#it's such a genuine heartfelt coming of age movie????

[homoquartz]

this post is not gonna be well put together but i am having feelings

mean girls is trending right now because the musical movie just came out and i feel insane. idk why i do, it was stupid of me to think that most people Got It, no one ever gets it, it was always about the memes and the aesthetic.

the first mean girls movie was based on a nonfiction book called queen bees and wannabes. it interviewed and discussed the social hierarchy system in teen girl friendships. how they hold each other to these insane standards of heternormative femininity out of sheer terror that they won't meet those standards themselves. the way they leverage their relationships for some small degree of power in a world designed to strip them of it, even if it drags other girls down.

the "you can only wear your hair in a ponytail once a week and on wednesdays we wear pink" speech was not an original creation for the script. it's a QUOTE from a real teenage girl. those were REAL RULES.

then the musical came, and it was one step removed from the intended messaging of the film. OG mean girls was not perfect (and was extremely racist), but it said what needed said. the musical leaned on the comedy more, but still left a heartfelt undertone, and still critiqued the systems in place. of course no piece of media is going to be perfect, but it was about the conversation.

then this new movie comes out and it is washed over in the veneer of white hollywood feminism so thick you can't see anymore. the problematic aspects of the original movie are taken out to avoid "offending" when the offense was the point. it becomes toothless, it becomes some other thing entirely. they changed karen's line "i expect to run the world in shoes i cannot walk in" to "watch me as i run the world in shoes i cannot walk in." because choice feminism is in vogue, suddenly this character whose entire point is that she doesn't think deeply about WHY she does anything is suddenly hip to the fact that the world is against her.

i think of sokka losing his misogyny arc in the new atla. i think of the Heathers remake casting the bitchy, identical heathers as queer and hollywood-fat outcasts. as if the story, the meaning, the allegory is hidden in the sets and the jokes and the music. it's a whole new thing now, and it's a thing that means nothing in particular.

the plastics should not wear jeans. they should not have curves. their queerness should be suppressed, painful. their sexuality is not a slay, it's the only thing they think they have of value. the santa dance isn't sexy, it's shocking, it's mortifying - they are children.

they're not mean because "we are all mean." they are mean because they are girls in a world that brutalizes them and crushes them into a standardized shape. they are mean because the world is mean to them. they are mean because it gives them some power back. they are mean because it's the only weapon they have.

the landscape of femininity today has shifted to camera-ready makeup at the age of 10, stringent performative hygiene standards, and avoiding being caught on film while having a genuine emotion. the consumerism, the fatphobia, the racism, the classism, the homophobia remain. We could have had a conversation about that.

[38riku]

𝐁𝐃𝐀𝐘 𝐕𝐎𝐈𝐂𝐄𝐋𝐈𝐍𝐄𝐒 𝐏𝐓.𝟑 ˗ˏˋ ꒰ 🎂 ꒱ ˎˊ˗

includes pomefiore (separately). no warnings. fluff. i should've did this by dorm but i didn't think i'd make more than one part.

read part one. part two.

𝐕𝐈𝐋 𝐒𝐂𝐇𝐎𝐄𝐍𝐇𝐄𝐈𝐓

you've come to wish me a happy birthday? heh, as you should. come, sing my praises now that my beauty has been tempered by another year of age.

it isn't unordinary for Vil to receive compliments. he's cemented himself in the limelight and his adoring fans never fail to comment on his beauty and talent.

so, when he jokingly (not so jokingly) asked you to sing his praises, he expected a sarcastic "your perfection is unattainable" or something along those lines.

but, of course, you managed to surprise him.

"you deserve everything your heart desires." what a cheesy line. it was a staple in romance movies that hasn't seemed to die out despite its repetition. he now knows why, albeit because it came from your lips and not that of someone just doing their job.

"and as your beauty matures each and every year, may your tenacity strengthen and elegant vigor continue to shine brightly."

Vil clicked his tongue, a ghost of a smile creeping on his face as he did his best to maintain his composure.

"I almost feel guilty that such heartfelt words are directed towards me and not a lover of yours."

You laughed, as if the thought of a lover was unbelievable. If only you were aware of the many admirers after your tender heart, would you still find it amusing?

"Don't be silly Vil. You're the fairest of them all, the only one worthy of these words."

You had him stumped. The way you said such things as if they held little to no weight.

For a moment, being the fairest of them all wasn't appealing. He is the fairest in your eyes, which amounted to more than you could ever imagine.

𝐑𝐎𝐎𝐊 𝐇𝐔𝐍𝐓

merci! your dulcet tones are the greatest gift I could receive. you may consider your sentiments most appreciated.

rook was satisfied with your simple 'happy birthday' although it wasn't so simple to him. your smile was blinding, genuine glee filling your eyes as you greeted him with more joy than usual. to think the day of his birth elicited such excitement.

"i hope you like your present."

"any gift from you is a priceless treasure my dear. the mere fact that your thoughts were captivated by me makes my heart flutter."

he adored your flustered expression but wasn't interested in teasing you too much today. opening the large box, he audibly gasped at the sight. "you've truly outdone yourself. i am undeserving of such a magnificent piece."

he inspected the hat, humming in satisfaction at the handiwork and embroidery. a small chuckled fell from his lips as he heard your gentle sigh of relief.

walking toward you, he removed his usual hat and placed it on your head, wearing the new one it its stead. "we make a magnificent pair, do we not? even with a piece as fine as this my beauty is lackluster to yours."

"it's your birthday rook. i should be the one complementing you, not the other way around."

he laughed at that. your compassion and generosity made his heart soar to heights unknown.

"your beauty deserves to be appreciated no matter the occasion. your presence alone fills me with comfort. you have a voice that is sweeter than the chase of a hunt. i am inclined to speak on your physical appearance, but, I am unsure that you'd be able to handle such honeyed words."

after all the time you've known one another you still weren't used to his flattery. it's not his fault, you were positively stunning in every aspect of the word.

it's his day of celebration after all, and he'll spend it as he sees fit. surely you will allow him to fawn over you? he can't think of a better way to spend his birthday.

𝐄𝐏𝐄𝐋 𝐅𝐄𝐋𝐌𝐈𝐄𝐑

you, ah, you want to celebrate my birthday? s-sorry, I'm not used to hearing that from anyone other than close family. thanks.

"tada! happy birthday!"

you removed your hands from his eyes, moving to stand in front of him with a knowing smile. "a feast fit for the birthday boy. well, a meal, since it's just the two of us."

yes, just the two of you. that's probably why his usually strict house warden was a bit more lenient with him missing an etiquette lesson.

hopefully he didn't think it was something more than two friends sharing a meal. that's all there is to it, right?

"thanks! this looks amazing."

"remember that takeout i shared with you and the guys not too long ago? it's the same place. i figured since you liked it so much we can try more stuff!"

golly, weren't you just a ball of sunshine. if he was to thank ace and deuce for anything (which isn't much) meeting you would be top on the list.

he couldn't remember the last time he was able to enjoy the simple pleasures in life like cheeseburgers, chicken tenders, fries, onion rings; but boy was it the most fulfilling meal of his life.

spending the evening with someone close to him, eating, joking around, and enjoying each other's company. you might not think it's much, but, the time you shared cured his home sickness, even for a little while.

it was his first time celebrating his birthday away from home after all.

