the 1954 remake share an almost identical error: an inability to portray Norman Maine in a way that fully contextualizes his alcoholism and mental problems, as well as providing a more acceptable cause and justification for his fate. Without spoiling for those who have never seen any iteration of A Star Is Born, it is obvious that Norman cares for Esther/Vicki, that jealousy – if Norman has any directed towards his love – is not actively defining their relationship. It makes Norman’s decisions in the film’s final minutes feel so arbitrary, swift.

We know more about mental illness better today than screenwriters Wellman, Robert Carson, Dorothy Parker, and Alan Campbell could possibly have done so in 1937. Yet the screenwriters actively portray a variety of characters – central and peripheral – attempting to shield Norman from the stigma hurled by those who do not care to understand. Norman’s destructiveness is handled sensitively, and Esther/Vicki’s decision to help her beloved is one of the most positive portrayals of being an ally to combat an enemy unknowable to many, unseen to all. Of course, A Star Is Born is Esther’s story of creativity and tenacity in what was and still remains an unforgiving, cutthroat industry. But as her world intermingles with his and as she begins to accept that arrangement, the screenplay is looking for a flourish for its Hollywood ending. That ending, however, disrespects Norman’s self-loathing and Esther’s sadness that she alone can only be of so much help.

One character, press agent Matt Libby (Lionel Stander), is depicted as a publicity-ravenous individual who distastes privacy, and delights himself in manufactured, all-American narratives for the stars of Oliver Niles’ studio. A Star Is Born’s cynicism is contained within Libby, with shame and taste becoming irrelevant when there are movie stars to profit from and fans – suckers, really – ready to swoon at their favorite actors’ work. If anything, Hollywood is a talent and personality machine, ready to assemble the newest products and to declare an earlier, outdated figure obsolete. There is no regard to hurt feelings, loyalty, or friendship here. Such is the Hollywood Esther Blodgett and Norman Maine find themselves in.

Accusations of plagiarism also hounded Selznick International Pictures, as a similarly-written movie, What Price Hollywood? (1932), released by RKO, has an almost identical premise and similar plot twists, but with lesser-known stars (Constance Bennett and Lowell Sherman). David O. Selznick produced both What Price Hollywood? and A Star Is Born, and though RKO prepared their lawyers to sue Selznick International, they ultimately declined to pursue the lawsuit.

After its release, Selznick International sold the rights to A Star Is Born to Warner Bros., which allowed them to remake the film in 1954. But when Warner Bros. failed to renew the copyright to the 1937 original, it entered the United States’ public domain. The curse of some public domain movies is that, without that commercial value of the copyright protection, studios are loath to grant such a film a restoration. W. Howard Greene’s cinematography suffers, as 1937′s A Star Is Born was one of the first live-action feature films to use three-strip Technicolor (invented in 1932, Walt Disney negotiated an exclusive use of three-strip Technicolor until September 1935), instead of using the limited shades of greens and reds seen in two-strip Technicolor. In this collaboration and in the imperfect print that I watched on Turner Classic Movies (TCM), Greene and Wellman never allow the Technicolor to feature the range of its palette as much as they could.

Following the film’s release, speculation abounded whether or not A Star Is Born was based on a real-life example of a closely-knit Hollywood rise and decline. Some cite Barbara Stanwyck’s (1937′s Stella Dallas, 1944′s Double Indemnity) seven-year marriage to Frank Fay (primarily a stage actor, originated Elwood P. Dowd in Harvey) to be the primary influence, even if John Bowers (1921′s The Ace of Hearts and The Sky Pilot) has been noted as the actual inspiration for Norman Maine. For those better-versed in the private lives of Hollywood actors than yours truly, speculate away.

So what is so compelling about A Star Is Born that this story has been repeated three other times? That’s not even mentioning derivative – a word which is not here being used in a derisive fashion – films that followed decades later. For as much as many movie fans and those not as accustomed to American cinema as a whole might be repulsed by what fame in the entertainment industry brings, we continue to consume these stories. Something in there, among the affluent actors, is an aspect we recognize about ourselves, us ordinary moviegoers that can no longer imagine ourselves as headline movie stars.

