#i just watched this scene in snowpiercer and i HAD TO MAKE THIS | Explore Tumblr Posts and Blogs

gotmymindsetonyou · 3 years

Text

Reviews for Every Movie I Watched in March+April

Kinda fell off on watching movies after January due to some mental health shtuff, but I’ve slowly been getting back on that horse and I wanted to talk about the movies I’ve seen, so here we are. Take my number ratings with a grain of salt, they’re mostly off the cuff and giving a movie a numbered grade is pretty arbitrary anyway.

March 1: The Wizard of Oz (1939) dir. Victor Fleming - 9/10

It is STUPID how good this movie is for 1939. I really do like almost everything about this movie, from the fun characters to the bright and colorful set design to the iconic music. In fact, the only parts of the movie I don’t like are that ugly ass Cowardly Lion and those godforsaken Munchkins.

March 1: Kick-Ass (2010) dir. Matthew Vaughn - 8/10

Even when Matthew Vaughn is bad, he is still amazingly fun, and this movie is by no means a bad movie. Nicolas Cage gives the best performance, I love his delivery on some of his lines. This movie is so much fun y’all. Just watch it, you’ll have a good time. (And yes, I know both Quicksilvers are in this, you don’t have to tell me)

March 13: There Will Be Blood (2007) dir. Paul Thomas Anderson - 10/10

This is a fuck-you movie. This movie curb stomped me, spat in my face, and told me I’d never make it in this industry. I don’t need to tell you this movie is incredible, ‘cause if you’ve seen it you already know, and if you haven’t you are seriously missing out.

March 14: The Philadelphia Story (1940) dir. George Cukor - 7/10

I had a hard time deciphering how I feel about this movie. I watched this for a Classic Film course, so I had a couple days to listen to and share some deeper analysis, and I feel like this film is actually pretty good. I don’t have any strong feelings on it, check it out if you like classic film.

March 14: Moulin Rouge! (2001) dir. Baz Luhrmann - 8/10

This movie is bombastic as hell, and even if this is a bad movie, it’s a good movie in my soul. Ewan McGregor, please return my calls.

March 15: The Ruthless (2019) dir. Renato De Maria - 5/10

I guess this movie just isn’t for me, I don’t know. I really do like Riccardo Scamarcio in this movie, but that’s the extent of the really good things. I was on a “Santino from John Wick” kick, I can’t really explain it.

March 20: The Host (2006) dir. Bong Joon-ho - 9/10

Bong Joon-ho has never disappointed me once, and I don’t think he ever will. This is one of the best monster movies I have ever seen (granted I don’t think I’ve seen a lot of monster movies). Watch this movie, it has a wonderful heart and a wonderful monster.

March 20: Citizen Kane (1941) dir. Orson Welles - 10/10

Anything I can say about this movie has already been said, so I’m going to leave you with “I wrote a paper on this film and got a C so fuck this movie” and call it a day.

March 27: Sound of Metal (2019) dir. Darius Marder - 9/10

I am so glad a watched this movie. Riz Ahmed gives an award winning performance if only he hadn’t been competing against Anthony Hopkins. Paul Raci is also really, really good in this movie, and I don’t think that’s mentioned as much, and I think it should be.

April 6: Casablanca (1942) dir. Michael Curtiz - 9/10

I did not think I would enjoy Casablanca as much as I did, but yeah. This is a great movie. I wanna go on record and say Humphrey Bogart is not tall, he is 5′8″. He wears pumps in this movie and they’re really funny to look at.

April 10: Dr. No (1962) dir. Terence Young - 7/10

This was my introduction to the Bond universe, and I thought it was a pretty good way to get me into the character of James Bond. Sean Connery is the strongest part of this movie as Bond. It is by no means a perfect movie, some aspects are extraordinarily outdated. But as a first crack this movie gets two thumbs up from me.

April 18: The Godfather (1972) dir. Francis Ford Coppola - 10/10

This film is truly something special. I am lucky that I was able to experience the story basically blind (I knew about some specific plot points and some famous lines, but for the most part this was all new to me), and I was extra lucky that I got to watch it with my dad. Being able to watch The Godfather with someone who has a deep love of the genre and the film itself is something that enhances almost every movie going experience. The Godfather is one of the greats.

April 19: Mank (2020) dir. David Fincher - 6/10

I am not in love with this movie. I don’t hate it, but I don’t particularly like it either. The production design is great, and as a general appreciator of classic cinema I liked those aspects just fine. There’s just something in here that’s preventing me from fully liking this movie.

April 21: Judas and the Black Messiah (2021) dir. Shaka King - 9/10

The only way I can describe this movie is “important.” King gives us a story of a often left out part of the Civil Rights movement, and it’s a story that everyone should be aware of. Fred Hampton was only 21 when he was assassinated, and yet he left such a mark on the fight for racial equality. Daniel Kaluuya absolutely deserved his Oscar win, he is a dream in this film. This is an uncompromising, tragic, and endlessly relevant movie.

April 23: The Father (2020) dir. Florian Zeller - 10/10

Yeah I cried. Anthony Hopkins is... I don’t think his performance can be summed up in words. It’s heartbreaking, everything about this movie is soul-crushing.

April 24: Promising Young Woman (2020) dir. Emerald Fennell - 8/10

(You can tell I was cramming for the Oscars at this point) It is really hard to review Promising Young Woman. It’s incredibly polarizing to the film community, and it’s also polarizing in my own opinion. I really don’t know how I feel here, all I know is my feelings are strong. Also every time Bo Burnham was on screen I had a big stupid grin on my face, I can’t wait for his new special to come out.

April 25: Nomadland (2020) dir. Chloe Zhao - 9/10

What a beautiful experience. This movie, on top of being absolutely gorgeous, has such a wonderful soul that completely shines through Zhao’s directing. There’s a monologue about maybe a half hour in that describes so succinctly the beauty of nature, and as someone who lives in a much more urban area of the world, it’s a description that I don’t get to see that often in my life. That’s why I love film. If Promising Young Woman made me angry at the world Nomadland made me fall back in love with it.

April 25: Minari (2020) dir. Lee Isaac Chung - 8/10

Watching Minari is like being gently set on fire. My feelings aren’t as strong as they were for Nomadland, and I don’t have much to say, but I still adore this movie and think it’s worth watching.

April 26: Singin’ in the Rain (1952) dir. Gene Kelly, Stanley Donen - 8/10

I think my film teacher puts it best in describing this movie as “just so stinkin joyous.” That’s what this movie is, it’s joy put to film. I love how you can clearly see the excitement over making film that comes through in older movies, I feel like you don’t really see that anymore.

April 28: Some Like It Hot (1959) dir. Billy Wilder - 7/10

As glaringly outdated this film is, I still managed to have a pretty good time with it, although I can totally see why the plot could put some people off, or even make them outright dislike the film as a whole. Marilyn Monroe playing a ukulele made me feel very seen. (This is my first Marilyn movie as well!)

April 29: Snowpiercer (2013) dir. Bong Joon-ho - 8/10

CHRIST this movie is intense. The best part of Snowpiercer is it is engaging as hell. Unfortunately I had to duck out about three quarters of the way through to get some dental work done, but rest assured under different circumstances I would have been glued to the screen from start to finish. The premise is chilling (ha ha, get it), and the subplot of class disparity is also really compelling. If you know me you’ll know that I love me some John Hurt, Song Kang-ho has been great in pretty much every movie I’ve seen him in, TILDA FUCKING SWINTON rocks every scene she’s in. My only real problem here is sometimes Chris Evans is a bit hit or miss for me, I really like his performance at times, and I like it less at others. It has been cool to see him grow as an actor over the years, you can definitely see his improvement in more recent movies. In any case, I stand by my previous statement, Bong Joon-ho has never disappointed me once, and I don’t think he ever will.

#movie review #Film Review #i combined two months to give myself more content #but i think i might have given myself too much content #there's a lot in here

12 notes · View notes

ratingtheframe · 4 years

Text

Films you need to watch if you want to fit in at film school.

By now, you’re probably knee deep in your filmmaking course at film school or university and if you want to keep up with the film discussions in between classes, then here’s a list of exemplary films to watch (and flex on) whilst at school.

It’s never a fun moment when you’re sat in a group of other film buffs and everyone but you have seen one particular film. Not only that, but they continue to bang on about it, and in those 12 minutes you’re left wishing gosh, I wish I had watched that now.

I know the feeling and to make sure you don’t get caught out again, this list of films not only covers your filmmaker wannabe basics, but also a few swarve anomalies that you can throw into the discussion like a true culture vulture.

Pulp Fiction (1994)

I shouldn’t be saying this but if you haven’t seen Pulp Fiction and you made it to film school, just leave. Hand in your student ID at reception and walk out the door, watch Pulp Fiction and come back to the next day. If you haven’t seen the 90s cult classic directed by Quentin Tarantino, it’s likely you’ve had at least one person disgusted by your lack of engagement for the film. But why is it such a necessity amongst the filmmakers of today? Well after a highly successful debut of Reservoir Dogs at Cannes Films Festival in 1992, Tarantino created another world of filmmaking. What he brought to the industry was a perspective and whole landscape that had never been seen before and the release of Pulp Fiction in 1994, certainly proved that Tarantino wasn’t a one trick pony. With a stellar cast, most of which were in their early days, and an outstanding storyline, Pulp Fiction is any filmmaker's paradise. And seriously, you can’t keep avoiding it.

Fight Club (1999)

Keeping it in the 90s, is David Fincher’s Fight Club, another revolutionary film from the king of psychological thrillers. If the name David Fincher doesn’t mean anything to you, it probably should, seeing as his films have grossed over $2.1 billion at the box office globally and earnt him 30 Academy Award nominations. Story, script and cast align perfectly in all of Fincher’s films, with Fight Club being no exception. Based on the 1996 novel by Chuck Palahnuik, Fight Club follows two men (Brad Pitt and Edward Norton, enough said) who initiate in an organised fight club. Sounds pretty straight forward until you get to the end and realise Fincher has been messing with all of us the entire time. In terms of early filmmaking and story structure, Fight Club is an excellent cult classic to sink your teeth into.

Psycho (1960)

Another name to be aware of, Alfred Hitchcock laid down the foundation for thrillers for generations to come. For it’s time, Psycho was revolutionary as it broke the strict censorship and threat barriers created in the world of filmmaking in the 60s. There are some iconic scenes in Psycho, along with an unnerving score and a whopping $39.2 million profit in the box office. Hitchcock also took a gamble killing off the star of the film, Janet Leigh, 45 minutes into the film. However, Psycho just goes to show that risks can also pay off.

La Haine (1995) “The Hate”

There’s a reason why some of the most revolutionary films can be found in the 90s. The 90s was the year of filmmaking that gave two fingers to the world and most of its stories belonged to the misfits and outcasts of society. Films were violent, punchy and led by young protagonists, raking in teenage audiences and voices. La Haine is a prime and clear cut example of the injustice between races and class in Paris, winning a Best Director award at Cannes in 1995. The film was so thought provoking and hard hitting, that the Prime Minister of France at the time forced his cabinet ministers to watch it. I’m sorry, if La Haine is good enough for the Prime Minister of France, it’s good enough for anyone.

Any Bong Joon Ho Film

With the success of Parasite still looming over Hollywood, Bong Joon Ho has to be the industry’s biggest underdog. Before the 2020 Oscars, most weren’t even aware of the director’s work or how gratifying he is as a storyteller. Each film is meticulously executed, with a hard hitting political message sewn beneath the surface of the overall film. Bong Joon Ho was quoted saying that this technique isn’t intentional and the breadth of the films he makes is found once they’re completed. From Okja that explores animal cruelty to Snowpiercer which explores class division, Bong Joon Ho has a way with imbedding societal issues into his films in a stylstic and structured way that should have any filmmaker filled with envy. He’s a strong voice for Asian cinema who’s had a sharp impact on western cinema without feeling the need to have all his films in the english language.

The 400 Blows (1960) “Les Quatre Cents Coups”

Whether you’re at school, in a lecture or amongst friends GUARANTEED the 400 Blows is going to worm its way into conversation at some point. The film was part of The French New Wave movement of the last 50s that created the foundation for French Cinema for films to come. The French New Wave was a significant movement that sought out to reject traditional ways of filmmaking and introduced new, more experimental ways of telling stories on screen. Francois Truffat won Best Director at the 1959 Cannes Film Festival for his directorial debut about a young boy struggling through Paris between his teachers at school and parents at home. The film shone a light on the misunderstood youth of the late 50s and early 60s, setting off a whole co-ord of films within the same genre later on.