"one more surprise." you place a finger on your lips, winking, before disappearing in the kitchen.

in your absence, he did his best to calm his beating heart. you laid it on thick and didn't even know it! don't you know where he's from, a meal is a way to a man's heart?

did you know that? was this a cover for blatantly pursuing him? no, there's no way, just wishful thinking on his end.

his thoughts came to a halt as you reappeared with a singular piece of pie in your hands and a candle. placing it in front of him, you quickly lit it, and ushered him to make a wish.

usually, he wishes for the same thing every year, but, just this once, he wished for something utterly selfish. something that, when he blowed the candle, he looked toward you sheepishly, denying to tell you because it "wouldn't come true."

one day it'll come true. one day, he'll be the apple of your eye, and sweep you off your feet.

© 2024 — 38riku. Do not copy or repost or plagiarize my work. All Rights Reserved.

[moonlightsapphic]

Look, I just need you guys to understand how important queer coming-of-age forbidden romances on internationally accessible platforms like Netflix is, especially to youth in countries where homosexuality still hasn't been legally decriminalised or socially accepted.

That was a mouthful, so let me explain. You, a white American adult with a liberal family, may not relate to a fictional anxious teen Swedish prince grappling with strict familial and societal expectations versus his first love. You may not find anything special in a bunch of queer British teens discovering themselves and figuring out complex relationships that are honestly rather simplistic, in retrospect. It might be a little too trite for you. Like, just a little vanilla without any extra drama. Perhaps corny—cringe, even. Too wholesome.

But you know what that is to me, a desi queer young adult? It's representation, in an unlikely place. My country certainly isn't making movies or shows where I see my secret relationship between me and my girlfriend portrayed. I don't see that happening in the next couple of decades, either, sadly. But you know who’s telling our stories? Alice Oseman. Lisa Ambjörn, Lars Beckung and Camilla Holter. Through fictional storylines that might seem kind of boring to you, I am finally able watch my lived experiences play out on screen.

American media has done such a disservice to queer coming-of-age stories. I want to scream this from the rooftops. Y’all, I’m glad to see more out quirky queer side-characters—I can’t get enough of them—but why is it so rarely their story, in sharp focus, about how they found themselves? I want to know how they overcame internalised homophobia. When was the moment they knew? What is the cost they have to pay for being out? For not being out?

And no, I don’t want it to be dramatic. I don’t need to see violence or betrayals or victorious kisses in public, really. I’m happiest with the teenagers behaving like real teenagers. Innocent, vulnerable, nervous. I want it to be heartfelt, and excruciatingly slow, and authentic. I want to see the small wins and the subtle losses. The quiet mental toll of how much you have to give to a queer relationship—especially your first queer relationship—and how hard that can be to separate from your Identity itself.

Give me that "am I gay?" quiz and genuinely crying at 3:00 AM because you're in a rabbit hole about LGBTQ+ rights in a country where you actually don’t want to be gay and you don’t even know if you “count” anyway. Show me that moment where you're going back and forth from forbidding yourself from seeing the one person that sees and understands you and it's to protect your mental and physical well-being but it's driving you insane. Give me ALL THE YOUNG ADULT BI+ AWAKENINGS where one person strolls into your life and changes everything. No, it’s really not the same as most cis-heterosexual insta-love movies out there, even if it looks that way to you. It doesn’t even cut it close.

The happy ending, the acceptance is only what I can dream of, not what I can expect. The wholesomeness is actually radical to me.

No, we’re not past the need for basic star-crossed queer romances. For most countries in the world (including for many white American teenagers!), we need them as much as ever.

[misstycloud]

Yandere actor x actor!reader

Yandere!actor who is known for his exceptional theatrical talent, and is highly rewarded for it with big roles in the movies. The kinds that people actually look forward to seeing in cinemas.

Yandere!actor who has many casting directors requesting him specifically for their role. With him in it, the movie would aoutomatically become successful in one way or another. If the script and plot wasn’t satisfactory then the film would get a lot of views solely because he was in it.

Yandere!actor who mostly does action or horror related work, the things more suited for older audience. Never before had he started in an all-age romantic type film. But he supposed sometime had to be the first.

Yandere!actor who met you on set as his co-star and quickly hit it off with you. You weren’t as recognised back then and really wanted to do well in this movie by impressing the directors along with the audience.

Yandere!actor who finds himself enjoying acting out the scenes; the intimate ones especially. At first he plays it off as not being used to it but after a while he realises it’s bigger than that.

Yandere!actor who makes you somewhat uncomfortable in how enthusiastic he appears to do the heartfelt act, he almost makes the whole thing seem real. It’s a little weird. If someone asked you, you’d say he is a bit too into it for your liking. It’s nothing more than a job, chill.

Yandere!actor who often searches for you between takes in hopes of starting a conversation. You try to distance yourself a little when you notice your collogue rarely talking to anyone else besides you, which isn’t very good.

Yandere!actor who wishes things weren’t scripted. It would be a dream to experience those things with you for real. Then the way you so delicately whispered the ‘I love you’s wouldn’t be an act and you’d genuinely love him back; not the character he was portraying.

Yandere!actor who is devastated when the filming eventually comes to an end. He always knew it would. But just not so…soon. And there was nothing he could do to stop it either.

Yandere!actor who refuses to take on any male lead roles after the movie was a big success. The actor could not find it in his heart to play such scenes if his ‘lover’ wasn’t you. It just didn’t work.

Yandere!actor who finally manages to pull a few strings and get you two on a new romance. It turned out that the viewers absolutely loved you and demanded to see more of your chemistry. Now you simply needed to pop out more movies.

Yandere!actor who has been every type of couple with you. Childhood friends, rivals to lovers, forbidden love and much more. His only wish now is to be a real one.

[wrightingdungeon]

Love Letters

Elliott SDV Oneshot

Sitting in his usual seat at the Saloon, Elliott smiled as he watched over the usual patrons going about their conversations and games of pool. He was glad he had moved to this small, sleepy town. It had woken up recently, the people coming alive again with the swell of new energy. It was all thanks to the new Farmer. They had moved in a while ago, and nobody had expected them to pull so much of the town's weight after their grandfather's passing. But they had, and everyone was so grateful for them. Fixing the community center and kicking the corporate leeches of Joja out. The new movie theater brings in new faces now and again, boosting the community even more.

“Hey, good evening, Farmer!” He heard Gus call, waking him up from his people-watching thoughts. Looking over, he smiled, seeing the Farmer walk in and put up their hat on the rack. “Evening, Gus. How's today going?” Elliott smiled, listening to Gus and the Farmer talk about their days. He couldn't help but find them interesting, how they pushed through every day with the same confidence and strength. They had become the rock of the community. If you needed something, they would have it. If you needed someone to listen, their door was always open. The Farmer was someone to be inspired by, and inspired Elliott was.

Seeing the Farmer looking around for a spot to sit, he mindlessly raised his hand a bit and waved to them. The slight crinkle of their eyes and nose, the way they smiled at him as they noticed his invitation, made his heart rate rise. “Hello, Elliott, how's the book coming along?” The Farmer asked as they sat down, their mug of beer clinking softly on the tabletop as they settled into their seat. “It's proceeding as fluidly as setting kindling ablaze with oil,” he sighed into his wine glass, closing his eyes slightly. “That just means it's blazing with glory, right?” He chuckled with them, finding it amusing that they could always find the glass half full when others saw it half empty. “That is one way of looking at it, yes,” Elliott said with a smile, pushing some stray hairs out of his face.