It seems appropriate, then, to have Grandmother Lettie help bring this write-up to its end:

Esther, everyone in this world who has ever dreamed about better things has been laughed at, don't you know that? But there's a difference between dreaming and doing. The dreamers just sit around and moon about how wonderful it would be if only things were different. And the years roll on and, by and by, they grow and they forget everything, even about their dreams.

Esther Blodgett has sacrificed her time, energy, sanity, and well-being to be where she is. By personalizing Esther the way this film has, we cannot help but root for her success, that those who love her the most are able to see her triumphs for themselves. If they are unable to do so, we hope that their support for her continues to leave legacies after the thrill of parties and premieres has gone.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

#A Star Is Born #William A. Wellman #David O. Selznick #Janet Gaynor #Fredric March #Adolphe Menjou #May Robson #Andy Devine #Lionel Stander #Owen Moore #Peggy Wood #Robert Carson #Dorothy Parker #Alan Campbell #Max Steiner #W. Howard Greene #TCM #My Movie Odyssey

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brendanmoviedate · 8 years

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"Nobody will ever notice that. Filmmaking is not about the tiny details. It's about the big picture."

All through 2015, I’d been hearing about people doing a new-movie-a-day challenge starting January 1st and ending December 31. It seemed like a great idea for clearing through my watch list and an excuse to get out to the theatre more.

So for 2016, I decided part way into January that I was going to go for it. By that point, I was only a few movies behind, so how hard would it be to catch up and get to 366 (I just had to pick a leap year for this) by December 31? Well, by April, I was about 15 movies behind, and this was with watching three or more films every Saturday while my girlfriend was in class. Still, I was confident - my girlfriend would be going to school in London starting in September, so I’d have lots of free time to cram in some extra movies.

Flashforward to October, and an outdoorsy summer and month-long trip to the UK found me around 80 movies behind pace. Not good. I thought about giving up, but I’m too stubborn and foolish to let go of stupid things like this. October was rough. I watched movies all weekend, every weekend. I found the movies on my list that were less than 90 minutes, so as to pile on an extra film or two. By the end of the month, I had watched 100 films in 30 days. Halfway through December I reached 366, capping out at 374.

What did I learn?

This type of challenge really fucks up your decision-making abilities

When trying to decide between going out and watching a movie, or reading and watching a movie, or doing chores and watching a movie, or grabbing a meal at a restaurant and watching a movie, watching a movie always seemed like the right choice, just to get me closer to that goal of 366. Every time I chose to do something other than watch a movie, I felt anxious that this could have been the one movie keeping me from reaching my goal. It was rough. I’m only now getting over this feeling and it’s already March (spoilers: I’m never going to do this again).

The “only new movies” clause really stung

There were so many times when I wanted to watch a recent favourite, but couldn’t justify it. Mad Max: Fury Road, 22 Jump Street, Nightcrawler, Sicario, et al. kept beckoning me, but I would invariably choose something new.

Peak TV takes a backseat

With only a few minor excpetions (Veep, Silicon Valley, Game of Thrones), my TV watching for the year plummeted. I was already behind on shows like The Americans, Orphan Black, and Fargo that I really wanted to watch, but multi-episode seasons would eat up too much prime movie-watching time.

You don’t always watch what’s good, only what’s available

Netflix is so diluted at this point with direct-to-video releases and Netflix originals starring Adam Sandler that finding something of quality to watch was always difficult. Often I’d find myself watching a mid-2000s action movie instead something from my iMDB list just because it was on Netflix. Other times, even if I film I’d wanted to watch was on Netflix, like Son of Saul or Leviathan, I’d watch The Book of Eli because I was already too worn out by a day’s worth of watching movies.

A movie-a-day only really makes sense for those who can watch a movie a day

Work+girlfriend+dodgeball+hockey+friends meant I had only two or three days a week to squeeze in movies, necessitating regular marathons. It really defeats the purpose of the challenge and wears out the viewer on a physical and psychological level.