Moonlight (2016)

Barry Jenkins became the underdog of 2017, with his beautiful and captivating story Moonlight, following a young boy through early adolescence and adulthood. The film is impeccably shot with rich colours and seamless shots. Moonlight won big time at the 2017 Academy Awards, winning Best Picture, Best Supporting Actor and Best Original Screenplay. The film certainly set the world of filmmaking on fire and carved out space for more black filmmakers to enter into the industry.

Hereditary (2018)

It’s easy to forget that this film was released 2 years ago as it has had some groundbreaking reception since then. Hereditary, directed by Ari Aster, sets a bar and tone within horror films that has never been touched on before. Before him, your average horrors came from low budget gimmicky films where the lead actress would be running around in her underwear by the end of the film. Hereditary keeps everyone in their clothes (for the most part) and viewers on the edge of their seats for the entirety of the film. What stands at the forefront of this film is the slow pace and artistically beautiful frames that Ari Aster has meticulously curated to create a work of art. It’s everything you wanted in a horror film but could never really ask for, due to the over saturation of the horror films on the market and predictable jump scares that come with them. I found that the jump scares in Hereditary were put in the most unpredictable places, leaving me and most people visibly shaken and disturbed.

The Grand Budapest Hotel (2014)

Probably the first PG film on this list, Wes Anderson’s most iconic film The Grand Budapest Hotel, is a production designer’s paradise. Not only that, it features an insanely good cast with the likes of Jeff Goldblum, Ralph Fiennes, Bill Murray, Saoirse Ronan, Adrien Brody, Tilda Swinton, Willem Dafoe, Harvey Keitel, Jude Law and Edward Norton starring in the film. Wes Anderson’s mind is like a fairy tale book; he has the ability to create other worlds filled with bright colours and characters that EVERY ACTOR are dying to be. The Grand Budapest is probably Anderson’s most ambitious film to date and features some production design techniques that are beyond real.

Amélie (2001)

Amélie is your basic starter pack in French Cinema. Seeing as every charity shop has at least one copy of Amélie for sale, you have zero excuse for not having seen it yet. Even if French Cinema isn’t your thing, it’s very likely the entirety of French Cinema will be a topic of interest within your filmmaking course and Amélie is a fine place to start. The film ties the story, soundtrack and visuals perfectly and for any indie filmmaker, it’s a good example of taking a simple story but executing it in a complex way. In terms of box office, Amélie scored pretty well, with a humble budget of $10 million and making over $173 million globally. It was also nominated for five Academy Awards in 2002 and remains as one of the best and most iconic films to come out of France.

Good Time (2017)

With a humble budget of $2 million, Good Time made double in the box office and had a Hollywood star at its forefront. In fact Good Time skyrocketed Robert Pattinson’s career and since it’s release, Pattinson has gone on to be part of some amazing projects. Seeing Pattinson in such a gritty role in Good Time, was highly refreshing and totally suited him in every way. New York based filmmakers, Josh and Benny Safdie co directed and wrote the crime thriller after having an impressive response from their previous film, Heaven Knows What. They recently completed Uncut Gems for Netflix starring Adam Sandler, which continued the crime thriller neon lights aesthetic that's come with their two previous films. Good Time is jaw droppingly good, and for those wanting to go into lighting, it is a must watch. The deeper the story goes, the more you feel the urge to gasp as Robert Pattinson feeds us with an unrecognisable performance.

8 ½ (1963)

We are getting into sophisticated territory here with Fredrico Fellini’s 8 ½ . For those Scorsese and Tarantino fans out there, Fellini is your filmmaking bread and butter as both filmmakers have admitted to being heavily inspired by the Italian’s cinematic masterpieces. Fellini had the ability to tie reality with fantasy in a personal way, depicting a lot of his own life within his films. 8 ½ is no expectation, as it details the making of the actual film in the film and the rocky relationship he had with his wife, who starred in a few of his films. Fellini is named as one of the best filmmakers of all time, for his experimental style and off the wall filmmaking techniques. No one can or could do what Fellini did and there’s yet to be anyone who measures up to him.

Get Out (2017)

You like Get Out, I like Get Out, we ALL like Get Out. The film was the first of its kind in many ways and resonated with an audience that hadn’t yet been found. Jordan Peele wrote and directed the film, which grossed 100 times more than the film’s budget at the box office. This film is the epitome of less is more, taking a somewhat simple idea and heightening the possibilities of it. Jordan Peele became world renowned for it, along with British actor Daniel Kaluuya for his performance that earned him a Best Actor nomination at the 2018 Academy Awards. Get Out stands as a film that did what no one else has done before and for that, it deserves all the praise it gets.

All Celine Sciamma films

It’s likely the first time you heard of French filmmaker Celine Sciamma was from her groundbreaking, break through film Portrait of a Lady on Fire. Premiering at Cannes 2019, the film earned the Queer Palm d’Or and Best Screenplay Award. The film is simple, gorgeously shot and significantly deep in its telling. Not only will Portrait of a Lady on fire set you on fire, but all of Sciamma’s films sit on a level of filmmaking that is praise worthy. Her past films, Waterlilies and Girlhood explore coming of age stories amongst women and are executed in a highly personal and understanding way. She is the queen of female indie filmmakers and certainly one of the best french filmmakers in the industry to date.

I, Daniel Blake (2016)

It can be hard to remove the gimmicks and big names from the stories being sold on screen and get straight to the heart of a film. Ken Loach has brought an incomparable style of filmmaking to the table that sets him apart from almost every filmmaker out there. It's easy to compare a Tarantino film to a David Fincher one, however, throw Ken Loach into the mix there's just about zero relation to either filmmaker or their styles. I, Daniel Blake won Outstanding British Film of the Year in 2017 BAFTAs and the Palm d’Or at the 2016 Cannes Film Festival. It’s no wonder why the Cannes Film Festival ate this film up seeing as the realism and grittiness of I, Daniel Blake gave a voice to a large part of society that is heavily ignored. This film leaves you nodding in agreement at the reality of the way things are even if that reality is incredibly hard to bear.

The Meyerowitz Stories (2017)

For those budding screenwriters out there, the work of Noah Baumbach is necessary in understanding three dimensional characters and the dialogue that comes with them. The Meyerowitz Stories stands from Baumbach’s other films, seeing as the screenplay and actual film are completely the same. On reading the screenplay of this film, I found not one single word of dialogue was forgotten about or changed, which is a pretty incredible achievement for any filmmaker. It certainly showed the actors (Dustin Hoffman, Ben Stiller, Adam Sandler, Emma Thompson, Adam Driver) had a lot of respect for the words on the page and each one of their performances sought to lift them off it. Baumbach’s writing style is beautifully accurate to real speech; there’s interruptions, over layered conversations and a great deal of tangents. The dialogue is like music and is only elevated by the well rounded cast.

The Master (2012)

Filmmaker Paul Thomas Anderson has this hypnotic way of arresting his audiences to invest in his films for two and a half hours, then drop them at the last second. You don’t know why you’re watching or feel so absorbed in the worlds he creates, however it’s as if something over takes your attention, forcing you to carry on watching till the end. The Master is no different with a prolific cast and slow burnt pace to it. It's hard to explain what it is about this film that makes it so great. The cast made up of Phillip Seymour Hoffman, Joaquin Phoenix, Amy Adams and Jesse Plemons bring a top level performance and it feels like they’re always sitting on a secret. Every moment, every word, every shot is unmissable and the entirety of the film sets a bar of filmmaking that is flawless. Paul Thomas Anderson is a master (pardon the pun) of arresting his audiences and is someone to follow if you wish to do the same with your own films. For budding cinematographers, all of PTA’s films are worth a watch.

12 years a slave (2013)

Probably the best film out there that depicts slavery, 12 years a slave is a heart wrenching and moving film directed by Steve McQueen. The sensitivity and authenticity Steve McQueen brings to his films is A class, as he does an outstanding job of really transporting his audiences to a time before. There are many scenes in 12 years a slave that can be considered some of the best ever made. The cast is in-sane with the likes of Chiwetel Ejiofor, Lupita Nyong’o, Benedict Cumberbatch, Michael Fassbender, Paul Dano, Sarah Paulson, Brad Pitt and even a young Storm Reid and Kelvin Harrison Junior, all joined within this story. Films with such casts are rare and it’s unquestionable why the film was nominated for Nine Academy Awards, winning three back in 2014.

The Social Network (2010)

Even though I wasn’t a fan of The Social Network, I can still appreciate the musicality behind the work of Aaron Sorkin and the screenplay he wrote for this. The collaboration between David Fincher and Aaron Sorkin on this film is something the world certainly needed, as two highly skilled masters of film came together and served us a huge slice of their talent. The Social Network is 100% the screenwriter’s film, and one to watch when trying to analyse successful dialogue within films.

Babel (2006)

Those who are into the episodic film, you are advised to look into the work of Alejandro G. Iñárritu. A name you might not be too familiar with, but you only need to have seen Birdman or The Revenant to appreciate his talents as a director and unique voice. Babel struck me as a poignant and INCREDIBLY structured film, with a satisfying 360 to it, as all the stories connect to one another in a distinct way. It’s so clear that a lot of time was put into writing such a screenplay and the production itself is to be noted, for scenes are filmed in Morocco, Tokyo, California and Mexico. That takes a LOT of money, time, effort and people, however if was certainly worth it as Babel is hands down one of the best films you’ll ever see.

The films of Xavier Dolan.

Xavier Dolan is Cannes Film Festival’s godson. The man has attended every festival for the past 10 years and each time, when in competition, he brings a personal and hard hitting perspective within his films. I have seen all but one of these films, and I suggest you do too. Xavier Dolan’s directorial debut I Hate My Mother scooped him numerous awards at the Cannes Film Festival and was made when Dolan was only 20. From then, he went on to direct several french/canadian films that won him the Jury Prize, Un Certain Regard and Queer Palm at Cannes. He’s a filmmaker who puts so much passion and devotion into his work, which is seen through the incredible acting, story and dialogue shown within his films. Two must see films of his would be Mommy and Laurence Anyways, especially for the acting. Xavier Dolan also directed the music video for Adele’s Hello music video which is one of the most watched music videos of all time, with 2.7 Billion views on YouTube.

You Were Never Really Here (2017)

Lynne Ramsay’s 2017 film starring Joaquin Phoenix is everything and more that you want from a thriller. It’s probably one of the best thrillers out there on the market and is highly underrated. Lynne Ramsay’s previous spellbinding feature We Need To Talk About Kevin sent pulses racing through the industry, giving Ramsay the recognition she deserves and even earning her a Palm d’Or nomination at the 2011 Cannes Film Festival. As a female filmmaker, Lynne Ramsay is one to watch for she has a knack at creating her own original slow burning, deep stories and directing them in a seamless way.

The films of Christopher Nolan

Christopher Nolan’s 11th film recently hit cinemas and no one knows what the hell is going on in it. However, there are plenty of other Christopher Nolan films that don’t melt your brain or send the guy next to you at the cinema cursing throughout the film in frustration at not understanding the film. The Dark Knight is said to have one the best performances in cinema history, with the late Heath Ledger taking on the role of the Joker. Not only that, but the likes of Gary Oldman, Michael Caine, Anne Hathaway and Christian Bale are also featured alongside Ledger, creating an untouchable cast. Dunkirk also deserves an honourable mention as one of Nolan’s films, seeing as I couldn’t breathe throughout the entire film. The second Dunkirk begins, the tension builds and you’re kept in a constant state of panic for the characters on screen. As far as war films go, Dunkirk is up there and it’s cinematic qualities were recognised at the 2018 Academy Awards, picking up three awards. What we can take from Christopher Nolan and his ability to execute stories on screen is that he spends a great deal on his screenplays before production. Tenet took FIVE YEARS to write (and probably another five to understand) certainly showing his devotion and dedication to his ideas as a filmmaker.

Honorouble mentions (that u should definitely check out)

Taxi Driver (1976) A Clockwork Orange (1971) Call me by your name (2017) Her. (2017) Do the right thing (1989)

Obviously there are 100s of other films worth watching that aren’t on this list, however if you were to watch all films mentioned on this list, you’d certainly get a different perspective on the possibilities of filmmaking and the stories they tell.