"Why don't you tell me more about the plot? You know I love a good romance," the Farmer encouraged, leaning forward with genuine interest. Elliott's eyes sparkled with a mix of enthusiasm and nervousness. "Well, it's set in a small coastal town, much like ours. The protagonist, a young woman named Elara, inherits an old bookstore from her late grandmother. As she restores it, she discovers a series of love letters hidden within the pages of an old book.” He was embarrassed to admit he might have used the Farmer's tale to help shape his in a way, but their story was one for the ages in his mind.

"Love letters?" The Farmer interjected, eyebrows raised in curiosity. "Yes, love letters," Elliott nodded, his excitement growing. "Each letter tells a piece of a love story that spanned decades, full of longing, separation, and serendipitous reunions.” The Farmer smiled, nodding at his explanation. "Well, I guess you would be good at sending love letters; you do have a way with words.” He couldn't help the blush that tickled his cheeks. “Oh no, I haven't sent any; I've practiced for the book though,” he said, rubbing the back of his neck shyly.

“Ooooh, who are you writing to? An ex? Someone you know?” A small gasp and smirk formed on the Farmer's lips. “Is it someone I know?” They asked, looking like the curious cat before they got caught, but he was the mouse staring down the cat about to get caught. How could he tactfully say he had a small stack now of written love letters, written out to them? Lengthy poems expressing his yearning, letters categorizing all his desires, heartfelt love letters written with deep emotion, all made for them. “You could say you know them,” he danced around the question, his eyes looking to the side as he hid behind his wine glass. “Come on, Elliott, you did ask for help with the book genre. I could help hook you up with them.” His heart and chest squeezed tight at the Farmer's offering to help set him up with his love letter recipient, not knowing it was themselves meant to receive the letters.

"Ah, well, you see, it's all for artistic purposes. I wanted to capture the essence of genuine affection and longing in written form. It's all purely artistic, I assure you," Elliott stammered as he took a sip of his wine, hoping his explanation would suffice, all the while grappling with the realization that his feelings were intricately woven into every word penned.

“Uhu huh… And I just arrived in Pelican Town today,” Elliotte couldn't help but smile at their sarcastic comeback. “Elliott, if you like someone, you should let them know. You are a great guy.” Their sincere tone and soft smile threatened to drive him mad. They were right. They deserved to know, and who knows, it could help the flow return to his writing.

“Well, Farmer… It's you…” Elliott said, looking at his reflection in his near-empty stemware, his eyes slowly raising to look at the Farmer. Their red cheeks and slightly widened eyes made him slink back a bit, scared he had been too bold, stepping over a line not meant to be crossed.

“Me… And you've never sent them? Elliott…” The Farmer's voice was almost a whisper, but the growing smile on their lips showed their excitement. “I… I didn't know how you would feel,” Elliott said softly, his own smile forming on his face, his fears calming down. “Well, I want to see them. Come on, show me.” Elliott watched as the Farmer downed their drink and held out their hand. Taking a moment to understand the request, Elliott gladly took the Farmer's hand, leading them to the beach. “What kind of letters are they? The sappy ones?” Elliott couldn't help but see the coy cat smirk crawling back on their face as they looked up at him. “Naughty ones?” His face turned red as he laughed, shaking his head. “I'll let you read them, find out for yourself, how about that,” he said, teasing them back, his turn to smirk at the Farmer's blushing face.

As they walked along the sandy shore, the cool ocean breeze tousled their hair, adding an extra layer of intimacy to their exchange. Elliott couldn't help but feel a surge of affection for the Farmer beside him, their laughter echoing against the backdrop of crashing waves. The Farmer squeezed his hand gently, a silent reassurance that washed away any lingering doubts Elliott might have had. With each step, the weight of uncertainty lifted, replaced by a growing anticipation.

Unlocking the door of his home with a sense of excitement, Elliott led the Farmer into his cozy abode. Reaching under his bed, he pulled out a bundle of letters tied with a ribbon. Sitting beside the Farmer, he carefully untied the bundle, revealing a collection of handwritten notes neatly folded within. "These are… special to me," Elliott confessed, his voice tinged with vulnerability as he handed the letters to the Farmer. "They're a reflection of my feelings… for you."

The Farmer's eyes softened as they took the letters into their hands, their gaze shifting between the pages and Elliott's earnest expression. With a gentle smile, they began to read, each word resonating deeply within their heart.

As the sun dipped below the horizon, painting the sky in shades of pink and orange, Elliott and the Farmer sat together in a comfortable silence, surrounded by the echoes of their shared laughter and the promise of new beginnings.

[sleepynegress]

On The Holdovers...

I can't remember if I already made a little review post about this film yet, but if not... #ThisIsARec I am especially partial to good-hearted genuine misfits getting some good things in their lives and usually, when it comes to film, the misfit part leans on the acceptable/easily fixable side, i.e. the glasses and ponytail girl... But this film genuinely deals with relatable misfit ish as well just plain normal coming-of-age, and adult challenges in a space that has needed that sorely... The holiday film. FINALLY there is a movie for people who don't or can't do traditional holiday films because someone they love passed or for any number of hard-life turn reasons. This movie is brilliant and it's the reason why I want Giamatti and Da'Vine Joy Randolph to get those Oscars. Also, Dominic Sessa in his first role(!) is a revelation. I love a good heartfelt movie even if it's a bit saccharin and contrived but this one avoids that and still pulls those emotions. It's a damn good movie to watch when you need a lift in the same ballpark as Dead Poets, I'd say...but IMO better. Anyway... yeah, #ThisisABIGRec

[mayamidnightmelody]

The Dynamic Duo: Bud Spencer and Terence Hill

Bud Spencer and Terence Hill: a legendary partnership 🎬 that has enthralled audiences for decades, leaving an indelible mark on Italian cinema 🇮🇹 and beyond. Their dynamic blend of action, humor, and camaraderie has cemented their status as icons of the silver screen, captivating viewers with their infectious energy and timeless appeal.

The story of Bud Spencer and Terence Hill begins in the early 1960s, amidst the rise of the Spaghetti Western genre. 🤠 Born Carlo Pedersoli and Mario Girotti, the duo's paths converged, sparking a partnership that would redefine cinematic entertainment. Spencer's towering physique and Hill's suave charm formed the perfect complement, igniting an on-screen chemistry that was nothing short of magical.

What sets Bud Spencer and Terence Hill films apart is their seamless integration of action and comedy, creating a recipe for cinematic success. 🎥 Their movies are a rollercoaster of laughter and adrenaline, with larger-than-life characters engaging in absurd yet entertaining escapades. From epic brawls to witty banter, each scene is infused with their trademark humor, leaving audiences in stitches.

But beneath the laughter lies a deeper theme of friendship and loyalty that resonates with viewers on a profound level. 🤝 Spencer and Hill's characters, often portrayed as misfits or underdogs, forge unbreakable bonds in the face of adversity. It's this heartfelt portrayal of camaraderie that elevates their films beyond mere entertainment, touching the hearts of audiences worldwide.