Korean thrillers are awesome

I watched a number of excellent films from some of Korea’s best directors, mostly in the horror and/or thriller genres. Bong Joon-ho’s Memories of a Murder and The Host, Kim Jee-woon’s The Age of Shadows, Na Hong-jin’s The Wailing, and Yeon Sang-ho’s Train to Busan all explored well-trodden movie tropes from fresh perspectives and made choices that North American filmmakers would normally shy away from. All of these films are classics that I can see myself revisiting over and over again. Of these films, Memories of a Murder is probably my favourite, serving as a Zodiac-like look into the futility of murder investigations. I should also mention Park Chan-wook’s The Handmaiden here, but I’ve talked about that masterpiece twice already.

Brian De Palma is an underrated master

Unabashedly fixated on voyeurism in his films, De Palma constructs tightly scripted, twisty plots that focus on peeping, spying, surveilling, and stalking as a means of telling a vast breadth of stories. His films are sleazy in all the right ways, but he brings to his low, almost uncomfortable, subject matter a brilliant technical understanding of film. Raising Cain, Body Double, and Dressed to Kill are all great examples of his craft, but it’s 1981′s Blow Out, starring a never-better John Travolta that is the perfect synthesis of his methods and methodology. The use of sound, split-screen, and split-diopters to focus on foreground and background at the same time is as captivating as the plot.

The worst movies were unfunny comedies

This probably shouldn’t have come as a surprise to me, but the worst kind of movie is an unfunny comedy. Not necessarily comedies with unfunny jokes (which, don’t get me wrong, are also nigh unwatchable), but comedies without jokes whatsoever. The films I’m talking about are those that are considered comedies because they weren’t serious enough to be dramas or tense enough to be thrillers, but instead just some stuff happens to the characters that provides a minor conflict or misunderstanding before an uninspired resolution. Fortunately, I only saw a couple of these, but they were painful enough to leave scars - The Overnight and the deliberately ironically titled The Comedy. The less said about The Overnight, the better, but I’ll at least faintly praise The Comedy for being a deliberate joke on its audience by being so gleefully unfunny.

I’m finally on board for the Fast & Furious franchise

After a meh first instalment and a horrible sequel, this franchise was as good as dead to me. With Furious 7 dominating the box office and positive word of mouth for the series finally drowning out my doubts, I decided to hop back into the franchise with the third instalment, Tokyo Drift. This film wasn’t by any means great, but it was engaging and personal in the way that the first two weren’t. When the next film cut back to Vin Diesel and company, I was slightly disappointed, as the band of thieves dynamic didn’t really meet my needs. However, it was Fast 5, when the franchise got a Dwayne Johnson injection, that it became an over-the-top superhero team-up movie. This film was absolutely insane, culminating in a getaway chase with a giant vault tied behind the vehicles demolishing half of Rio. The next two films failed to live up to Fast 5, but still featured cartoonish lunacy in the form of a wedge car vaulting other vehicles into the air and Dwayne Johnson flexing out of a cast.

The films of the 70′s and early 80′s continue to impress me

We’ve all heard that the 1970′s were the true golden age of cinema. Godfather this, Annie Hall that. But there’s so much more of value than the masterpieces everyone lauds. Sorcerer, Possession, The Warriors, Marathon Man, and The Taking of Pelham One Two Three are all vastly different films, but all have incredible performances, perfect pacing, and are utterly captivating. Sorcerer, about a group of drivers carrying unstable dynamite through treacherous jungles, and Possession, featuring Sam Neill as a spy watching his wife’s character slowing change into something else, both stayed me long after they were over, due to their incredible suspense and shocking outcomes.

Lilo & Stitch might be my favourite Disney movie

The Disney Renaissance died after the release of Mulan, with Tarzan, The Emperor’s New Groove, and Atlantis: The Lost Empire failing to capture imaginations the same way Aladdin or Beauty and the Beast did. Combining this decline with my bumbling journey through adolescence, it’s only natural that I’d didn’t give them a chance. So it’s with great regret that I did not see Lilo & Stitch until 2016. This film has all the heart and morals of a typical Disney film, but it’s incredibly funny as well. This was one of the movies I laughed at the hardest last year, mostly due to the antics of Stitch, who seems part koala and part centipede. This will easily get a rewatch over any of the Renaissance films. I wonder if a live action remake is in the works.