111 notes · View notes

valwrite · 4 years

Text

O1 pride / shock; andre layton series

general masterlist

series masterlist

series taglist: @gollyderek @fanfic-addict-98 @lets-love-little-me

summary: hell has frozen over and, in it’s place, snowpiercer has emerged. it’s many carriages carry secrets: affairs, murders, betrayals. and that’s only mentioning andre layton’s secrets. when a serial killer appears, detective layton is called on to the case. though reluctant at first, he agrees to take on the case when he discovers the first victim is rumored to be a once Tallie, an ex-coworker, an ex-lover: Y/N L/N. what starts as a hunt for her killer quickly becomes a hunt for the truth behind her suspicious death. the tail is uprising; his ex-wife is back in his line of sight; all eyes of the train are on him; and all andre layton can focus on is finding Y/N L/N’s body.

series warnings: angst, character death, smut, infidelity.

chapter warnings: mentions of suicide, details of murder.

fic style: series.

word count: 4292.

author’s note: apologies for the delayed posting of this, i was on holiday and forgot to queue this post. the first chapter follows very closely the actual series but, the following chapters deviate and will follow their own plot, whilst still maintaining some of the show’s main plots. as always, any feedback is welcomed.

Of all the things Andre Layton had thought about when it came to life further up the train, smell was the last thing he'd ever considered.

Crouched over on the floor, he takes in a whiff of the air. There's no thickness to this air, unlike the Tail's air. There is no stench of sweat; or blood; or tears mixed in with the breath he takes. The air in the Tail tells a story of it's inhabitants struggle for survival, all the daily hardships they endure leaving behind a foul stench the Tailies had grown to find comforting. This air is clean. Perhaps a little too clean, the faintest hint of bleach is tickling at his nose. He knows from experience what the smell of bleach could be covering up but pushes those thoughts to the side, preferring to live in blissful ignorance for just this one breath.

His head is pounding, the very first headache he's had since, well, he's forgotten how long it's been, actually. There's always the thought of how maybe the headache is chronic in the Tail, never ending and, therefore, never beginning, bringing Andre to a numbness when faced with such pain. But it's been hours now since he had been forced out of his home, perhaps the quiet consumed him enough to remind him of a life without noise and headaches, only to snatch the rug out from beneath his feet and hand him the worst one he'd dealt with.

Andre's in disbelief still. He knows the Tail is in chaos. The chaos is what kept them all alive, what will continue keeping them all alive. But, uptrain? He's always assumed they were tranquil. What he's quickly discovering is that, while tranquility may have been the surface layer, if someone even begins to dig just slightly, they'd very easily stumble upon savage beasts wearing sheep's clothing. The Tail may very well be a dark and difficult place to live but all of it's travelers had learnt long ago to find empathy in each other, working together rather than just for themselves.

A murder has taken place. Well, actually, two. Possibly three, from the way Officer Till had been arguing in hushed whispers with her superior earlier on, after Andre took a few beatings from the British officer, who's name began with O and ended in asshole. The death tally isn't his main focus either way, rather the job they are attempting to enforce on him is.

It's not like he doesn't understand why or how they came to the decision of requesting - he believes they were more demanding - his services. They have a potential serial killer on the loose and they claim he's the only one on the train with experience in such a field. Of course they were going to come knocking on his door. Only, he's not technically the only one on board with familiarity of crime scenes, just the only detective. And, see, if it weren't for the fact he'd spent however many years has passed watching how the upper class men on the train came and stole food, medicine, life from the Tail, then maybe he would have been a little more giddy about stepping back into Detective Layton's shoes. Alas, they'd made their beds and it was about time they started to lay in it, because they weren't about to get any help from him.

For all he cared, the killer could have at them all till there was no one left but the Tailies. They were the only ones good for anything on Snowpiercer.

"So, you got a body?" Andre stares up at the Brakeman- Doshe? No, no, Roche! - and the voice of the train, the woman who'd introduced herself but he'd tuned out her name. He doesn't need to know the name of the woman who spoke for Mr. Wilford. It was bad enough the man had been too coward to ever properly address the Tail by making a physical appearance, never mind the fact he won't even speak to them over the announcer. He sometimes imagined Mr. Wilford, with a pot belly and a whitened beard, surrounded by nothing but lavish. "Good for you, keep it for yourself, like everything else you lot have."

"This killer is taking lives on board this train." The train's voice starts up again, staring down at him with not a wrinkle of emotion behind her callous eyes. He's met a few women like her in his life, who's eyes remained devoid and near lifeless even when faced with some of the most horrific acts a person could do. "Like it or not, you're a member of this train and-"

"That's the problem with your lot, the Tail's only part of the train when it's convenient to you."

"The tail was always part of the train, just not it's inhabitants." Roche fires out, his brows furrowed and he uncrosses his arms. "The rest of us payed to be here, as workers or as passengers."

"That means my people deserve to pay with their life?" He can feel himself becoming more riled up by the minute, the pain from his previous beating being pushed to a side as he contemplates the repercussions of brawling with the older man.

"Roche, that's enough." Melanie interrupts them, stepping in the way of Roche and giving Andre no choice but to stare back at her empty eyes. Upon further observation, he catches the first sign of humanity in her. The bags under her eyes, subtle yet there. Dark, wrinkled, pillowy. It seems that exhaustion unites them both, even if their reasons for it are worlds away from similar. "The people on this train need security, Layton. If they found out there's a serial killer on board, the classes would break out in chaos-"

"You seem awfully sure there's only one killer and not just a copycat." A serial killer requires a minimum of three bodies. They has two. Andre wonders if this Melanie woman is unaware of such a technicality and had used the term flippantly, or if there is another body, a third body, he's being kept unaware of. If so, who? And, why?

"All of this, everything Mr. Wilford has worked so hard to keep in order and working, will have been for nothing if we can't maintain the peace. I'm not going to beg for your help, Layton, but just know you'd be saving us all. Including the Tail. You're the only one on board experienced with this."

"Guess the rich didn't consider the fact they'd start killing their own."

"So, will you help?"

This was the question Andre has been asking himself from the moment they'd stripped him away from the Tail; from his people; from his family. He knew, from the second the blonde haired woman had called out his name and butchered their plans for attack, that there was something they wanted from him. It was the same for anyone else who got called up train, there was something needed from a Tailie and it was never something good.

He can perfectly picture the faces of the Tail all staring back at him as he demanded to be taken back, armed men using all the strength they could summon to pull him out of the way of the closing doorway. Some looked on in horror, fearing for his life under the watchful eyes of the rich. Others gave him nothing but betrayal and anger in their eyes, as if they seemed to believe he'd orchestrated everything to have himself rescued from the Tail. Maybe, Andre wonders, some of them believe Zarah had it planned out, especially after leaving the Tail herself. Perhaps there was someone else they thought had saved him, someone who'd only recently left the Tail.

If Andre were to choose between being rescued by Zarah or her, Zarah's name wouldn't even begin to cross his mind.

The Tail is angry with him, he knows that for sure. By pure luck, they'd seemed to elect him as their leader, even if they worked as a united force and not an army. If he wants a chance to repair any damage caused to his people, his only real hope is to find his way back home and stay there, until he can charge onward with the Tailies and claim the train for themselves. Leaving the killer out in their playground of terror may just assist him in collapsing the fragile system of the train.

"No." Finally, he has his answer and it pleases him to hear the confidence in his voice, the pride he has for his status as a Tailie shinning brighter than ever before.

"No?" The train's voice echoes as Roche simply shakes his head behind the woman, muttering some intangible curse under his breath.

"You heard me. Solve your own shit."

She pulls back from him, turning her back to now face Roche and though Andre can hear both their voices speaking in whispers, he can not make out exactly what they are saying. She'd walked out of the small room before he can even register what's happening and Roche has him standing back up onto his feet, a hand firmly grasping at his forearm whilst he carelessly shoves him back into the hall of the train.

The quiet settles in again and Andre's fleeting attention sinks into memories from life before the cold, a fairly common habit of his which seems to be happening more than usual as of late, since she'd left the Tail much like she'd left him at the park, and the sight of the mutilated body he'd been brought out to investigate which brought back every memory of every case he'd taken on.

In this current memory, Andre walked into an apartment.

The room was trashed, with smashed glass and flipped furniture scattered all over the place. Upon first look, he suspected a robbery gone wrong. All around him, officers pulled him each and every way, all sharing their tid-bits of information regarding the on-going investigation, from suspects to who'd discovered the body to begin with.

The body. God, he hadn't even seen it yet but there's already that sinking feeling settling in his gut, the feeling that arrived every time he witnessed another crime scene. It was comforting to him, though disturbing, that such a thing could still rattle his bones and disturb his soul, the overexposure to it not making it any easier to deal with. Andre enjoyed the fact he had an emotional response still, the very thing that proved he was very much human beyond his detective work.

The sinking feeling grew when he saw the victim. A young woman, probably no older than his Zarah, who he liked to think was smiling; or laughing; or simply breathing and alive as he viewed the sight of that deceased woman. There were marks all down her left arm and blood on her fingertips, suggesting a chance that the victim struggled and fought for her right to live. It' was only one bullet wound, right between her eyes, yet that one simple wound ended an entire life. Killed any future, diluted any past and destroyed any present the victim had.

But there was someone else in the room with him, another woman, though that one was breathing. Her hands were covered by medical gloves and she was crouching by the victim, a pair of tweezers in her hand as she picked at something in the victims hand.

"Who are you?" She jumped at the sound of his voice, staring up at him with a look of discontent and frustration.

"You made me drop the DNA sample, dude. Not cool." She went back to her tweezers work. "I'm the department's new forensic scientist, Y/N L/N. I take it you are detective Layton?"

"I am." He nodded his head once, taking out his notepad and pen as their task at hand came barreling to the front of his mind, reminding him of the fact there was a very clear murder victim between the two of them. "What do we know of the victim so far?"

They had made their way down a hatchet hole, with Roche in the lead and Andre a few steps behind, cuffed and with his head held high. His hair brushes gently against his back, a strangely comforting repeat of motion that accompanies his less than pleasant travels throughout the train's cabins.

"You gotta take me back to the Tail, man." He pleads after Roche announces he's not heading home but, rather, to the man's holding cell. There was a time where it was Andre Layton who would be the one dumping someone in a holding cell whilst proclaiming he would be returning home to his wife, but now he had no wife; and no cell; and no badge that mirrored his past. "The Tail's all I got in the world."

The lead Brakeman does nothing but shake his head in response and Andre sighs, tired of fighting but nowhere near ready to give up.

They're plunged into chaos suddenly, sirens echoing up the train as Andre feels himself be stripped away from Roche and slammed full force into the metal caging surrounding him. The fresh bruising on his ribs screams in pain but Andre only hisses, his teeth clenching to bite back the grunt of anger begging to escape him. A man, around the same age as Roche and the same stature as himself, stares back at him with pure hatred. He's dressed in blue armor gear and his knuckles are turning whiter as his grip on Andre's collar tightens. And when he speaks, he spits every word out: "Now we've got a hostage, too."

Even in times of utter devastation, mankind finds a way to create division between themselves. In his life before the weather changed, he was targeted for the color of his skin. Now, he's also chased after for his status on the train. A filthy Tailie.

"Commander! Let him go." The voice of the train comes from nowhere and everywhere all at once, and Andre is actually glad to see her when he feels the grip on him dissappear.

"The Tailies have revolted again." The small mouthed women, who Miles refers to as the Executioner but is actually named Ruth, speaks next.

"Yes. Mr. Wilford is aware."

"Look, whoever they are, I know 'em, okay?" He steps in, hoping to bargain with them. This may be his only chance to both save the Tailies and prove his loyalty to them. "I can help."

"Things are going too far with him-" Ruth's irritating voice pipes up again.

"Please." He continues nonetheless, focusing only on the voice of the train, who he'd heard be referred to as Melanie. "They'll listen to me."

The Commander is the one to lead him to the Tailies. His grip on Andre is tighter than before and it feels purposeful when he shoves his side into the wall. His Irish accent is distinct enough to remind Andre that he and this man have history, from the initial revolts started by the Tailies, where they fought to keep the very small space of the Tail. Many were lost in the war but it wasn't in vain, it helped the Tailies learn to rely on each other and be a family.

"You've got three minutes." The Commander gives him one last shove, right into a masked soldier's shoulder.