Off-screen, Bud Spencer and Terence Hill shared a genuine friendship that transcended their professional collaboration. Their camaraderie extended into their personal lives, adding an extra layer of authenticity to their performances. This bond, palpable both on and off the screen, undoubtedly contributed to the enduring popularity of their films.

From "They Call Me Trinity" to "My Name is Nobody," Bud Spencer and Terence Hill have left an indelible legacy that continues to captivate audiences of all ages. Their influence reverberates through the halls of cinema, inspiring generations of filmmakers and entertainers to come.

In conclusion, the dynamic duo of Bud Spencer and Terence Hill has left an indelible mark on Italian cinema and the hearts of audiences worldwide. 🌟 Their unique blend of action, comedy, and camaraderie has stood the test of time, solidifying their status as legends of the silver screen. As we continue to enjoy their timeless classics, we celebrate the magic they brought to the world of cinema and the enduring legacy they leave behind.

Filmography:

"God Forgives… I Don't!" (1967)

"Ace High" (1968)

"Boot Hill" (1969)

"They Call Me Trinity" (1970)

"Trinity Is Still My Name" (1971)

"Man of the East" (1972)

"All the Way, Boys" (1972)

"Even Angels Eat Beans" (1973)

"…All the Way, Boys!" (1973)

"Watch Out, We're Mad" (1974)

"Two Missionaries" (1974)

"Crime Busters" (1977)

"Flatfoot in Africa" (1978)

"Odds and Evens" (1978)

"Double Trouble" (1984)

"Go for It" (1983)

"Who Finds a Friend Finds a Treasure" (1981)

"Super Fuzz" (1980)

"Everything Happens to Me" (1980)

"Banana Joe" (1982)

"Trinity: Good Guys and Bad Guys" (1985)

"Miami Supercops" (1985)

"Troublemakers" (1994)

[be-gay-find-cryptids]

(Part 1) Film & TV Recommendations for Halloween

1. Over the Garden Wall (Miniseries, 2014)

Over the Garden Wall features two half-brothers, Wirt and Gregory, who have become lost in a mysterious wood called The Unknown and attempt to find their way back home.

...

This beautifully crafted animated miniseries is the best thing to come out of Cartoon Network even after ten years. The unique atmosphere, which blends fairytale charm with Gothic eeriness, perfectly compliments the early 20th-century Americana-styled animation. At just ten episodes, Over the Garden Wall is a short but impactful experience that lingers with you long after it ends. I highly recommend this series.

2. Coraline (Film, 2009)

Wandering her rambling old house in her boring new town, an 11-year-old Coraline discovers a hidden door to a strangely idealized version of her life.

...

This stop-motion animated film is a deeply unsettling and visually stunning experience. Blending a dark fairytale narrative with otherworldly imagery, it presents itself as a psychological horror for young and older audiences alike. Coraline explores the complex ideas about family, identity, and the dangers of wish fulfillment with grace. I strongly recommend this film.

3. ParaNorman (Film, 2012)

Norman Babcock, a young boy who can communicate with ghosts, is given the task of ending a 300-year-old witch's curse on his Massachusetts town.

...

This heartfelt stop-motion animated film blends humor, horror, and themes of ostracization and acceptance. While blending classic horror movie tropes with a coming-of-age story, it manages to portray strong themes of prejudice by using zombies, witches, and ghoulish imagery. If you're looking for a unique spin on classic B-movie horror, I highly recommend this film.

4. Happy Death Day (Film, 2017)

A college student must relive the day of her murder over and over again in a loop that will end only when she discovers her killer's identity.

...

Happy Death Day is an entertaining mashup of slasher horror and Groundhog Day-style time loop storytelling. This film stands out from all the rest of the horror-comedy franchise due to its emotion, mystery, and character growth. While it doesn't push boundaries for horror, it makes up for its uniqueness that balances humor and suspense. If you're looking for a horror-comedy film, I strongly recommend this one.

5. Jennifer's Body (Film, 2009)

A newly-possessed high-school cheerleader turns into a succubus who kills her male classmates and devours their flesh in order to survive.

...

Though it was sorely misunderstood when it originally came out, it has recently garnered rightful attention for its subversive take on the horror-comedy genre. This film blends teen drama and supernatural horror and uses its genre to touch upon the objectification of women in horror and in reality. Its wit, self-awareness, and social commentary have made it a standout in the horror-comedy genre, and for that, I strongly recommend this film.

6. Sinister: Recut (Film, 2012)

Ellison Oswalt is a struggling true-crime writer whose discovery of snuff films depicting gruesome murders and strange supernatural elements in his new house puts his family in danger.

...

Said to be one of the scariest films ever from a research study, Sinister is a deeply unsettling horror movie that perfectly mixes supernatural elements with psychological tension. The haunting score combined with the grainy, nightmarish footage of the murders results in an unnerving experience that sits with you long after you turn the lights out. Instead of watching the original movie, I strongly recommend this fanedit version of the film. It elevates the movie by removing some of the cheesy jumpscares and awkward dialog. If you're looking for a genuinely haunting movie this Halloween, I recommend this one.

7. 1408 (Film, 2007)

Author Michael Enslin, who specializes in debunking paranormal occurrences, checks into the fabled room 1408 in the Dolphin Hotel in New York City.

...

This film excels in building suspense, using minimal special effects, and relying on our main characters' isolation and psychological unraveling to create fear. While this movie isn't as overtly terrifying as other horror films, 1408 offers an eerie, slow-burn experience, blending supernatural elements with personal trauma. The film has two different endings, the theatrical version and the director's cut. I'd suggest watching both to come to the conclusion of your favorite. It's a must-watch for fans of psychological horror, and I strongly recommend this film.

8. Midsommar (Film, 2019)

A couple travels to Northern Europe to visit a rural hometown's fabled Swedish mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.

...

This is a visually stunning and disturbing horror film set against the backdrop of a bright, idyllic Swedish village. The movie stands out for its unique approach to horror, unfolding almost entirely in daylight, creating a sense of unease through its striking visuals, unnerving atmosphere, and slow-building dread. Midsommar is a polarizing piece of media, mixing folk horror with psychological drama, and is filled with symbolism and unsettling imagery. I highly recommend this film if you're looking to be disturbed this Halloween.

9. Skinamarink (Film, 2022)

A young brother and sister wake up during the night to discover that their father is missing and that the windows, doors, and other objects in their house have vanished.

...

Skinamarink is an experimental analog horror film that trades traditional narrative for a surreal, nightmarish atmosphere. Shot in grainy, low-light cinematography, the film immerses you in a disorienting and eerie world where fear of the unknown takes center stage. The film’s strength lies in its ability to evoke childhood fears, using abstract visuals and unsettling sound design to create a sense of dread. However, its unconventional approach may alienate some people who expect a clear plot or resolution. The minimal dialogue and deliberate pacing make Skinamarink more of a mood piece than a traditional horror film, relying on atmosphere over jump scares. For those willing to embrace its experimental nature, Skinamarink offers a haunting and disquieting experience that lingers long after it ends, tapping into primal fears of isolation and helplessness. For all these reasons, I highly recommend that you check out this film.

10. Heck (Short Film, 2020)

A child wakes up in the middle of the night to the sound of his mom's television blaring.