Return to Sleepaway Camp is as boring and tone deaf as Sleepaway Camp is fun and outrageous

Sleepaway Camp is a notorious cult classic, featuring campy performances and low tech slasher violence as well as one of the most genuinely shocking and disgusting reveals I’ve ever seen in a film. The image of it's final frame is forever burned into my brain. Naturally, the film garnered a few poorly conceived sequels with no one from the first film involved, which were easy enough to ignore. However, what I couldn’t help but be intrigued by was a “true” sequel from the original writer-director, featuring at least a handful of the original cast. If ever I regret watching a movie, it’s this one. Return to Sleepaway Camp reeked of desperation and ineptitude, from a director who had been far removed from filmmaking for the 25 years since his debut was released. It’s shrill, loud, derivative, boring, and featuring a twist so outrageously apparent for the whole film, it felt like a big “fuck you” to whomever watched and liked the first film.

The Purge movies are getting increasingly closer to being worthy of their own premise.

The first film in the Purge series was a missed opportunity. Setting up a brilliant premise, where all crime is legal for one night a year, the filmmakers foolishly decided to confine the film to within a single house for an uninspired home invasion thriller. The Purge: Anarchy brought the action to the streets for some expanded world building and introduced Frank Grillo as the new face of the franchise. But it wasn’t until the third film that real characters and an interesting plot developed. The Purge: Election Year is topical, disturbing, and more visually interesting than the previous films; if the series continues in this upward direction, I’ll be completely on board for the annual purge.

As I said earlier, this experiment was taxing, making me feel the crunch of a deadline for an entire year. But despite those struggles, I’d qualify it as a success. For each bad and mediocre film I watched, I watched two that I liked. I found a bunch of classics that I’ll be sure to return to over and over, and a bunch of directors whose filmographies I can make my way through.

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cooperenjoys · 8 years

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Top Ten Movies of 2016

This is my thirteen (going on 30) year of doing a list of my top ten (Eleven) movies of the year. You should make a comment of some kind! And if you don’t see your favorite film, tell me. Enjoy Movies.

10. Love & Friendship: Whit Stillman + Jane Austin = A funny and wonderful film that any Jane Austin fan should see right away. Love & Friendship is pure breezy wit from beginning to end, and with so many verbal punch lines that you won’t be able to catch every joke in one viewing. Kate Beckinsale proves again that she is way more than the Underworld movies. And Tom Bennett is an actor to keep an eye on since he steals every scene he is in. Film Fact: Kate Beckinsale's first theatrical release in almost four years.

9. Don’t Breathe: Fede Alvarez + home invasion = A grind house thriller ride that never lets up. Fede Alvarez has done it again after his well done remake of Evil Dead. Alvarez exploits the sensory impairment of his villain for one suspenseful set piece after another, demonstrating a strong command of his craft while investing the mayhem with some sly subtext, both economic and moral. Mostly, though, Don’t Breathe is an exercise in pure, sustained intensity that never lets up until the final frames. A must see for any one that loves thrillers. Film Fact: Stephen Lang wore contact lenses that greatly restricted his vision, particularly in low light. The other actors, in the scene taking place in the dark, wore lenses that made them look like they had dilated pupils but also greatly restricted their vision.

8. Arrival: Denis Villeneuve (Sicario) + Aliens = One of best films of the off the year that appeals to the intellect just as strongly as it appeals to the heart. In a film that explores language and characters, it allows the viewer to experience the depth and wonders of what language means, what it’s for, and what it can do. Also, how we communicate alters our perceptions. I have been enjoying this trend of recent years of smart science fiction and I am really excited to see what Denis Villeneuve does with the new Blade Runner. (I wrote almost the same line last year for Sicario.) Film Fact: Director Denis Villeneuve and screenwriter Eric Heisserer created a fully functioning, visual, alien language. Heisserer, Vermette and their teams managed to create a "logogram bible," which included over a hundred different completely operative logo-grams, seventy-one of which are actually featured in the movie.