He's only in the doorway and already Andre can see just how much damage his people have done. It's what they'd been training and waiting to do for so long, he never imagined they'd fail. Bodies lay all over the place, some of Tailies but most of them soldiers. Blood splatter paints the wall in red and lights are flickering at the end of the hall. His people had fought hard. They'd now need to fight harder, once he revealed his very hazy plan to them.

"Tailies! Who's left?" He listens to his own voice echo down the train. "It's Layton."

It takes no more than a second for a familiar voice to chime in, calling back to him: "Layton, you're a coward!"

It's Pike, which doesn't really surprise him at all. The man had always questioned Andre, always been ready to point out his mistakes and share his wrongdoings.

"Pike?" He says, after a sigh and an eye roll.

Andre finally steps into the bloodied carriage, carefully placing each step on the ground as quietly as possible. So far, all he knows is that Pike is there. And there's no guarantee that man wouldn't try take Layton down given the chance, meaning he had to be subtle and careful in his approach. He steps over arms; and legs; and torsos, the stench of blood so thick in the air he can almost choke on it.

"We don't want you here!" Pike speaks again.

"I'm coming in."

"No, you're not!"

"Who's with you?" No matter what, Andre tells himself that finding out who remains is his top priority. And keeping Pike talking may just distract him long enough for Andre to disarm him in a sudden approach.

There's three of them on the other side of the cabin. Pike's at the front, blood drying on his hands and a makeshift weapon clasped in one of them. He's stewing in his own anger, on guard each step Andre takes. The other two are pretty much in the same positions, only the biggest of them all has a familiar, though terrified, woman captured in his arms: Till, one of the brakemen who'd been with Andre earlier on that day.

"How's it going?" He's trying his best to calm them down.

"Yo, Layton, where you coming from, man?" But the betrayal is already so evident in their eyes, their voices, their body language. To them, Andre is looking less like a Tailie than when he was dragged out of there.

"Uptrain, man." Honesty may be his best policy, if he plays his cards right. "Yo, they pulled me up to solve a murder. You believe that?" He sure as hell still didn't. "They're doing us a favor and killing each other up there."

"Bullshit." Pike is still angry but what's new? Andre knows he needs to redirect his anger off of himself and back onto those who are the real enemy. "You're a traitor! This will only end one way."

"Yeah." Andre's hand comes down on Pike's weapon, clasping it in his own strength and pulling it out of Pike's shaking arms. "They're gonna storm in here, and they're gonna butcher us. Everything we've fought for, everyone who's lost their life for this to even be achievable, it will all have been in vain."

"Two minutes!" The Commander's voice yells down the hall and suddenly they're all on edge again.

"I got a family, man. I can't die like this."

"Shut the fuck up, Z!" Pike's grip has returned to the weapon, widening Andre's eyes as he fears the man may strike him down in irrational anger.

"I got a wife and a kid on this train, Pike." Z fights back, enunciating each word with the passion of a devoted husband and a loving father. "Old Ivan offed himself, man. We're dong this for him. He hung himself with an electrical cord. That's what sparked this whole thing."

"Pike," Andre wants to grieve and break down, the loss of Ivan, a gentle soul in a world of unkindness, shaking him to his very core. But he can't. There's no time. "whatever happened between us, we're brothers." Pike's breathing slowly begins to deescalate. Andre loosens his grip on the spear between them both. "I think I got a way for us all to get outta this alive." At last, Pike lowers his weapon, his head shaking as he fights back his emotions. Andre seizes onward, making eye contact with the woman. "Hey. Till, It's okay. It's okay." It doesn't take long for him to convince the Tailie holding her captive to lower his weapon and, with an abrupt apology he wishes was sincere, Andre punches her in the face and watches how she falls down.

There's commotion straight away, with all three Tailies bringing their weapons back up and pointing them at Andre, the fire returning to their blood as they look at the man they would call traitor.

"What the hell, Layton!?"

"You need to surrender yourselves to the drawers!" He rushes out, before any of them can harm him.

"No way!" Pike says.

"It's like sleep! They put you to sleep!" He'd seen them himself, zombiefied in the drawers as different wires and tubes kept their bodies alive whilst their minds slept away the revolutions the train done around the frozen landscape.

"Okay. For how long?" Z seems more willing to cooperate.

"It's a goddamn coffin, Layton!"

"Listen to me! By my count, I went uptrain 130 cars today, okay? I seen shit none of us could've imagined, alright?"

"What? You seen your traitor wife!? Or your traitor girlfriend?"

"Pike, Old Ivan dreamed of this! I can piece together floor plans, maps, security details. Everything we could ever need to properly storm uptrain, all the way to the engine."

It's in utter tears that all three men throw down their weapons, Pike the most exhausted of all. "Look at the blood!" He cries, crouching on his knees. "I'm done, Layton! I'm done."

"One Tail, remember? It's only a matter of time until the day we take that engine, we're gonna need you waiting uptrain." Andre watches as the other man nods, standing up straight again and clearing his throat.

With the Tailies now in agreement, Andre finds himself stuck between the Commander, Ruth and Melanie, all demanding and fighting over what the fate of the Tailies should be. There's only one thing left for Andre to do, one last sacrifice of his pride to make.

"I'll do it." He speaks only to Melanie really, the others being drowned out in the sound of the train's wheels turning against the frozen track below. "I'll solve your murder. I will get your order back, and in exchange, you'll give mercy to the train."

"Mr. Wilford demands justice. But we can't afford to lose another life. Ruth will take an arm from a Tailie tomorrow."

Hours have passed since the agreement was made and in a small holding cell lays Andre, his muscular build uncomfortably fit onto a small cot. He misses his bed in the Tail, the bed in his house, the bed in room 322 of the Marigold hotel just down the road from the station. It was the luxury of feeling refreshed every morning; of having a cup of coffee placed on his desk, her familiar handwriting across the attached sticky note that he'd taken advantage of for years. Now, he never even sees her face outside of his own memories.

For the past half hour, he's been feigning sleep. Roche has been sat guard near his cell the whole time, though he believes the man should be on his way home soon, to his own bed and his own wife. The voice of the train interrupts this though, sneaking her way into the room so quietly Andre nearly opens his eyes and blows his cover.

"Nice work on getting him to cooperate." Roche is the first to speak. "How'd you know he would?"

"I could see it in his eyes. He'd do anything for the Tail, even if it means helping us." He hates the way Melanie speaks about him, like she understands every little thought in his head, every action he makes. Like he's a puppet and she's the puppeteer, moving him around with the strings she'd tied onto his limbs. "We'll get him started tomorrow with the proper investigation. I'll send you a list of anything and anywhere Mr. Wilford deems off limits."

"And what about the victims? Is he gonna get the full rundown or?"

"There's things he doesn't need to know about."

"Like the fact the first one was a Tailie?" Roche asks matter-of-factly and Andre swears he can see him cross his arms, that smug look across his face.

When the voice of the train speaks again, it knocks the wind out of Andre's lungs; stops the beating of his heart; freezes every thought in his head.

"The body of Y/N L/N is to be kept top secret.Detective Layton is not to even hear about her. Understood?"

He hasn't heard her name, her full name, in so long. He knows it's wrong but he loves to hear them call her by her maiden name, instead of by her married name. It's as if, on the moving life of the train, her husband doesn't exist, never existed. Perhaps reality would have been better that way, perhaps they could have survived longer to become more than dirty secrets reserved for nights of pleasure and mornings of ignorance. To even begin to fathom that she was no longer alive, on board the train, feels like more of a betrayal than when he'd last seen her walk out the doors of the Tail. He can remember it now, the anger he'd felt the next day when she'd never returned. It had stung more than when Zarah had left. To think he spent so long resenting her for abandoning them, when there's now the fact she's nothing more than a body in a serial killer case brings bile up Andre's throat.

There are secrets haunting the train. Between the murders and the politics, Andre begins to fear he's now stuck in the mess of it all, swimming blindly in a sea of lies and being expected to be an honest man. He knows his only hope is to tear the train apart, limb from limb, and peak into the darkness it's trying to cover up.

If that means uncovering Y/N L/N's fate along the way, so be it.

58 notes · View notes

zalrb · 4 years

Note

Who are some overrated actors and actresses who are not that good of actors?

I think Tom Hardy is so overrated. Every time I see him in something I’m like, what are you SAYING? “He’s so good at accents” really?? Or is he just good at mumbling?? Like if I ever see him in anything I just start ranting to initiumseries and she’s like lol, are you ok? “I thought he was pretty good as Bane” WHAT WAS HE SAYING AS BANE. WHAT WAS HE SAYING AS ALFIE. Gemleilou tried to get me to watch a show that he starred in and after the first episode I was like, I can’t do it. I feel like the most he’s EVER enunciated is in Inception

I don’t know if Chris Evans is overrated as an actor, I just know I think he was at his best when he did B-list movies, I saw him in Snowpiercer and a few scenes in Defending Jacob and I was just like, you don’t have the emotional depth for these characters, you just can’t get to the place I personally need from actors to make these characters believable.

Laura Linney. I remember I said that a while ago and an anon was like, really???? But honestly, her work in Ozark is consistently praised and I don’t get why, I don’t find it particularly dynamic, I don’t find it particularly emotive, I don’t find it particularly nuanced especially in comparison to Julia Garner who I felt like consistently outacted the vets.

Kate Winslet. Same thing as Laura Linney. I’ve seen a fair share of her filmography and I think she’s competent but I don’t think she’s amazing.

Oh, I don’t know if Jennifer Lawrence is even a thing anymore but I remember when they really pushed her and I’ll admit at the very beginning I was like, oh yeah! But that was when I only saw the Hunger Games and I hadn’t read the books yet so I didn’t realize how much Katniss had been butchered and then I read the books and I I saw her in other things (and she turned out to be such an obnoxious person) and I was like, you ... are fine, you are not the next generation of a brilliant actress, no.

16 notes · View notes

sweater-daddiesdumbdork · 4 years

Text

Rose Red’s All Hallows Eve: Ticket Please?

Summary- 4.2k Curtis Everett x You. Your boyfriend got you tickets to a charity Haunted House, and the special features include immersed scenes from the movie of your choice. Once you hear that the one and only Curtis Everett from Snowpiercer is a part of the choices, you just have to go. Prepare for a night of apocalyptic fun!

Warnings- Blood/Gore, brutal killings, swears.

A/N- Written for @jtargaryen18 Haunted House 2020. This is a 3 chapter story that will be posted within a few days of one another. Be sure to read the warnings for each chapter. The page dividers were made by @firefly-graphics , I highly suggest checking out her work, its really excellent and a bit of everything to choose from. The manor described in this story, Rose Red, is a piece of work from Stephen King, and I highly suggest watching the tv mini series, if you can find it. Perfect for this time of year. Special thanks to @what-is-your-plan-today for being my Beta in this project. Happy Reading and Haunting! 😈🎃

“What do you mean Bryce that you can’t come? You promised you would! When is New York State ever going to open Rose Red to be explored like this again Bryce?” You spoke into your cell phone while looking in the mirror, currently doing a french braid to keep your hair out of your face. Your expression reflected back at you was a mixture of fury and disbelief. You had only been talking about this charity for 6 months, and here was your boyfriend backing out after he’d promised to come with you numerous times.

“Something came up with Maya, okay? You know my sister can’t do anything without fucking it up. Besides it's just a house”

“Bryce, don’t talk about your sister that way.” You sighed exasperatedly before your voice dropped slightly conveying your disappointment “And it's not just a house, it's just the most haunted manor and grounds in New York. They had it condemned supposedly just for that reason! You really can’t come?”

“You know that shit isn't real. Sorry Baby, but why don’t you take one of your friends? How about that Karen chick?”

You gave a sigh and roll of the eyes, Bryce never bothered to get to know any of your friends, not like you did with his friends. “You mean Stacey? Her name isn’t Karen.”

“Well, she’s like a Karen.” He retorted with a condescending tone.

“Whatever Bryce, I’m hanging up now.” you snapped out, he was being an ass especially considering this entire night had actually started out as a treat to him from you.

“Hey, Hey, I was kidding. Take Stacey. You know I wouldn’t be any fun, I never liked Snowpiercer, remember?”

“That’s not the point Bryce…” you sighed again.

“Look, go have fun with Stacey, and tomorrow morning I will pick you up, we can go for a drive down the coast, just the two of us. Maybe have a long weekend in Hampton. How does that sound? I will even take you to that hotel you like. That one right on the beach with the view we stayed at last summer. We had fun there, didn’t we Sweetness.” now his tone was a hint of teasing and promise, and although you were still mad that he ditched you again, you felt a warmth bloom in your chest that he was trying to make it right.