...

Heck is a short film that shares a similar atmospheric approach to the creator's feature-length film Skinamarink. Like Skinamarink, it explores the feeling of being trapped in a surreal, dreamlike space. The film's minimalist aesthetic, with grainy visuals and a haunting soundscape, creates a disorienting atmosphere that leaves much to the imagination. It builds tension through its slow pacing, relying on the viewer's discomfort with the unknown rather than traditional horror tropes. For people who thought Skinamarink's runtime was excessive, Heck is a great substitute that captures the same atmosphere of the former. I highly recommend this film to people who have enjoyed Skinamarink's take on horror.

[wonderfulworldofmichaelford]

Is It Really That Bad?

Come. Gather round and listen to the legend of the Funny Vampire Director, AKA the Funny Nazi Director, AKA Taika Waititi.

Raised in the way of the director, Waititi was taught to make good movies, delivering the sort of funny and heartfelt films most can only dream of making. He directed, and he wrote, and he acted. He was sensitive, like a smile. And his love of filmmaking did not discriminate in what he could make. He once made a hilarious vampire mockumenatry that got a spin-off TV series. Another time, he proved that you could make Blazing Saddles in the modern day, except with Nazis!

But Waititi's greatest achievement was cameoing in The Suicide Sqaud. Oh, wait. No. It was making a good Thor movie, of all things. But sadly, in making a good Thor movie, he set himself up for failure with the sequel. In fact, he set himself up for spectacular failure. Mediocre reviews. Audience backlash. Criticism from the actors and directors. And bad reviews from all sorts of internet guys, again and again and again. And again.

Poor Waititi had to watch the internet’s respect for him explode. And then he said, 'What have I done?' It seemed that everything he’d worked for with Thor, he lost. And so he maybe got fired by Marvel and went back to making real movies for a change. But just because he was done with Marvel, didn't mean he was done with superheroes. He teamed up with James Gunn and set off to deliver the most powerful and thematic line in The Suicide Squad. He got in shape, putting in the hard yards to become a respected filmmaker again. Taking pains into gains and never skipping the chance to direct a movie based on Tower of Terror. He put in the work to go from the butt of jokes to a guy who would hopefully deserve an Oscar win.

But with all that being said, there was still a confused reviewer just trying to figure out if maybe the backlash to Thor: Love and Thunder was a bit overblown. Because really, this movie couldn’t possibly be as shitty as The Dark World, which committed the sin of wasting Christopher Eccleston. So he sat down and gave the movie a rewatch, accepting he was only good for one thing... Determining that age old question, 'Is Thor: Love and Thunder really that bad?'

THE GOOD

So maybe this is a hot take, but I really did enjoy Jane’s return and her romance with Thor and find it to be one of the film’s best aspects.

Now, don’t get me wrong, a lot of the writing here is clunky and poor Natalie Portman is saddled with a lot of really stupid dialogue now that she’s the Mighty Thor. But seeing her and Chris Hemsworth act off each other again in a less dull and restrictive fashion is so nice, and seeing Portman kick ass is a lot of fun too. She even wields Mjolnir in some pretty creative ways here! And her death is actually a genuinely powerful and touching scene that they don’t immediately fuck up with a lame joke.

The soundtrack, while not even close to touching the Guardians of the Galaxy soundtracks, is filled with Guns N’ Roses banger after banger. I grew up listening to these guys, so honestly I’m predisposed to like any scene where they play one of my favorite tracks by them.”Sweet Child O’ Mine,” “November Rain,” “Paradise City,” and “Welcome to the Jungle” are all whipped out at just the right time to keep my attention from flagging completely, so I’ll give them props for that. They aren’t the most inspired choices, but I’m a sucker for classic Axl.

The Axl above? Decidedly less so. Still, despite this film’s reputation for really bad effects and really bad costumes and just in general looking embarrassingly cheap because Disney abuses the animators, there are some extremely cool visuals here and there. The shot of Falligar the Behemoth in particular is so good they slapped it into every trailer, and a climactic battle on a monochrome planet looks way too good to be in this movie. But by far the most fantastic thing is the comic-accurate depiction of Eternity.

And of course, I would be remiss to not praise Christian Bale’s performance as Gorr the God Butcher. The man immediately has you hooked with the opening scene, which details his backstory and shows how he began his vendetta against all the deities of the Marvel universe. Then we have his fantastic climactic confrontation with Thor on the black-and-white planet, and then there is his final scene before Eternity. Each and every time he shows up, it’s completely clear that Bale is giving it his all and acting his pussy off, giving a performance that is honestly kind of astounding considering what’s going on around him.

THE BAD

Unfortunately, while Gorr is a fantastic performance, he suffers from the fact his character has absolutely no cohesion and is barely in the film. He shows up for maybe one big fight in the first hour, then completely disappears from the film until the third act, during which time he just sits around with a bunch of children and terrifies them. And despite being “The God Butcher,” we see him butcher precisely one single god in the whole film, and that’s in the film’s opening. Groot has as many onscreen god kills as Gorr. That’s fucking pathetic. Bale’s magnificent performance is strong when it counts, but so much of the dramatic moments feel unearned because he hardly does anything outside those moments. The fact they cut out so much material including him meeting with Peter Dinklage’s King Eitri and Jeff Goldblum’s Grandmaster, really stings. Would it have been a crime to cut out those annoying fucking goats and instead give Gorr more to do like, oh, butchering gods?

It doesn’t help that the story never actually refutes any of Gorr’s points. Every other god we see in the film is egotistical, hedonistic, a coward, or all three at once, with even Thor reverting into a corny blowhard for much of the movie. Zeus is pretty much emblematic of this problem; while I actually did enjoy Russell Crowe’s performance (even if it is, ultimately, a half-baked attempt at recapturing the magic of Grandmaster from Ragnarok), the fact that Zeus is nothing more than a blowhard more concerned with orgies and showing off to all the other gathered deities just kind of proves Gorr right. The gods don’t care, they are refusing to help their followers, and frankly the universe would probably be a lot better if it was littered with Knowheres instead of having these horny clowns prancing about.

Then we have the Guardians. The glorified cameo from the Guardians of the Galaxy that was hyped up in all the marketing. Despite being in the movie for maybe ten minutes and despite Star-Lord having 95% of all the lines between them, nearly every single one of them feels completely out of character. Star-Lord, on the other hand, actually feels like he was rerailed in time for Gunn to take the reigns back, but it doesn’t make up for how awkward and pointless it all feels. Although it is incredibly hilarious that after all of them spent Infinity War fawning over him they all now seem to barely tolerate him, with it being confirmed none of them kept in contact with him after the events of this film. I honestly don’t blame them.

A lot of returning characters really suffer. King Valkyrie gets it pretty bad since her subplot where she searches for love was dropped, leading to her feeling really superfluous in the plot. Lady Sif gets it even worse, with her barely even being in this movie; one has to wonder why they even bothered keeping her alive. Thor gets hit especially bad here, because he seems to have reverted from his post-Ragnarok characterization all the way to pre-Thor characterization, with all his hedonism, goofing, gallavanting, insecurity, and egotistical traits ramped up to maximum levels.