7. Deadpool/ Captain America: Civil War: Ryan Reynolds + Rated R Superhero film = Gold. And Superheroes fighting each other + Actually a good Spiderman = Nerd dreams. I am happy that Ryan Reynolds finally got to be the correct version of Deadpool and got to do the film correctly. Deadpool was a hilarious, crass, and ironic film that did something certain audiences have been waiting for, something different and that is why its highest grossing R-rated movie of all time. I am hoping Logan follows this trend of something different. Film Fact: 20th Century Fox refused to pay the writers of the film, Rhett Reese and Paul Wernick, for onset input, Ryan Reynolds paid out of his own pocket for them to be onset to look over the film. While Captain America: Civil War had phenomenal action sequences and good character development, it also redeemed the not fantastic Avengers: Age of Ultron and cleansed the palette for the next Spider-Man movie. I can actually say that I am excited for the next Spider-Man movie thanks to this movie. I can also say this was the essence of a classic Marvel comic come to life: the melodramatic angst, the team-ups and the in-fighting between characters. Everything my teenage self would have wanted. Film Fact: The day before filming a fight scene with Robert Downey Jr., Sebastian Stan sent him a video of himself doing intense bicep curls in front of the decapitated head of an Iron Man suit. He attached the message, ‘Looking forward to our scene tomorrow Robert.’

6. Moonlight: Alex R. Hibbert + Ashton Sanders + Trevante Rhodes = Three amazing actors playing one character through many stages of his life. Moonlight is a stunning piece of filmmaking that is beautiful shot. Barry Jenkins used a shoestring budget to create a heart warming story of a boy growing, learning and finally accepting just who he is. There is so much I want to say about this film but I rather it is a surprise when you see it. I can say that Mahershala Ali is amazing in it too and that he deserves an Oscar for this role. Film Fact: When Juan teaches Little how to swim, Mahershala Ali is really teaching Alex R. Hibbert how to swim. When production started, Hibbert did not know how to swim.

5. Popstar: Never Stop Never Stopping: The Lonely Island + Mockumentarie = Box office failer, but Soon to be Cult classic (I hope). I have to say I enjoyed every second of this movie. While this movie has its silly moments that I enjoyed, I do feel it digs deep into the absurdities of not just the music business, but the nature of the music documentary. Couple that with genuinely great songs like “Equal Rights”, “Finest Girl (Bin Laden Song)”, and “Incredible Thoughts” and I feel like it is absolutely worthy of standing alongside other faux music docs like A Mighty Wind or This Is Spinal Tap. This is a movie I will be watching over and over again and finding new things to laugh about every time. And after writing this, all I want to do is stop writing and go watch it again. Film Fact: A small clip from a Lonely Island video "Kablamo" is seen in the movie.

4. Midnight Special: Jeff Nichols + Michael Shannon = Another Fantastic movie on my top ten list. Jeff Nichols is on a string of fantastic movies. He is the Director of the fantastic film Mud that was on my top ten list last year. He also directed another film getting a lot of hype this year, Loving. In the middle of those two films he decided to make a somewhat-Spielbergian sci-fi/adventure that manages to be both grounded and awe-inspiring. And he did what he always has done and hired the wonderful Michael Shannon to be in the movie, this time giving him a bigger role. Jeff Nichols also surrounded Michael Shannon with other great actors: Kirsten Dunst, Joel Edgerton, Adam Driver, Sam Shepard and young Jaeden Lieberher. This all together makes Midnight Special a lively and riveting movie that trusting its audience in a way few movies of this scope dare to be anymore. Its gets my award for best sci-fi of the year and continues the trend of smart science fiction movies. Film Fact: Jeff Nichols wrote the film as a reflection on becoming a father.

3. Manchester by the Sea: Kenneth Lonergan + Casey Affleck + Michelle Williams = Cryfest. I have to start out that you will cry in this movie...well, at least I did. Don’t let that scare you away from the wonderful film because while this movie is a sad movie, it’s also hilarious and sweet and frustrating movie. The movie is just about Life, how messy and strange and sometimes incomprehensible it can be. Kenneth Lonergan vision of human experience and the unknowability of the human heart is shown through the fantastic actors in the film. A cast that includes Casey Affleck, Michelle Williams, Kyle Chandler (This man can do know wrong), Gretchen Mol, Matthew Broderick and a brilliant discovery Lucas Hedges. One scene with Michelle Williams and Casey Affleck has me crying just thinking about it. Go See it. Film Fact: According to an interview with Kenneth Lonergan on DP/30, the idea for the film didn't originate with him - the main core of a character going back home to take care of a family member after a death was pitched to Lonergan by Matt Damon and John Krasinski as a script that Lonergan would write and for Damon to direct. But due to scheduling conflicts with The Martian, Damon couldn't direct the film or star in it (he suggested Casey Affleck to star in the film.) Lonergan was then given free rein as a writer-director for the project, with Damon and Krasinski as producer.