You bit your lip remembering, it had been a fantastic vacation, and Bryce really showed you a good time without ever having to leave the room. At your silence he gave a chuckle of triumph. “That’s what I thought, I'm gonna call them right now. Have fun tonight baby.”

“Okay, but you better be here bright and early Bryce. Love-” Before you could even say the words, he hung up, and you hit the end call button, trying to get over the feeling of disappointment before you called Stacey. You could already hear what she would say, but as your best friend, she would be there. She always was. Dialing her number, you pulled out the tickets from your purse, allowing yourself a smile.

What could you say, you were a fangirl. Snowpiercer was such an intricate dark story, you had fallen in love with it the first time you watched it on Netflix. So when Bryce mentioned his grandfather was helping sponsor a haunted house charity at the town's resident creepy manor, and it was featuring several film sets. Including none other than Snowpiercer, you just had to have all the details. It even went as far as Bryce having his grandfather putting in a good word of how much of a fan you were to get you in. You scrimped and saved, Bryce as well helped you with paying for the tickets. You had really wanted to do this with him too. No, he didn’t share your love for the story, but he was your boyfriend and Halloween was your favorite holiday. It was something you two could have shared.

Oh well, next year we will do what he wants to do, you thought to yourself waiting for Stacey to pick up her phone.

A familiar voice answered, jerking you from your thoughts. “What’s up? I thought you would have already left for the charity function?” Stacey questioned.

“Slight change of plans, something came up with Maya, and Bryce can’t make it.”

“Big surprise.” the answer made you wince, cause this wasn’t the first time you called Stacey about Bryce. “You want some company? I can be ready by the time you get here?”

“Please?” you already had your purse over your shoulder and were heading out the door as she answered.

“Don’t worry girl, I got you. See you in a few.”

The line to get into the grounds was long, cars piled up as the two of you pulled to a stop. Stacey leaned forward to look out the windshield, giving a soft whistle. “Damn, they pulled out all the stops for this charity, didn’t they? Isn’t that the Rose Red Manor?”

“Yea, they were able to get it for the night from the Governor. Pretty crazy since this place has been condemned, they were supposed to demolish it back when Ellen Rimbauer’s grandson sold it to New York. You know the stories here, don’t you? Men die, Women disappear never to be seen again. The house somehow has random room built on out of nowhere. No one actually knows how many rooms Rose Red has, and the grounds are much larger then the records state.” You let your foot off the brake, easing forward.

“Shut up, that’s not true.” Stacey gave a shudder and you laughed, winking in a teasing manner. “How does a house keep getting bigger? I say bullshit.”

“It’s all just for spooks, the place is safe or else they wouldn’t let us on the grounds.”

“If I die Y/N, I’m haunting you.” Stacey jibed back, pulling up to the concession stand, and you rolled down your window.

“How many, and what set are you here to visit?” a tired voice sounded at you while you pulled the tickets out of your purse and handed them out the window.

“2, for the Snowpiercer, Curtis Everett set.”

The redhead took your tickets, her green eyes flickering to check them before she gave a slight smirk of perfectly painted ruby lips. She leaned forward, to look into the car. “Curtis Everett you say? A personal favorite of mine, the set reminds me a bit of home.” Your eyes flickered to her name tag, reading Natasha Romanoff, it sounded Russian, where it is assumed the train derailed at the end of the film. “Curtis is a bit intimidating, but don’t get scared, it's all a part of the show.” She stamped your tickets and collected bracelets, handing them back to you which you and Stacey both snapped onto your wrists. “Enjoy, and make sure you have those tickets on you. The Wilford on set will be looking to collect them. Bozhe, pomiluy tebya.” God have mercy on you.

Your brows came together in confusion at the foreign launguage and gave a nod. “Thanks?”

The woman smiled and snapped her window shut, ending the conversation. Pulling the car away to continue to park, Stacy wrinkled her nose. “What was that about?”

“You got me. I don’t even know what language that was, I’m guessing Russian?” You watch and follow the people directing you to park and are soon in your designated spot. “Whatever, you ready?” The uneasiness slipped away as you got excited, cause lets face it, Curtis Everett had been a crush for you since you saw the movie. And now you were going to see him, well the actor in the role, once again. From what you could tell this charity was an a-list kind of deal, cause after hours of scouring online, you found nothing talking about Chris Evans doing this function. Maybe Bryce was good for something, you thought as you got out of the car, and then chided yourself for being so cruel to your boyfriend. After all, if it wasn’t for him, you wouldn’t be seeing Curtis or the Snowpiercer set. While you two were walking, apparently the last ones in the queue, you pulled out your phone to send him a message.

Hey, Stacey, and I just got here. Miss you and Love you.

It wasn’t even a few minutes till your phone pinged back

Have a good time and don’t get too scared.

Smiling to yourself at the glowing screen, you stuffed your phone back in your purse and proceeded towards the front where you showed your bracelets.

“Ahh Snowpiercer, you actually go around back. Follow me.” Your host said as he led you around the side of the building, away from the last of the people disappearing inside.

“We're not going into the house?” you couldn’t help but feel disappointed at the idea, it was supposedly one of the most famous haunted houses in New York State. The well-dressed host turned, looking at you for a moment before putting on a suave smile.

“Since you are special guests, I’ll wait for you after your tour with Curtis Everett on Snowpiercer. Give you a proper tour of Rose Red. But I assure you, that you’re in for a better treat, this is a truly exclusive walk though as hardly anyone gets to explore this much of Rose Red. Did you know that Ellen Rimbauer also had a private train on the grounds? It’s not documented as extensively as the house is, but many strange occurrences have happened here as well. It’s rumored that a single match light can be seen running up and down the aisles. Workers will be glimpsed from the corner of your eye in the darkest shadows. The ones that have visited the train claim to feel extensive chills, and in the engine, ramblings and whispers of madness can be heard. Most assume it's the conductor, looking for his replacement.” Your host continued, while out of the darkness a massive ominous train loomed, vines all over it, and it almost had a skeletal appearance as windows were busted out of it, and it looked pitch black in all the openings.

“The workers used the train to bring in materials from the harbor to the construction site. And in 1903, a riot happened on the train, the crew claimed that they weren’t being compensated for the conditions, and they demanded better wages. When W. Rimbauer refused them, they put a stop to the train for good. Resulting in many deaths.” Your host led you to the front car, in which a pale man stood with a lantern and a single red rose he was twirling in his fingers, and upon seeing the trio of you, he promptly slipped the delicate flower into his robe and smoothed down his outfit. Giving a wave, he stepped down and you noticed that oddly he was wearing what looked like a luxurious robe, his bald head shining in the glow of the lamp. The more you studied him, the more you thought he looked exactly like Ed Harris in his Wilford role. You were about to ask, when he interrupted you with his own question to the host.

“Blackwood, this the Curtis couple? We were a bit worried you wouldn’t show up tonight. Which is a shame, as Curtis has been waiting for you.” He seemed to direct his answer solely at you, his pale blue eyes glinting gleefully at you, it was the only way you could describe it, but they still sent a shiver down your back. Ed Harris or not, he was a good Wilford, you thought to yourself as you tried not to let his act give you the creeps. Stacey pulled in closer to you, hooking her arm through yours and whispering.

“You sure we should go on this train? It’s pretty fucking creepy back here. And where is everyone else?”

Blackwood cleared his throat with a smile. “Now ladies, the Curtis scene was very exclusive. In fact, only you two were able to get tickets. Seeing how it’s away from the main house. But I’m going to leave you in the capable hands of Wilford here as I must return for the next group. I will be back soon to give you a house tour afterward. You ladies enjoy the fully immersed experience.”

Your host left you with Wilford, who lifted his lamp to show a path that led down the side of the train. “It’s just a way down here, Curtis will meet you inside, and take you on the tour of Snowpiercer. Now, remember, he will not be breaking character as is per his instructions. We want this to be as authentic as possible.”

You and Stacey follow along behind his seemingly smooth stride, both of you tripping up a bit although Wilford seemed to have no issues with the uneven ground. Both of you were panting a bit when he came to a stop, and held a hand up to a ladder, leading into the darkest opening you’ve ever seen.

“There are no lights inside?” You drawled out and Stacey braced her hand against the train to catch her breath.

“How the hell are we supposed to see? And climb in with heels? No one told us that this was going to be an expedition just to see a movie set.” the woman snapped out, and Wilford turned that gaze from you to Stacey, giving a cold smile.

“It will all come on once you're inside, everything is in its preordained place in Snowpiercer and we are allowing you to really see it all come to life. But before you two go on, can I have your tickets please? No one goes onto the snowpiercer without one.” His grin turned eerie in the shadows on the lantern he had brought with him, and you were quick to look away from it,

Fuck he is weird. You shudder, while searching your bag and handing over both tickets. He immediately put them in his robe and held the lantern up so you could see a bit better to get inside. Grasping the ladder, you start to climb in, Stacey following right behind, holding onto the back of your shirt. One you stumbled in, and Stacey did too, you both turned to look back out, expecting Wilford to follow you in, but the door slammed shut, and a shudder went through the train, hard enough so you both yelped, falling into each other.

“Y/N! What the fuck is this? We have to get out of here.” You could feel Stacey digging into your arms in a panic, and you stumbled back to where the door was, your hands slamming against freezing cold metal, your palms pounding on the vibrating metal.

“Why is it vibrating? WHY IS THE TRAIN MOVING?” You started to yell, and Stacey moved up next to you, also slamming her palms against the metal walls. Blinding light made you both yelp and cover your eyes, stumbling to land in a heap when you pulled your arm away from your face, blinking to get your pupils to focus. It was an empty train cart, windows that appeared to be filled with bright natural light lined the walls, and at each end, metal doors that have yet to be opened. Stacey takes the first tentative moves to stand up, pulling herself to look out a window and her eyes widened in disbelief.

“What is it?” You ask as you start to push yourself up to a stand, and she shakes her head as if to shake whatever she was seeing away, muttering over and over.

“What the fuck?”

You make your way over, and all you can see is snow. Snow and ice, speeding past like this train were actually able to run on a track. Buildings encased in snow, making way to nothing but white, everywhere. Even the windows had frost encasing around the edges, your breaths fogging the glass.

“How? What?” you question, beyond confused and rubbing at your face to look again. How the hell could this be? You go to reach in your bag for your phone, and look down to see it is gone. And not just your phone, your bag. Scanning the train, there was no sign of it. Panic settled in a little more now that you didn't have a way to call for help should you need it.

Stacey pressed her fingers to the glass, her tone a bit shrill as if she was trying to convince herself it was make believe. “Gotta be like we're watching a screen right? Just supposed to look like the trains moving.” Although the train gave another shudder, swaying back and forth.

You never got an answer, as one end the doors swung open and people wearing all black spilled into the train, all carrying axes, faces masked so you couldn’t see anything discernible about them. Except for flashing teeth among happy grins. Each one hefting their ax like it was a toy. Your confused addled brain screamed at you to pay attention. Danger. But you were in too much of a shock to really focus.

Another whoosh and you spin around to see who was coming out the other side, Stacey whimpering in fear next to you, still staring at the first group. But your eyes raked over these men, dirty and worn looking. The one in front had a wide stance, his feet braced against the rocking of the train like he was familiar with it. A black trench coat swept around him, ragged sweaters piled over a broad chest and your gaze fell onto a familiar hard face, scanning his opponent, drawing himself into a more fighting stance. Curtis Everett.

“Oh shit” it dawns on you what scene this was and you draw Stacey closer to you, and back against a wall.

“What? Oh god, I don’t understand what is happening.” Stacey said in a panicked voice, and you shook her a bit.

“I don’t know either, but stay out of everyone’s way, okay? Those axes are not fakes!” The weapons they held were clearly not props, the heavy blade handles slapped in palms, and gleamed in the winter sun streaming through the windows. A touch would easily slice into anything. And these two groups look ready to hack into each other.

“Shouldn’t they help us get out?” Stacey’s eyes rolled wildly, and you gulped, seeing the large trout get passed up, and just as you guessed, the ax easily sliced into the fish’s flesh, drizzling blood down to see along the edge, dripping down the handle and to the floor.