But the most divisive returning character of all is Korg. Korg became a fan-favorite due to his appearances in Ragnarok and Endgame, where he was genuinely a funny comic relief character who juxtaposed his intimidating rock golem design with a friendly demeanor and the chipper voice of director Taika Waititi. The thing is, both of those films used him sparingly, so that when he got a lame joke it wasn’t so bad because it’s one up against dozens of good ones. Here though he gets to be a main character and even the narrator, and boy does he get old pretty quickly. The thing is, though, that even if he’s not particularly funny here… I still like Korg. He’s just too damn charming, As lame as his jokes are, as lame as his fake out death is, as pointless as he ends up feeling to the plot, I just can’t hate the guy. I guess it helps that he gets to be Disney’s 52nd First Gay Character, but actually for real this time because in the end he gets to make a baby with a rock guy named Dwayne. I also really like the theory that the reason the whole film is corny is because Korg is narrating it, and he’s an unreliable narrator peppering the story with lame jokes and underplaying elements that should matter. Does it save the whole movie? No. Does it make Korg any funnier? Also no. Does it add an interesting layer that at least keeps me from wanting Korg dead? Yes, yes it does.

And really, every single problem here is something that was there in Thor: Ragnarok. Zany comedy? A terrifying, threatening villain with a murderous vendetta who gets weirdly underplayed and barely interacts with the heroes? A villainous character played entirely for jokes? Jokes that completely and utterly destroy the tension of any given scene? The big difference is that in Ragnarok, at least some of the jokes were funny, and Thor had more interesting characters to bounce off of. And maybe most importantly, that film knew when to dial back the comedy to let cool or emotional moments breathe. And maybe even more importantly than that, it knew to keep Korg to a minimum. This film doesn’t do that at all, with nonstop gags undercutting nearly every dramatic moment. It’s ultimately hard to give a shit about anything going on when the characters give so little of a shit about it that they’re cracking jokes.

And let me tell you, if you couldn’t already tell, the jokes are fucking bad. This is basically what would happen if you asked Seltzer & Friedberg to make Marvel Movie. This is the epitome of all those jokes about Marvel dialogue having the characters go “Well that just happened!” to the point where I’m shocked it’s not actual dialogue. The horrendously unfunny screaming goat meme is a pivotal plot point in this movie; that’s the quality of jokes we’re dealing with here. And while there are a few decent jokes here and there, there’s just too many fucking jokes to pay them any mind.

IS IT REALLY THAT BAD?

Somehow this is one of the most overhated and yet rightfully disliked films ever made.

Like, Schafrillas was right to call this the Shrek the Third of Thor films. It’s not funny, it derails beloved characters, it’s incredibly annoying, it wastes a good villain, and the writing is just so hackneyed and ridiculous. This is absolutely not a good film at all. But the way you hear some people talk about it you’d think this film killed their grandma.

Like I know bad comedies are some of the worst kinds of films out there, and this film is definitely horrendously unfunny at every opportunity, but it has just enough good ideas and just enough strategic deployment of Guns N’ Roses songs that it just barely manages to be passable in my eyes. I definitely think this is a mediocre movie, and it is emblematic of everything a bad Marvel movie can be. But at the same time, it manages to be unfunny in ways I didn’t think were possible from a director and cast this talented. I’ll be honest, on my second watch through of the movie I was more bored than infuriated with this film. It has its moments, but it’s absolutely one of the weakest efforts Marvel has ever put out.

This film is pretty much what critics once accused Batman & Robin of being: An overindulgent, campy, unfunny smear on a cool hero. As you well know by now, I don’t agree with them on that, but it’s a somewhat fitting descriptor for Love & Thunder. I don’t think it’s a smear on Thor, who has been way too inconsistent for me to get mad about him being taken in some wild direction, but overindulgent, campy, and unfunny are pretty apt. Still, I don’t think this is nearly as bad as a lot of people say. It’s not bad in a “crime against humanity” way, at worst it’s bad in a “I know the people making this are capable of better and I kinda feel like this is the fault of studio executives at Disney” kind of way. If you like it, sure, that’s valid! I don’t think there is no value in this film at all, especially compared to some stuff I’ve reviewed for Is It Really That Bad. But if I never have to see this movie again, I won’t exactly lose sleep over it, and I’m sure many people feel the same.

Still, I’d have to have a heart of stone to not find the ending, which features Thor and his adopted daughter (played by Hemsworth’s own daughter) becoming a cute little superhero team and getting a corny title drop right before the credits, really sweet. Yeah, it’s not a good movie, but at least it’s better than the first two Thor movies or the unseasoned oatmeal that is Eternals.

[rudranshsinha]

"Learning to Thrive: 3 Idiots - A Journey of Friendship and Fulfillment"

"3 Idiots" is an iconic Bollywood film that continues to inspire and touch hearts since its release in 2009. Directed by Rajkumar Hirani, the film features an ensemble cast led by Aamir Khan, R. Madhavan, Sharman Joshi, Kareena Kapoor Khan, and Boman Irani. Set against the backdrop of an esteemed engineering college, the movie beautifully captures the trials and triumphs of friendship, self-discovery, and the pursuit of true happiness.

Why "3 Idiots" is a Journey Worth Celebrating:

"3 Idiots" is an extraordinary journey that resonates with audiences for several compelling reasons. Firstly, it goes beyond the stereotypical college narrative, offering a poignant reflection on societal pressures, academic stress, and the importance of pursuing one's passion. The film's central message of following one's dreams instead of conforming to societal expectations strikes a powerful chord with viewers of all ages.

The film's heart lies in the profound bond of friendship shared by its three protagonists - Rancho, Farhan, and Raju. Their camaraderie, humor, and unwavering support for each other throughout life's trials embody the true essence of friendship. As they navigate the complexities of life and education, "3 Idiots" reminds us of the significance of genuine connections and the strength they bring during the toughest times.

"3 Idiots" also shines through its exceptional performances, especially Aamir Khan's portrayal of the enigmatic Rancho. His charisma, wit, and wisdom make Rancho an unforgettable character, and Aamir's portrayal adds layers of depth to the film's narrative. The cast's chemistry and brilliant performances make the movie a heartwarming and relatable experience for all.

The Film's Resonance:

"3 Idiots" strikes a chord with viewers not only for its universal themes of friendship and perseverance but also for its celebration of the joy of learning and the pursuit of true knowledge. The film encourages us to question the norms, embrace creativity, and forge our unique paths to achieve fulfillment. Its uplifting narrative ignites the flame of inspiration within, motivating us to pursue our passions fearlessly and live life on our own terms.

Furthermore, "3 Idiots" touches upon the importance of compassionate and unconventional teaching methods. The film's depiction of the unorthodox teaching style of Professor Viru Sahastrabuddhe, fondly known as "Virus," played brilliantly by Boman Irani, contrasts sharply with the free-spirited and innovative approach of Rancho. This stark contrast prompts us to reflect on the transformative power of educators who inspire curiosity and passion in their students, rather than merely adhering to rigid academic syllabi. "3 Idiots" challenges the traditional notions of education and advocates for a more inclusive and nurturing environment that fosters creativity and critical thinking, leaving an enduring impact on how we perceive the role of education in shaping our lives.