2. Hunt for the Wilderpeople: Taika Waititi + New Zealand = A fun and beautiful film. In this year of hell and death, we are lucky that Taika Waititi was there to give us this cheerful film that would require a strong effort to actually dislike it. After directing the fantastic What We Do in the Shadows, Waititi turned his attention to a heart-warming pre-teen adventure that would have felt right at home in the 1980s alongside The Goonies and Stand By Me. Julian Dennison and Sam Neill play off each other so well, that every scene with them is a delight. The film also has beautiful shots of New Zealand forests. If you haven’t seen it, you are in for a real treat. Film Fact: The Toyota that main characters use is called Crumpy, in reference to Barry Crump, the author of the book the screenplay was based on. An identical vehicle was driven by Barry Crump in a long running series of Toyota commercials in New Zealand, where Barry played a bushman taking a city slicker named Scotty for a drive through the Bush. Scotty was played by Lloyd Scott, who appears in this film as "Tourist".

1. Hell or High Water: Taylor Sheridan + Western = Best film of the year. First thing that drew me into this film was the dialog. Taylor Sheridan has shown he is a brilliant screenwriter after doing this film and last year’s Sicario. (This movie keeps popping up on this list.) Sheridan has written a witty screenplay here that captures a bank-robbing cowboy movie perfectly while having a scathing commentary on the financial health of the country. The film is a perfect balance of entertaining and having something say about the state of things. The second item that helped this film is the stunning performances from Jeff Bridges, Ben Foster, Chris Pine and Gil Birmingham. I would say the best role Chris Pine has ever played. Jeff Bridges does a perfect job of being likeable and racist. And Ben Foster can do no wrong. Then there is David Mackenzie directing. He does a perfect job of showing a small buddy film but also displaying the wide open space of Texas. I loved every inch of this movie. Film Fact: The phrase "come hell or high water" typically means "do whatever needs to be done, no matter the circumstances". It also refers to the "hell or high water clause" in a contract, usually a lease, which states that the payments must continue regardless of any difficulties the paying party may encounter. Both definitions apply to different parts of the plot in this movie.

Top Ten Honourably Mention (In Alphabetical order):

Doctor Strange

Don’t Think Twice

Green Room

La La Land

Maggie’s Plan

Rogue One: A Star Wars Story

Sing Street

Swiss Army Man

The Invitation

The Witch

Best Animated Movie:

Zootopia

Runner Up: Kubo and the Two Strings and Moana

Best Documentary:

O.J.: Made in America

Other Good Films of the Year:

Hail, Caesar!

Jungle Book

Nice Guys

Finding Dory

Mr. Right

Bad Moms

Sully

Eddie The Eagle

Captain Fantastic

Keanu

Everybody Wants Some!!!

The Lobster

Worst:

5. X-Men: Apocalypse

4. Star Trek Beyond (You can’t win them all Chris Pine)

3. Zoolander 2

2. Sausage Party

1. Batman v Superman: Dawn of Justice

#Hell or High Water #Love & Friendship #don’t breathe #Arrival #Deadpool #Captain America: Civil War #Moonlight #popstar: never stop never stopping #midnight special #manchester by the sea #hunt for the wilderpeople #top ten list #top ten movies #top ten movies of 2016

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audiogrizzly · 4 years

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GOTY 2020 - Runners Up

I feel I should start off with saying a bit about what this year was like for my gaming hobby, it was the first in many years that the PS4 was not the system where I took away the most games, for me it was the PC for a change which has slowly been becoming my number 1 place to play. Though this year also brought a new console generation and I have picked up a PS5, as well as an Oculus Quest 2 (so technically I can now play PC VR, which for a couple of years was always a platform that gates off a few key releases for me despite having a headset for my PS4. And yeah, working from home has allowed me to use the time that would have been taking up with commuting to play games, so I have had more time to play than usual.