“I don't think so Stace…” You whipped back to look at the opposing group, feeling Curtis’s gaze seeking yours with a glimmer of hatred and confusion behind them. For half a second, then it was back on their enemies. You could see it, the taunting lunges each group made, and just when they both broke for each other, you screamed and yanked Stacey down onto the ground as they all collided. Attempting to avoid stomping feet and falling blades, you two tried to stick to the wall, screaming and covering your heads, blood splattering everywhere above you in hot sticky sprays that rained down on your two.

Stacey wouldn’t stop screaming, her voice piercing above the noise of the fighting, bodies started to litter the floor, and you tried to make your way towards one of the exits, your hands and knees slipping in warm fluid. Over bodies you dragged yourself when Stacey’s screaming changed to one of pain and panic. Looking over your shoulder, she was getting dragged away by her ankles, her fingers trying to find a hold in the floor, nails raking through the blood to create long rakes through all the red.

“Y/N! Y/N! Help!” she continued to scream, and you twisted to go back for her when she was whipped to her back and her arms came up in defense, trying to cover her face or neck.

“No!”

Whump! This is when you lost all your control and started to scramble back for her. There was so much screaming and you never realized it was coming from you.

Whump! The ax planted in Stacey’s chest and she jerked upwards, trying to push the blade away, and the militants foot planted on her stomach, yanking her loose. You would still see her moving, still alive. You were closer.

Whump! this one landed on her skull, blonde hair turning stringy red and his boot planted on her face this time, crushing in her forehead and nose as he yanked it out, once more red spray flew through the air.

Several whacks fell on her, over and over, spraying you with each yank the axe gave off Stacey's body, the militant man grinning as her blood sprayed all over him, you, any nearby person.

You were in shock, your hands to your mouth, as you saw Stacy's body collapse into broken pieces, blood spurting out of her mouth and she went limp right in front of you. His gaze fell to you and his wide bloody grin looked like he just won the prize, his axe lifting when he was suddenly thrown back and slaughtered himself. You didn't pay attention to who took him out, only catching sight of a whipping coat snapping in the person's actions, you turned towards your best friend's body, convinced she might still be alive. This was all just for fun, pretend after all, right? Snowpiercer and the Revolution did not exist.

“Sss-Stacey?” you crawled over to her, your hands cupping her broken face and leaning over her still warm form, doing your best to hold what remained of her face together, as if you could just piece it back together like a puzzle. You kept shaking her, although she had several gaping holes in her body.

“Come on Stacey, we got to move.” you sobbed over her, unaware once more of what was going on.

You didn’t notice the fighting stop or the survivors rush to look out the windows in a panic, but you did feel a hand yank the back of your shirt to slam you into the wall and keep you pinned in place. Even as you struggled to get back to Stacey’s body, lying lifeless. You didn’t notice any of these things till a growl snarled in your ear. “Girl, stop it! What’s wrong with you?” A vicious shake thudded your head against the wall, and the crack against the back of your skull made your eyes roll back in pain. The world tipped upside down, Curtis’s scowling cut face tipped around, and you went under, the blackness welcomed from the hell you just experienced.

“Hey Curtis, she’s awake.” was the first thing you heard, your head pounding and when you started to pry your lids open, figures were blurry, moving around, flashes of light blinding you till they were blocked back out by bodies. You gave a moan and lifted your hand to your face when the larger one slapped it away, and the cold slick hand grasped your throat, dragging you forward. “Focus Bitch, we don’t have all day.” Your eyes snapped obediently to Curtis, fearful and wide-eyed as you took him in.

In the movie, he was large, towering over others. Here, as he was staring you down, face contorted to semi-controlled rage, and leaning over you so you could feel his hot breath wash over his face, how the blood dried to crack along his cheek, and eyes that you swore were debating snapping your neck.

“I don’t understand what is going-”

“Shut the fuck up, you’re not asking questions here. Wilford sent you?”

“Wilford? Yes, yes.” You stutter, his fingers squeeze further and you can feel the hot tears streaming down your face, landing on his filthy hands. “He put Stacey and I in here, m-m-my friend. She was…” Your eyes rolled to where her body was twisted strangely, smeared in gore from where she slid around, or someone tripped over her. All you knew is her eyes started up at nothing now. Her wounds were gaping and bled out.

Curtis gave you a shake, his snarl brought you back to him. “She was what? What did Wilford send you two back here for?”

“We were here for a charity! I was supposed to meet Chris Evans, You as Curtis Everett.” your voice started to rise in a panic, your hands grasping his wrist at your neck. “That’s it, why is the train moving? Why are you all using real axes, fuck I just want to get off.” You sobbed, the survivors looked at you with disgust, shaking their heads.

“Once you’re on the Snowpiercer, there is no getting off.” Curtis leaned back a bit, looking you up and down as if inspecting you curiously. “You’re such a fragile little thing. Just like a baby bird, all brittle bones and helpless.”

“No getting off? What are you even talking about?” your tears started to sting your eyes, the panic settling deep in your chest like your heart was about to explode.

Curtis ignored your question, his free hand tugging at your thin sweater and shaking his head. “Fucker didn’t even send you back here properly dressed.”

You tried to struggle and Curtis slammed you back hard enough to make you stop.

“She’s fucking whacked out of her gourd. Gotta be a kronole head someone spouting that shit.” A young man said behind Curtis, and he got in your face, tapping your cheek smartly. “Girl snap out of it, that shite fucking rotted your brain.”

“No Edgar, this is different, she's lying. Good at it, but lying.” Curtis made to stand, dragging you up with him. You stumble in his hold, falling against his body before he dragged you along, hissing in your ear.

“I don’t know what Wilford was thinking Little Bird, sending you back to me with this innocent act of yours. But don’t worry I will make you sing.”

#jshauntedhouse2020 #curtis everett #curtis everett x you #snowpiercer #curtis everett fanfic #snowpiercer fanfic #dark curtis everett #amber writes #sweater writes #halloween 2020 #halloween #fanfic

217 notes · View notes

ourimpavidheroine · 3 years

Note

You've given us your favorite records, so how about your favorite movies?

Okay, sure! Under a cut though, because it’s long.

In no particular order!

Strictly Ballroom (1992)

Oh my god, one of the funniest movies ever made. Every single thing about this movie makes me laugh out loud - in fact, I laughed so loud in the theater when I saw it the first time I’m surprised they didn’t kick my ass out. I can’t tell you how many times I’ve watched and re-watched it. My late wife and I used to quote this film back and forth to each other all the time.

“Arms, Clary!”

“That was unexpected.”

“I’ve got my happy face on today!”

There’s a lovely little romance going on and a quote that I live by:

A life lived in fear is a life half lived.

Thank you, Baz Luhrmann.

Bringing Up Baby (1938)

Screwball comedy romance with Cary Grant and Katharine Hepburn. Still funny, over 80 years later. Mistaken identities, a harrassed archeologist and a clueless rich girl, so on and so forth. If you watch it, you will see shades of Wu and Sayuri in Susan, for sure. (And some Zu in David.) The comedic timing of this movie is sheer and utter perfection. Not a single beat wasted. Brilliant, the entire thing.

Moonstruck (1987)

God, what isn’t there to love about this movie? CHER. A woman coming up on middle age who has settled into widowhood without a whimper decides to marry a man she’s fond of for no other reason than she thinks she should meets the fiance’s younger brother and her entire life goes, as her Italian Catholic mother says in the middle of church, “...down the toilet.” This movie was handled with so much love and care, it deserved its Oscars. If you’ve never seen it, you should.

Crouching Tiger, Hidden Dragon (2000)

I saw this movie the one and only time I visited the States after I moved to Finland. I had left my wife here in Finland but had my 20 month old autistic twins along and my mother was being beyond horrible to me and I was exhausted and just wanted to go home. There was one afternoon where my favorite uncle came to me, gave me his car, and told me he was going to watch the kids and for me to go out and have a breather. I decided to see a movie - I can’t remember which one - but the paper had gotten the time wrong and it had already started by the time I got there. I asked the woman selling tickets what she recommended that was coming up and she very fervently told me to go and see this one.

Still one of the best movies I have ever seen. The acting is so subtle, so beautiful, and the scenery! The ending broke me, just shattered me into a million pieces. Years later, when my wife died, I knew exactly that feeling of desperately wanting to go back in time and somehow do it all right and all I can say is, both Michelle Yeoh and Zhang Ziyi get all of my love forever for doing it the way they did.

I bought it when it finally came out on DVD with English subtitles and I made my late wife watch it with me and she sobbed at the end and told me I was cruel for making her watch it. (Guess what, babe? You were crueler for making me live it.)

The Handmaiden (2016)

Normally I am not all that keen on books being made into movies. I fucking loved Sarah Waters’ Fingersmith and wasn’t sure about it being taken out of its Victorian England setting into 1930′s Korea but oh my god I have never been happier to have been proved wrong in my life. THIS FILM. Listen, it is one of those rare times when a book and an adaptation can stand next to each other, equally as good, equally as strong, despite the differences. There is so much to unpack about women’s experiences with sex and how that compares to how men dictate those experiences to them and the movie never drops the ball with this. Frankly, I had seen Oldboy and Snowpiercer (among others) and I really did not think Park Chan-wook had it in him and shame on me for that.

Warning: this movie is HOT.

Mad Max: Fury Road (2015)

This is a damn good movie. Charlize Theron elevates anything she is in, and as Furiosa - dirty, grim, disabled, clinging on to tattered hope with desperation - she just takes this film to another level. Plenty of other good performances - including Tom Hardy, who’s never afraid to drop himself into a role - and some frankly astonishing editing work by Margaret Sixel as well as a male director who understands, deeply, how to film women without subjecting them to the male gaze. This is not a schlock film, despite the franchise it belongs in. It’s good.

I saw this film the night before my wife died; the last time I spoke to her on the phone I told her that I’d take her with me to see it again, I knew she’d like it. I don’t know if I’ll ever be able to separate this film from that loss, but that’s how it goes sometimes. Still wish you could have seen it, babe. You would have loved it.

The Great Race (1965)

Is this a great movie? Not critically speaking, although Jack Lemmon is brilliant, as he almost always is. Rather, it was a movie my father and I loved together, and I have so many good memories of watching it with him whenever it would play on TV (these were the years before VHS even, never mind Netflix) and eating popcorn and laughing together.

We loved the huge pie fight scene so much that on my 16th birthday my father bought 3 dozen store bought pies, defrosted them and/or baked them (with the help of our neighbor, who was in on the secret) and he woke me up that morning, told me to get dressed and come outside, and he got me with a pie to the face right as I walked out the door and the two of us chased each other, throwing and dodging pies, making an unholy mess, slipping and sliding all over our deck and driveway, stumbling and laughing hysterically.

It is one of the best memories in my life. How many other girls can say their fathers gave them a pie fight for their sweet sixteen? This movie makes me laugh and, more importantly, remember my father with so much love.

The Fellowship of the Ring (2001)

I did love all three of these films. Were they perfect? No. (I am still salty about Faramir’s entire movie arc and the fact that Merry was just Pippin 2.0 instead of the distinct character he was in the books.) But they were made with so much love and heart by people who loved and cared deeply for the source material. And they were astonishing in scope as well. Just glorious to see in the theater.

I first read those books when my father lent me his copies when I was eight and they were a vital part of my growing up; to see Peter Jackson and his entire cast and crew love them as much as I did was genuinely special for me.

The other two films are just as good with some astonishing moments (Billy Boy’s last minute song in The Return of the King still gives me goosebumps) but this was the first one, and just remembering holding my wife’s hand as we both gasped together over the scope of it was a memory I will keep with me always.

When my wife and I went to see this one here in Finland I was pregnant with my twins and I was like, oh my god, please die already Boromir because were twins on my bladder and I knew if I didn’t get to a toilet soon it was going to be all over. (It was a long movie without a pee break for a pregnant person, let me just say.) I was never happier for a tragic end to a movie in my life, LOL.

The Matrix (1999)

Dude. Dude. Just the concept of this movie. The Wachowski sisters have never limited themselves and that’s what makes them so different and so exciting. One of the greats of Sci Fi and, as far as I am concerned, one of the greats bar none. Yeah sure, I know it isn’t a critical darling but lord, I am not a film critic, just someone who loves movies. And I love this one.

(And excuse you, Elon and the rest of you alt-right men’s groups, you dicks, for appropriating the whole blue/red pill thing: it’s a concept from two trans sisters, so fuck right off with that.)