Conclusion:

In conclusion, "3 Idiots" stands as a cinematic masterpiece that has left an indelible mark on the hearts of audiences worldwide. With its celebration of friendship, wisdom, and the pursuit of true happiness, the film encourages us to break free from societal constraints and embrace our individuality. Through the remarkable journey of its "three idiots," the film reminds us to cherish true friendships, embrace lifelong learning, and strive for fulfillment in every aspect of life. "3 Idiots" is more than a movie; it is a heartfelt celebration of life's most profound values and an enduring source of inspiration for generations to come.

[zannolin]

It's been amazing seeing shazam content on my feed, that movie is sooo underrated, i thank you for keeping the fandom alive 🙏

The freddy and billy dynamic is fr the only thing keeping me going hoooooweeee

Theyre brothers :(( theyre best friends :(( they mean sooo much to me

Shazam is a movie special to me, idk man it's just so unique from all the other hero movies and it's FOUND FAMILY, LITERAL FOUND FAMILY SOBSSS

It's also special to me bc Ive kinda grown up with the characters? In both movies theyve been really close to my age, and Freddy being a superhero nerd is just like "yesss finally!!! My ppl<3" i feel represented in a weird way lmaoo

But yesss, honestly all of the different relationships in shazam is amazing, like i gen appreciate every duo sm :(((<333

Also FR asher angel should've been in it more sobs, missed my boy<3

genuinely i want to know how i went FOUR YEARS without watching the first movie or barely even hearing of it when it came out before i was in my anti (marvel) superhero phase. i know i keep saying it but they're genuinely such refreshing movies for the genre! i love the balance of silly campiness and heavier plot beats and topics and genuine heartfelt moments and ugh man you can just. you can feel the love pouring out of them. there is real love that went into them and idk i think they deserve more love.

freddy & billy brother dynamic makes me insane i think about them and i go

okay no i feel you freddy just living his best life being the nerdy infodump kid (and billy being the weird quieter kid who lets you infodump) can be so personal <3

AND YEAH again. i keep saying it. but my god release the asher cut. poor asher angel the man had most of his scenes yeeted and got left with like five total and still outsold as a corpse. we stan?? but also it really shows a fundamental misunderstanding somewhere up the chain of command there about how billy is the heart of the shazam movies and everything else is given weight and heart and depth BECAUSE he's just a kid just a guy just billy batson underneath the hero form and throwing so many of his scenes out even for runtime when we desperately needed to see him just...being himself like we got to see so much of freddy? it really hamstrung the movie. it wasn't bad by any means but it lost a lot of the weight it could have had i think. again i keep ranting about this to anyone who will listen but i still can't wrap my brain around how little of him there was in what is essentially...HIS movie. you know. crazy. where'd he go. come home billy.

[chappell-roans]

there hasn't been a cult classic teen movie in years. the edge of seventeen and booksmart were well received but not iconic. do revenge was popular in a flash in the pan way, way more than others but it could have been way better

I haven’t seen Do Revenge yet (but I wasn’t compelled enough to watch it yet and I feel like that says something since on paper it ticks a lot of my boxes) but agreed about the others. We need one that’s edgy and not going to get anywhere near the Oscars! Granted I haven’t seen them in years but I was lukewarm on Booksmart and Edge of Seventeen both 🤐 I guess time will tell if some of these will stand up though, like Heathers and Jennifer’s Body and Saved! weren’t necessarily universally loved but are cult classics. (Saved! is underappreciated imo.) But yeah. I feel like the last one that was really a cult classic potential (too early IMO to say! Needs a decade or two to marinate before it’s a classic) besides the ones I mentioned before (Lady Bird and 20th Century Women) was The Perks of Being a Wallflower. It’s partially cringey, partially heart wrenching, fully iconic. Not set in present day though. I also think Everybody Wants Some!! was really really good, it’s more of a college Dazed and Confused (and another period piece) but sooo good. Boyhood is the other! Definition of growing up in the late 90s/2000s imo. Not a traditional coming of age movie. Your point still stands completely btw, this is just my stream of consciousness. We’re definitely lacking in GOOD teen movies that push boundaries and are genuinely funny and heartfelt.

[themovieblogonline]

Aristotle and Dante Discover the Secrets of the Universe Review: An Earnest Exploration of Friendship

Aristotle and Dante Discover the Secrets of the Universe is a coming-of-age film adaptation of Benjamin Alire Sáenz's beloved 2012 novel of the same name. This cinematic journey takes viewers through the summer of 1987, where fifteen-year-old Aristotle Mendoza, played by Max Pelayo, embarks on a transformative friendship with Dante Quintana, portrayed by Reese Gonzales. While the film touches on various themes, including friendship, identity, family, and love, it ultimately falls short of achieving the depth and emotional resonance found in the source material. https://www.youtube.com/watch?v=H3yV0Hzj8jM The movie begins by introducing us to Ari and Dante, two boys with contrasting personalities and backgrounds. Their initial meeting at the local pool marks the start of a poignant friendship, one that is built on a foundation of shared experiences and personal revelations. The classical namesake they both bear serves as a poetic metaphor for their unique connection, a connection that promises to uncover the secrets of the universe. The Good: Director Aitch Alberto captures the essence of their budding friendship beautifully, emphasizing the genuine moments of connection that occur between Ari and Dante. Their interactions feel natural and unforced, and the film is at its strongest when it delves into the heartwarming moments of their camaraderie. Dante's role as Ari's mentor, introducing him to literature and poetry, is particularly touching, as it showcases the power of friendship to inspire personal growth. However, the film stumbles when it comes to portraying the depth of the characters and their inner struggles. While the novel delves into their innermost thoughts and emotions, the movie often leaves these aspects unexplored or only superficially touched upon. The result is that some of the emotional impact and character development that made the book so compelling are lost in translation. One pivotal moment in the film is the accident that leaves Ari severely injured while saving Dante from an oncoming car. This incident serves as a turning point in their friendship, bringing their families closer together and setting the stage for deeper connections to be explored. The film captures the essence of this moment effectively, conveying the gravity of the situation and its impact on both families. Eva Longoria and Eugenio Derbez deliver heartfelt performances as Dante's parents, adding depth to the story's exploration of family dynamics. As the story unfolds, the film explores Dante's struggles with his sexuality and his move to Chicago, which adds an extra layer of complexity to his character. Reese Gonzales does an admirable job portraying Dante's vulnerability and the challenges he faces in accepting himself. However, the film falls short in fully addressing the depth of Dante's internal conflict and self-discovery, leaving his character feeling somewhat underdeveloped. Max Pelayo's portrayal of Ari is solid, capturing the character's introspective and reserved nature. Ari's journey of self-discovery and coming to terms with his feelings for Dante is at the core of the narrative. While Pelayo delivers a commendable performance, the film fails to fully explore Ari's inner turmoil and the complexity of his emotions, leaving some viewers wanting more depth and insight into his character. The supporting cast, including the talented Eugenio Derbez as Ari's father and Eva Longoria as Dante's mother, provides strong performances that enhance the overall emotional resonance of the film. Their interactions with their respective sons add authenticity and depth to the family dynamics portrayed on screen. One of the film's most powerful moments occurs when the truth about Ari's brother, Bernardo, is revealed. This revelation is a poignant exploration of the impact of family secrets and societal prejudices. It adds a layer of depth to the film's themes of identity and acceptance, highlighting the importance of confronting uncomfortable truths. The film also tackles the issue of violence and discrimination faced by LGBTQ+ individuals in the 1980s, as seen through Dante's experience of being attacked for his sexual orientation. While this aspect of the story is a vital and relevant commentary, it is not explored in as much depth as it could be, leaving a sense of missed opportunity to shed light on the challenges faced by LGBTQ+ youth during that era. The Bad: One of the film's notable shortcomings is its handling of Ari and Dante's romantic relationship. While the novel beautifully portrays the evolution of their love and the complexities of their feelings for each other, the film often rushes through these moments, leaving their romantic connection feeling underdeveloped and lacking the depth it deserves. Overall: Aristotle and Dante Discover the Secrets of the Universe is a commendable adaptation of Benjamin Alire Sáenz's novel, featuring strong performances from its cast and capturing the essence of the source material's themes of friendship, identity, and acceptance. However, the film falls short in fully exploring the depth of its characters' inner struggles and their romantic relationship. Despite its shortcomings, it remains a heartfelt coming-of-age story that offers moments of genuine emotion and connection. While it may not fully satisfy fans of the novel, it still serves as a valuable addition to the genre of LGBTQ+ cinema, shedding light on the challenges faced by young individuals in the 1980s while on their journey of self-discovery. Read the full article