Just a note, I’m only one person and despite what I said in the previous paragraph, I cannot play every single game that comes out in a year, I try to prioritise the games I want to play and I do pay attention to games that get good write ups from critics. At the time of writing, I have yet to give a good amount of time to the following titles which are likely to come up on many other GOTY lists: Half Life Alyx, The Pathless, Hades, Cyberpunk 2077. I’m sure these are great games, I have enjoyed many other titles that the developers of them have released before, but however much I enjoy them further down the line, they have missed their chance at being included in this particular list.

So in addition to my GOTY, Ghost of Tsushima, here are the other games I have enjoyed most of all in 2020, ordered by release date:

Journey to the Savage Planet

This was the traditional January game for me. I know a lot of people see the first month of the year being a bit slow for games but I feel there’s always at least one gem. It was great to see a Metroid style game that took a lot more from the Prime series rather than the 2D roots of that genre. The humour didn't quite connect with me but this was a fun distraction that I wasn’t expecting at the start of the year

DOOM Eternal

One of the earliest games I had added to my 2020 watchlist, the sequel to one of my top games of 2016 was always going to be something to be all over. I felt it was a little more arcadey and leaned on typical game mechanics (e.g. extra lives, traversal puzzle, arena based encounters) rather than the exploration aspects of the 1993 original that the 2016 reboot left intact. But you don’t get action as satisfying and as brutal as DOOM

Final Fantasy VII Remake

The earliest game I picked up that I put forward for this list and wasn’t on my original watch list. I didn't play the original FF7 all the way through, but I had played to the point where this remade 1st episode stops at, it essentially covers the first disc on the 1997 original. I’m more into action RPGs than the turn based menu cooldown mechanic that’s more typical of Japanese RPGs, so with that out of the way I was able to enjoy the world and the story. I got really engaged by this one and I can’t wait to carry on the story.

Gears Tactics

I always loved the idea of the turn based tactical strategy game when XCOM Enemy Unknown came along. But I was always more a fan of the combat side than the whole running of the base part of the game. XCOM was also one of those top games that I always sort of pretended to be into, to make myself seem more like a thinker than a button masher, y’know? I can name a large number of people who fall into that category too.

I reckon Gears is perfect for this genre and I’m glad to see that Tactics doesn’t make me collect resources and develop new technology while making sure my underground bunker has enough power. It’s pure action and I love it.

Streets of Rage 4

This game was on my watch list but even I was surprised at how good it turned out. SOR4 will appeal more to those who played the original games, and the second in the series is my favourite SEGA game ever as well as being quite high up my all time list in general. This 21st century continuation does not diminish the originals in any way and even makes you come around to the third in the series in a way by including references and it’s best elements. A hyper stylish tribute and great brawler in its own right.

The Last of Us Part 2

I assigned Ghost of Tsushima as my game of the year, but TLOUP2 would have come a close second. I just enjoyed being in the world of Tsushima more than I did in the zombie infested post-apocalyptic Seattle. I see this game as being the equivalent of a great box set, typical more of the second season of an excellent American TV series where they do add a few interesting ideas, a few “wow” moments, but more than its share of devisive moments too. I can get why people didn’t like the twist as we are used to playing heroes in our games, it can throw us when a bit of perspective is added. Personally, I felt it was an act too long, but still an intense action adventure.

Rocket Arena

I still played a lot of Destiny at the start of the year and both last year and this year's Call of Duty's were on my most played list. But Rocket Arena held my attention for most of the summer. Ultimately, I fell off the game because I was sick of teammates leaving matches, it’s the sort of game where leavers get penalised but are not replaced. But I found the game to be enormous fun and soon I hope to jump back into the game as I see a few changes have been made. The game has also taken all sorts of steps to be made available to as many people as possible thought giveaways on Twitch and PlayStation plus as well as being added to EA Play Pro, everything that stops short of just being made free to play which is something I actually hope it shouldn’t have to come to as I like the idea of the Overwatch model where new maps and characters are added for free every now and then.