My best friend, who saw it with me the first time (I took my late wife to see it later in the year when she arrived in the States) laughed at the whole little kid with spoon scene. That’s like listening to you, she said. I never know what is going to come out of your mouth or whether I’ll understand it in the moment but it will eventually make sense to me. Which pretty well sums me up, I think. And this movie as well.

The Piano (1993)

There is a moment, in this gorgeous, deeply beautiful, aching film, where Harvey Keitel fingers a small hole in Holly Hunter’s stocking and it is the most erotic heterosexual thing I have ever seen. Trust a woman director to understand why women would love this. There’s Harvey Keitel’s character: older, soft around the middle, barely literate, covered with traditional facial tattoos. He’s nobody’s idea of hot. But he understands what this woman in particular needs, understands what she is telling him without words, and that’s what he gives her and it is erotic beyond measure. It’s not about what he looks like; it’s about how he understands her.

Holly Hunter does this movie without speaking a single word or getting any subtitles and short of a few brief translations by Anna Paquin playing her young daughter still manages to express herself. It’s brilliant acting. (And look, I know - today we’d look for an actress who was mute to play the role, and rightfully so. It still doesn’t take away from Hunter’s performance.)

Ada drowned in the original script but Jane Campion changed it at the last minute when filming and it was the right choice. The absolute right choice. Ada deserves her freedom and her chance to pursue her own happiness.

#my favorite movies #personal #Anonymous

7 notes · View notes

brentwatchesmovies · 3 years

Text

Brent’s Top 10 Movies of 2019

Scorsese is probably my favorite living filmmaker, but I’ll be honest, when I heard that Scorsese was making this movie, and *how* he was making it (heavily digital de-aged actors) I was a bit skeptical. De Niro and Pacino haven’t been turning in interesting performances in quite awhile, and Pesci came out of a decades-long retirement for the movie as well. On top of that, the first trailer released did little for me. All that to say I was an idiot to doubt the master.

Scorsese returns to the crime genre that he re-invented many times over the years, this time with the eyes of a man in his 70’s, looking back on his life and career. The movie is very long, but in my opinion, it needs the length. The viewer needs to *feel* the totality of a life, and as is his intent with The Irishman, the *consequences* of this specific life. The final hour or so of this movie feels like a culmination of Scorsese’s career in many ways. The energy and entertainment of a crime/mob epic, with the fatalism and philosophical leanings of a movie like ‘Silence’. It’s a 3.5 hour movie that I’ve already rewatched, and actively want to again, so that alone ought to speak volumes.

Harmony Korine made one of my favorite movies of the 2010’s, the neon-soaked and often misunderstood ‘Spring Breakers’, so I was already in the bag for whatever he did next. When I heard it was a freewheeling stoner comedy where Matthew Mcconaughey plays a guy named ‘Moondog’ costarring Snoop Dogg, I reserved its location on my top 10 list.

This movie doesn’t have the empty heart at its core that defines Spring Breakers, opting instead for a character study about a ‘Florida man’ poet after his life pretty much falls apart. It’s basically plotless, stumbling from one insane, borderline hallucinatory sequence to the next, but I just loved living in the world of this movie. Beach Bum almost feels like a deliriously fun VR simulation of hanging out with Matt McConaughey and his weirdo friends down in the Florida keys. This is one that probably won’t pop up on many top 10 lists but I really adore, and will surely rewatch it a dozen times in the years to come.

Let the record show, I’ve been a huge fan of Bong Joon-ho since I first saw his monster movie/family drama ‘The Host’. Some time later, he went on to make ‘Snowpiercer’, one of my favorite movies of the last decade. All that to say, I think Parasite is probably his best movie, and a true masterwork of thriller direction. It also has his usual brand of social commentary and a script filled with darkness and humor, following a South Korean tendency to juggle multiple tones throughout, sometimes all in one moment or scene.

Parasite also follows a big 2019 trend of commenting on class and social dynamics between the rich and the poor. I think that’s part of why it’s done incredibly well at the box office (especially for a Korean language film), the fact that people can relate in a huge way, regardless of which country your from. Parasite is one of the most entertaining movie viewing experiences I’ve had this year and I’d recommend everyone check it out.

If you were to ask me what the funnest movie-going experience I had in 2019 was, I’d have to pick Rian Johnson’s ‘Knives Out’. Hot off making one of the best Star Wars movies ever made (don’t @ me) Johnson decided to make a passion project in the vein of classic Agatha Christie style murder mysteries, and the results are a total blast. Filled with clever twists and turns, weaponizing the structure of murder-mysteries against the audiences expectations, it stays one step ahead of you the entire time.

Aside from the clever mystery of it all, it’s the actors performances and chemistry that really sell this thing. Jamie Lee Curtis and Toni Collette are expectedly great per usual, and Daniel Craig is having the time of his life as Mississippi private-eye Benoit Blanc, but the heart of the movie is relative newcomer Ana de Armas. She brings an emotional weight and anchor to the movie that always keeps you emotionally invested amidst the terrible, money hungry backstabbing by the other heightened characters. I hope everyone sees this movie and Johnson is able to give us another Benoit Blanc adventure somewhere down the line, I’ll be there opening day.

Nobody makes an upbeat, feel-good movie like Ari Aster does! After last years light and breezy ‘Hereditary’ (which I liked a lot but didn’t totally love) he’s back with a completely riveting and emotionally draining (not to mention horrific) masterpiece. What I connected to most in Midsommar is the journey of Dani, played incredibly by Florence Pugh. The way the film portrays the relationship between her and her dog shit boyfriend played by the (usually) charming Jack Reynor keeps you invested in every twist, perfectly paced out over the movies admittedly long runtime.

I won’t get into spoiler territory, but where this movie goes in the end is what makes this a fully 5-star movie for me. After putting you through hell, like Aster loves to do with bells on, Midsommar ends in a euphoric, psychedelic orgy of music and violence that I couldn’t help but laugh out loud. Midsommar rules so hard and I can’t wait for whatever twisted thing Aster cooks up next.

One of my increasingly favorite brands of movies is a finely crafted, primo slice of dad-movie cinema, and James Mangold has made one with Ford v Ferrari. The story chronicles the partnership of ex-racer and designer Carroll Shelby and racer Ken Miles as they work to make a Ford that can compete in the 24 hour race of Le Mans. Bale and Damon are a blast to watch bounce off each other and the race sequences are pretty damn thrilling, combining (what I expect is) a solid amount of great VFX with practical racing to great effect.

I also didn’t expect it to have as much to say about the struggle to create something special by passionate people and not committees while also inside the very machine that churns out products on an assembly line. Just a random note, this original movie was just put out by 20th Century Fox, now owned by Disney but that’s completely unrelated and I’m not sure why I’d even bring that up??? Anyway, I love this movie and dads, moms and everybody else should check it out.

If you saw my list last year, then it must appear like I’m some diehard Mr. Rogers fan. I don’t really have many memories watching his show as a child, but what the documentary ‘Won’t You be my Neighbor’ and this film by Marielle Heller have in common is a shared fascination of his immense empathy and character. It’s only right that America’s dad Tom Hanks should play him, and I was surprised at the end that I was able to get over his stardom and accept him as Rogers. He’s not doing a direct impersonation, and I think it’s all the better for it, instead opting for matching his soft tone and laid back movements.

On a pure emotional level, this movie was a freight train. It didn’t help that the movie covers a lot of father stuff, from losing your own to becoming one yourself (2 big boxes on the Brent bingo card). Heller’s direction is clever in its weaponizing of meta/post-modern techniques, such as one incredible fourth wall break in a diner scene. It literally breaks down the barrier between Mr. Rogers, we the audience, and the films intent to make us feel something.

I cry a lot at movies, that much is well known, but it’s rare that a movie makes me weep, and this one did. Even thinking about scenes right now, days later, my eyes are welling up with tears thinking about the messages of the movie. Mr. Rogers and his lessons of empathy and emotional understanding have rarely been as vital and important as they are right now in our world.

Robert Eggers first film ‘The Witch’ from 2015 is one of my favorite movies of this decade, possibly of all time, so my hype for his black and white, period piece two-hander ‘The Lighthouse’ was through the roof. Even with sky-high expectations, it still blew me away. With dialogue reminiscent of The Witch in its specific authenticity to its era, to the two lead actors giving all-time great performances, It was one of the most entertaining film viewing experiences I had this year.

There’s something about both of Egger’s movies that I really keyed into watching this one: his fascination with shame and the liberation from it. Where Witch was from the female perspective, Lighthouse literally has two farting, drunk men in a giant phallic symbol fighting for dominance. It’s less a horror film than his first, but still utterly engrossing, demented and specific to his singular vision. I can’t wait to see 20 more movies from this guy.

This is another big movie of 2019, like The Irishman, where you can see the director looking inward, at what his films mean and represent. It initially caught me so off guard that I really didn’t know how to feel about it, but after seeing it again, it’s one of my favorites of the year, and probably Tarantino’s filmography overall. More akin to something like Boogie Nights or Dazed and Confused, letting us live with and follow a small group of characters, it mostly doesn’t feel like a Tarantino movie (until the inevitable and shocking explosion of violence in the third act, of course).

‘Hollywood’ is the most sincere and loving movie Tarantino has made, interested in giving us a send off to an era of Hollywood and artists that have been lost or forgotten (Some more tragically than others). In the end, the movie functions similarly to ‘Inglorious Basterds’ in it’s rewriting of history to give us catharsis. “If only things could have worked out this way.” Luckily in movies, removed from the restrictions of reality, they can. And once upon a time in Hollywood, they did.

Uncut Gems probably tripled my blood pressure by the time the credits rolled. A slice-of-life story about a gambler/dealer in New York’s diamond district, the movie follows Howard Ratner, played by Adam Sandler in easily the best performance of his career. Ratner is basically addicted to living at the edge of a cliff, being chased by violent debt collectors, juggling a home life and a relationship with an employee, and fully relying on risky sports bets to stay afloat. It makes for a consistently tense and unique viewing experience, expertly directed by the Safdie brothers.

Something that might not work for everyone but that I personally loved, is the chaotic way in which the movie is shot. What feels like loosely directed scenes, with characters talking over each other and multiple conversations happening at once, adds an authenticity and reality lacking from most other movies. It’s more adjacent to Linklater (thanks to Adam for the comparison) or Scorsese’s earlier films (also fitting, that he’s a producer on this). Following Howard Ratner as his life descends into chaotic hell was one of the best times I’ve had watching a movie this year.

HONORABLE MENTIONS

AVENGERS ENDGAME

DOLEMITE IS MY NAME

BOOKSMART

JOHN WICK CHAPTER 3

THE FAREWELL

AD ASTRA

#top 10 #movies #2019 #top 10 movies #midsommar #uncut gems #the irishman #martin scorsese

3 notes · View notes

battlestar-royco · 4 years

Photo

okay here it is, part 1 of my sci fi tv and movies rec list! i’ve split it up into 2, kind of by tone and theme. these recs are on the lighter side. part 2 is for fans of darker sci fi. i could’ve gone on tbh but i had to draw the line somewhere. it’s not perfect but i hope you find something you like that you haven’t heard of! full titles, trigger warnings, and diversity/general notes under the cut. ask box open for any more specific questions!

part 2/2

If you liked STAR TREK and STAR WARS:

Black Mirror: USS Callister: (tw: simulated child loss, brief torture) coworkers get trapped inside their boss’s Star Trek spoof video game. It’s led by a white woman but the entire cast is pretty diverse (Michaela Coel!!!) and it’s critical of white edgelords. Dark moments balanced with funny!

Firefly: (tw: sexual harassment in one episode, sex worker phobia, Joss Whedon-ness) I think this one is more well-known; a small space crew travels the solar system taking on any weird jobs they can get. Two leading WOC, a black man, one interracial relationship.

Avenue 5: (tw: some dark humor, language) Star Trek meets the Titanic. Funny! I’ll leave it at that. 3 leading WOC, a canonically pan main character in a poly and interracial relationship.

Black Mirror: Be Right Back: (tw: grief, partner loss) a woman’s SO dies and she simulates his resurrection through a software that scans his social media accounts. This one isn’t diverse but it’s an hour of Domhnall Gleeson, if he’s your thing!

Stargate: (tw: 90s/00s racism/sexism) tbh I haven’t watched most of the content but I’d say it’s on par with a Star Trek kind of thing. SGA stars two or three POC in a cast of like 7 regulars.