[mostlygibberish]

"How'd you know it was me?" "Mom doesn't knock."

I liked the part with the communion wafers.

Well written dialogue, interesting characters, nice snappy editing and pacing, and a story that managed to be touching without crossing into overly-sentimentality. Solid performances all around, particularly by Saoirse Ronan and Tracy Letts. Everyt aspect of Lady Bird seemed to have an underlying sincerity and authenticity that just elevated the whole thing for me.

While I didn't exactly relate to a lot of Lady Bird's life, I still found it very affecting. There were a few elements to her story that did strike familiar chords with me, even as more of it played on a sense of nostalgia for coming of age in a time, place, and way, that I don't possess.

A genuine, heartfelt story, and a great movie.

[the-fulcrum-network]

The Bad Batch: an Excellent, Yet Tragic Portrayal of a Neurodivergent Character

It should be obvious, after reading any of my other blog entries, that I love Star Wars. Not just the movies, but animated series and video games too. However, I tend to ignore series' and games that are geared toward children.

The Bad Batch is the exception to that rule. The animation style is nearly identical to the appearance of Star Wars: The Clone Wars, which was an incredible, heart-wrenchingly mature series that just happened to be animated and originally marketed to kids. The Bad Batch has a tight cast of six characters, all with very distinct designs and personalities, and moves in one clear, easy-to-follow direction. Due to its obvious toy potential, the show was aimed at children in many of its trailers and posters. 

Both children and adults adore the show for the same reasons. A colourful, rambunctious group of brothers (plus one sister) that love each other for their strengths and differences. The Bad Batch puts clones, characters who are often regulated to the background in Star Wars as a whole, front and center. There is a hulking brute of a character aptly named Wrecker who is the most emotionally intelligent out of all of his siblings. A commanding leader who wants nothing more than to keep his family together. A sly, cruel sniper character struggling to decide where his loyalties lie. A young girl, being raised by her older brothers, who is genuinely helpful on missions and highly competent despite her age. A war veteran and amputee who juggles his disaster of a family with the care of a single parent. And finally, a brilliant, neurodivergent man who, despite not being as visibly emotionally responsive as his siblings, loves them unconditionally through his actions. 

That brilliant character was named Tech, and over the first and second seasons of the show, he became a fan favourite. His sarcastic remarks and fascination with the world around him were endlessly entertaining, and the series went out of its way to show he was more than just smart. He was a skilled fighter and technician (mind the pun). There were also various hints of the character being on the autism spectrum, or at least fitting under the neurodivergent label, but they were just that, hints. Little quirks and a collection of personality traits and reactions that anyone who was neurodivergent themselves, or knew someone that was, would be able to identify. 

Then it was officially confirmed, by the character himself. Late in season two of the show, Tech, to comfort his younger sister who had been distressed by his lack of visual response to their friend leaving, said: “I may process moments and thoughts differently, but that does not mean that I feel any less than you.” Then, only moments later, his sister falls into a cave, screaming for help, and without a second of hesitation, Tech jumps right in after her to save her. 

The series mirrors this exact moment again in the season finale, when the team is trying to escape from villains on a cable car, and the car becomes disconnected from the above wire. Tech reconnects the vehicle, saving all of his siblings, but he is left hanging by a wire off of the edge. His added weight is preventing his family from leaving--from making it to safety, and they are out of time. You can see the moment when he calculates the odds of his survival, and with a few parting words, cuts the wire, letting himself fall to his death. 

The show not once but twice disproves the myth of neurodivergent people feeling “less” than those who are neurotypical. In fact--it implies that Tech is much more selfless than some of his other family members. Yet, something about this moment in the finale left a bad taste in my mouth. 

Tech dies only seven episodes after he is officially confirmed to be neurodivergent. He dies leaving behind a girlfriend, and a family that still needs his help in challenges to come. While there is something so heartfelt and compassionate about having a confirmed neurodivergent character make the sacrifice play, the fact that he does die, leaving future and current Star Wars fans without neurodivergent representation, is frustrating. It almost makes it feel like the writers spent so much time building up his character, and his personal struggles only to kill him less than an hour of screen time later. It feels like the show's creators made a character neurodivergent just to say they did, then killed him because they didn't want to write him anymore. Choosing to kill Star War’s first neurodivergent character less than two hours after official confirmation is cruel and senseless, even if his death is a self sacrifice.

[popmusicu]

Music in film: The School of Rock and musical education

As long as there have been movies, there have been soundtracks. From the inception of the film industry, creatives have recognized that music is a key support to the visual medium, and in fact, many of the most iconic moments in film are as associated with the song as they are any moments of dialogue or action (The Sound of Silence in The Graduate and Tiny Dancer in Almost Famous come into mind as personal favorites). But movies that are explicitly homages to music are a more difficult project, often ending up as a bloody mess that lacks the fun of a musical or the subtlety of a non-musical film. One that does manage to tread this fine line is found in a place you perhaps would not expect. Jack Black’s “The School of Rock” is a perfectly silly homage to a genre, place, and time that manages to celebrate the joy of musical expression while highlighting the skill and dedication required to create such art. In the movie, Black plays a wannabe-rock star who somehow finnagels his way into a teaching job at a stuck-up American private school, where he teaches his rule-following 5th grade students to be rebellious rockers in order to win a Battle of the Bands contest to pay Black’s rent money. Both the execution and concept are absurd, but I argue that the movie represents the best example of a tribute to music in film, because it is both a celebration and a call to action. Black’s character—Dewey Finn—shows a genuine, heartfelt love for Rock music, through dance sessions in his grungy fan to lessons on the blackboard with convoluted webs of musical history and inspiration. But beyond these displays of love for an age of rock gone by, the film calls on a new generation of rockers to grow a more positive brand of rock. Interestingly, the film’s antagonists are a rival band who care more about the aesthetics of rock and roll than the music. By embracing the technical and emotional creation of music and rejecting stereotypes that a certain sector of people are meant to be rock stars. I love this silly move, which I think is a beautiful demonstration of true love of music and art, that I think has aged fairly well for an early 2000s comedy. William Marin