Carrion

Carrion was a game I added to my watch list after it was shown in Devolver Digital’s over-the-top and sometimes sort of ‘trying too hard to be subversive’ E3 presentations (2019 and 2020). It looked like a take on the Metroidvania game that took, if you ask me, one of the most appealing aspects of the Metroid games, it’s atmosphere. Plus it sometimes feels great to be the menace, especially when you go out to total massacre your captors (see also Ape Out)

Fall Guys

I’m sure a lot of people have just totally fallen off of this game since about a month after it’s launch in August, I know I have. But when it was new and in the conversation, there was no doubt that this was a fun game. It also came out around the time where you could have guests round and it made for a great “pass the controller” type of game, despite having no split screen modes. It may be my lack of desire to play a new multiplayer game which stopped me from playing it, though it’s appeal to me is that it’s one of those first of games you can just leap into matchmaking by yourself with.

Tony Hawk's Pro Skater 1+2

I don’t normally put ports or remakes into my year lists, but I will make an exception here (and one later on) as it has been so long since the games included in this collection first appeared and to compare old with new, it’s almost a whole new world. Yet it is still familiar, and there’s no bloat, even the item shop (where you can buy decks, wheels, profile pictures etc) doesn’t get in your face. It also, thankfully, takes influence from the right places of the follow up to both of these games, Pro Skater 3, in making the most finely tuned Hawk’s experience. I only wish they had included the 3rd game, at least as DLC, but there’s still time.

Star Wars Squadrons

Air or space combat has never appealed to me all that much over my many years of gaming. I’m not even all that big a Star Wars fan, but I got on board with Squadrons in a big way. Playing in VR and with a HOTAS really immerses you too, there’s nothing like playing past someone and turning your own head to see where they heck they have got to. And although I am not all that big into Star Wars, I can tell they have taken great care with the universe and turned out something that doesn’t interfere with cannon all too much. Put this alongside Gears Tactics in the “I like the idea of this sort of game but I never get on too well with it, but I really liked this one” bucket

Watch Dogs Legion

I know Legion got a hard time in reviews, and I did experience a less than optimal performance in the game, but it was great to run around modern London on foot for a change. I enjoyed Watch Dogs 2 before this and yes, I get why people think the game is just silly, but Legion finally shows that the game knows when to not take itself seriously and it's all the better for it. A great touch is when you recruit people for your organisation, they can all get into any car and drive it around, but every now and then you will find a recruit for whom one of their perks is “has their own car”, that is London in a nutshell!

Dirt 5

Dirt 5 wasn’t on my list, and I have had a sort of on-off relationship with the series. Dirt 5 represents a sort of middle point in the scale between the off-road racer and the serious rally simulation. I would actually say it's closer to the former actually, it’s definitely the most arcade like the franchise has been in years. It forgoes point to point rallys in favour of an “all racers” starting grid in most disciplines. The inclusion of a story is a bit weird, especially as you never actually see any of the characters, it made me wonder what the point was, but I loved the racing as well as all the weather and mud effects.

Assassins Creed Valhalla

I’ve literally just finished this game at the time of writing and what a monster this was at over 55 hours in my playthrough. I had my doubts that a game set in Viking/Saxon era England could rival the BC Egypt in AC Origins, and that game is still my fave, but there was a lot of beautiful scenery in Valhalla as well as crazy plot points when you got near the end. It was great to finally play one of these “new” AC games with a steady frame rate (I always had technical problems before) as I have enjoyed the new combat system since Origins and it was fun to visit settlements whose names I recognise from modern era England. Apart from one really annoying game breaking bug (saved by a previous save file) a number of freezes and it being maybe a bit too long, I’d recommend this heartily.

Replay corner:

Master Chief Collection (throughout the year)

As I said earlier when I talked about Pro Skater 1+2, I don’t normally put ports and remakes, but I wanted to give a shout out to the Halo Master Chief Collection, which I played on PC throughout the year. It’s in it’s own section here as part of it was released last year, but each couple of months in 2020, it was great to replay each of the games in this series, especially as I said goodbye to Xbox in 2013, Halo was one of the franchises that I knew I would miss and it’s great that I can finally get reacquainted with all the ones I have played before. It's a shame that Infinite did not come out this year, though I can tell why they wanted to put it back in the oven, plus I still haven’t really played Halo 5 yet as it’s one of the few games that are actually Xbox One only, I have my fingers crossed for a PC port of that though.

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