If you liked PACIFIC RIM:

Black Mirror: Hang the DJ: (tw: none that I can recall) a man and woman fall in love via dating app. It doesn’t have monsters, but it’s an incredibly charming episode that exhibits some of Black Mirror’s best qualities imo and I think people who like the Raleigh/Mako dynamic will like what these two have!! Interracial relationship between a black woman and a white man; black woman is blink-and-you-miss-it bi, but still canonically bi.

Cloverfield (tw: violence/blood, frequent flashes, shaky cam): found-footage flick about aliens attacking New York. Basic and not too diverse but it has the huge monster appeal and I like the found-footage aspect.

Edge of Tomorrow: (tw: VB) Groundhog Day alien apocalypse. it’s Tom Cruise buuuuut you get to see Emily Blunt at her most “I’ll end you”-est so like? Worth it I think??

Arrival: (tw: child loss) aliens come to Earth to offer something to the humans. A little slow, but definitely a different take and some cool-looking aliens.

The Host: (tw: child loss) A girl gets kidnapped by a huge river monster. it’s in Korean and all the characters are Asian. Directed by Bong Joon-ho and starring Kang-Ho Song and Bae Doona!! Plus environmentalist commentary.

If you liked MARVEL and DC:

Misfits: (tw: sex, language, violence, rape) imagine one of those superhero teams like the Avengers except they’re all criminals who’ve given up on life and don’t actually care about making the world a better place. Chaotic stupid energy. Two black leads :)

Push: (tw: a few bloody scenes) Chris Evans before Cap?? Dakota Fanning before Twilight? Secret government experiments and black ops superpower organizations? You love to see it!

Fast Color: (tw: past drug use referenced) superpowers that pass down from generation to generation in a family of black women. Need I say more? Need I say any fucking more?!?!

Sense8: (tw: child loss, grief, lots of nudity and sex, drug use, language, infidelity) 8 people around the world start experiencing each other’s lives and borrowing each other’s skill sets. This is probably THE most intersectional and diverse show I have ever seen. An international cast and setting that reaches almost every continent, leading trans lesbian, multiple QPOC. Truly incredible and one of my absolute favorites.

Jupiter Ascending: (tw: bees) I actually don’t really like this movie but I do think it has its appeal and I appreciate how much it is just unabashedly itself. Don’t take it too seriously! The cast is kinda wild too--Mila Kunis, Eddie Redmayne, Sean Bean, Channing Tatum!!! And it’s by the Wachowskis, AKA the two trans sisters who did The Matrix and Sense8!

If you liked THE HUNGER GAMES:

Gattaca: (tw: implied body modification, trichophobia, eugenics) in a society that discriminates against genes, a man with a heart condition assumes another’s identity in order to achieve his dream of becoming an astronaut. I love this movie. It’s very moody and soft with a really compelling dynamic between the two leading men which I’ve always read as gay.

Snowpiercer: (tw: VB, minor cannibalism) yet another winner from Bong Joon-ho, who’s surprised? All of humanity lives on a train in which all the cars are stratified by class. This is my favorite of all the movies from all the Chrises. Evans is by far my favorite Chris for this!!! It also features Octavia Spencer and Kang-Ho Song! Piping hot class war tea pre-Parasite.

V for Vendetta: (tw: torture, I don’t remember a lot of the details sorry!) I haven’t watched this movie in a minute so I don’t remember how much I actually liked it, but I thought it was worth mentioning because it’s a classic dystopian movie.

Children of Men: (tw: infertility, childbirth, VB) humanity has lost the ability to procreate for 2 decades until one day a resistance group discovers a pregnant woman. Holy crap so much extremely relevant and prescient commentary on immigration, race, class, and refugee crises!!!

Akira: (tw: disturbing imagery, objectification, nudity) I don’t really remember this one much either? But it’s Japanese, there’s biker gangs, and it’s super weird.

The 100: (tw: VB, kill your gays/POC trope, suicide, torture, child loss) 100 juvenile delinquents are dropped onto Earth and chaos ensues. I think most people know that this show is plagued with issues but it really does have a special place in my heart and I think it changed the conversation and standards re: the treatment of wlw in genre fiction. It starts off cheesy and slow but the stakes are SO high all the time and it’s full of thought-provoking ethical dilemmas.

#maxine talks sci fi #movie recs #maxine did you read/watch #i think my thesis is that i watch way too much sci fi

65 notes · View notes

delicatebluebirdruins · 3 years

Text

Shadow and Bone

This will contain spoilers (duh) some names being forgotten and its going to get long and some context less chaos

I hope i got the image ids right

Episode one (23rd April)

- ahh so the Fold= Dark Island form VoDT but with less summoning of monsters?

ID: Ben Barnes holding onto the wheel of a boat

- Many smol beans

Brief interlude with Nausicaa Valley of the Wind

Episode 1 cont. up to midway episode 7 (24th)

- magical brown trouser time my good sir

- buddies!!

- they’re not going to leave Alina alone to her existential crisis are they?

That tent looks like a circus tent to me and I have no idea why

- hmm hello completely innocent fallen branch

me: turns to sis and asks if we can we take brief intermission for this headbanger (which we did)

Turns out our brief intermission for the song was useless because after pressing play again it started buffering

we were talking about it and Dad misheard it as shaggy bone

Imagine the darkling but in pastels and black lace

- how the flipping heck can you fake bleeding light

- do you want to get lost Alina?

On Ben Barnes beard: 50% hot damn and 50% fight me (the way he tilts his head in this makes us want to hit him in the jugular)

Episode 3

- ooh look at the stag

- i love the bathroom

- damn Nina

- I wish Alina had time to get some magic tips but oh well

- replays Ben Barnes saying Moya Tsarieta twice

- how?! (Look I told you there was going to be bits where the context is tricky to pin point)

- i love the goat

- oh Jesper

- blue and gold is a great colour combination

- about the dinner scene: if this were me it would be the very rare time I stand up for myself

+ I want to add a small thing about the food taster... one is dream job/ i like him/ and imagine a taster eating something and it goes down the wrong way

- yes Jesper hug the goat- and

ID: a man with his thumb up gif from The Hunger Games; with him saying “nice shooting sweetheart” but I couldn’t find a gif of him saying it

- true north? I am never going to be free of bellarke am I?

- oh that hurts

Episode 4

- “our saint has arrived to late” 🤧

- ohh the stag is so pretty

- horses!!!

- time for a heist- i love this goat

- aww wishing fountain bonding

- the darking is growing on me

- i love Mikhail and Dubrov

- I love what we get to see of Nadia and Marie and Kaz and Inej and Jesper and basically everyone

- i love a heist (this isnwhat the hobbit should of been but you know with more dragons

- Mal is baby

- poor Nina

- ah ha a vicious cycle against the Grisha and Fjerdan

- I thought Arkens reaction was a bit odd

- oh Alina sweet heart- flashback time

- the map room is a aesthetic- using Aleksanders own words against him

That shot of the two of them is great

- poor Alina

- yas queen

- oh the stag!

- oh the machine gun; Mal poor buddy and of course flashback time

- i knew she was going to get the scar removed

Episode 5

- poor Mal

- Nadia is me

- Genya is amazing

- hi David and great minds think alike Alina (i had the same expression on my face when they were flirting)

- oh the creepy masks had a purpose

- “you’re not Ivan” you don’t say

- aand height difference... this first kiss is kind of weird to me

- oh Jesper you flirt

- I’m sorry firey people you’re going to be outshined

- Inej is so beautiful

- Dima?!?!

ID: two people from a scene in the Anastasia Musical the song My Petersburg

- what is the librarians dudes problem?

- Genya you badass... poor Marie (does Alina learn about this?? It would probably be forgotten just like her causing the death of her fellow mapmakers)

- I love the costumes

- Tofin (Idk his name) we don’t know you sorry you’re dead

- oh the kissing

ID: a gif showing two people kissing

- and him giving her the flowers is kind of cute but where did they come from?

- *pinched nose* I hate cryptic messages Baghra... holy shit... i mean I kinda knew he was immortal but still holy shit

- oh Kaz... Inej! Collect your bloody knives

- *snorting* The crows being sent to kidnap Alina and Jesper just watching her climb into the getaway carriage will always be hysterical (i personally would be laughing and thats why anything involving stealth is off the cards for me)

Episode 6

- rest in pieces Arken

- Alina broke Inej

- I love Ivan (remember the thing i said about forgetting names/ getting them mixed up? This is it.. I love Feydor a lot more than Ivan but they are both so cute together)

- my heart will go on starts playing?

- i like that horse statue in the background

- i love the beach... look at those waves... the wet look is great

- you done mess up Alina but also cool

- Mal is burly squid

- “burly squid” wheezing nosies

- now hug

- Kaz I love the cane

- “I see you now” aww

- I knew they were going to snuggle... those cute laughs

- the alarm clock though... i knew Inej should have taken the knife... i love Jesper... poor Inej... clever boy Kaz

- does it hurt? Mal? Does it hurt?

I have a habit at picking at things that hurt and well fictional characters aren’t safe from me wanting to poke something painful

- ride OR die bitches

- aand more height differences... getting very close there guys... Matthias please don’t let her fall.... they are kind of cute

- David through a book... 😂 they carriage jacked the Darkling

- David raising his hand is me... but damn it

- Alina is amazing... please remember you’re wearing the ring... Mal is best boy

- “adorable” snorting noises

Episode 7

- horsey!!!

- ahh the return of the VoDT hair (see first gif)

- Luda is familiar...

- yikes

- poor Aleksander being turned into a pincushion is not a great time

- poor Luda

- holy shit

- rock and hard place

- fuck off Baghra

- he wanted to help 😔

- ah so its like the hollow from Charmed

Image ID: gif from the og Charmed with text saying “ohhh she’s a demon!”

- this shot is beautiful... ah so I guess this could have been what happened if Caspian resurrected the White Witch... i guess

- hi stag.... oh okay 😔 poor Stag poor Mal

Flashbacks to Cinderella and Snow White (the one with Krisien Sterwart) natually it follows along with Snow White

- *squishie noises* poor Jesper... we love you Jesper but please stop talking to Inej just in case she sews her finger to the wound

- i love the crows and i love the chat about the crows

Buffers

The next day (25th) episode continued

- David looks so sad

- personally I would downsize the fold just as reminder of it

- that looks like that hurt

- I love Milo and Jesper 💖

- don’t look at it Alina... Genya is right that colour is horrible... tell her off Alina... poor Genya

- I think Jesper had fun playing a guard

- I knew the Darkling read the letters

Sister: why does he look like Tom Ellis right now?

- oh Mal

- blow dart... lol Kaz

- Milo!?! Oh the bullet you clever boy Mal

- i like the tent... he’s not wrong... we want to play with that dangly bit... oh the angst

- I thought you looked older (idk context)

- I love the outfit but couldn’t the necklace be anywhere else?

- “no mourners no funerals”

- I love the music

Episode 8

- I don’t trust that opening

- me too Crows, me to... how could you not know who Milo is

- I love Nina and Matthias so much... they are so pretty... I am not a fan of taxidermy... oh his name is Feydor sorry we kept getting you mixed up

- God damnit Kirigan.. a not so sneaky Mal... the honorary Crow... pick a side already darkling... Sun Queen?... did anybody notice her being tied down?... Good Mal and good Inej

- Jesper is amazing... so much death... bad bitch Zoya... I love Inej kissing the knife and nailing the Darkling with it... head shot... hello buddy??... this music though... badass Alina... fucking Ivan... holy shit and of course music is amazing

+ brave Kaz

- Inej and Alina bonding time... hugs? No hugs ☹️

- he offered her his hand 😞... Inej wants to hug... finally some hugs... Zoya has grown on me... i love Kanej (is that the ship name)

- Matthias oh no buddy... hill house flashbacks

- i love Jesper so much... Nina going “someone say heartrender??”

Image ID: someone turning around and raising eyebrows at camera

- Kaz saying “she’s a saint” made my heart happy

- I doubt the Darkling is dead...... i was right

- well shit/ coolness of making shadow monsters follow you (please let there be a flashback for this)

Bonus

+ imagine of Matthias and Nina decide to sleep rather than get food and were caught cuddling by the Grisha... I thought of this as I was getting into bed that night and i got up ran to my sister told her my thought she found the idea funny then went back to bed

+ people who own trains are evil?? Looks at snowpiercer

Bonus: the soundtrack is on spotify and itunes

Image id: someone bobbing along with headphones on

#shadow and bone netflix #ellie watches #spoilers #long post

6 notes · View notes