#its certainly not a revolutionary horror film in concept but i still really like it like i wanted to get spooked and brother I Was Spooked

[todayisafridaynight]

joining the conversation except im actually not im starting a new one. WHY WAS ONE MISSED CALL SCARYYYYY i figured it'd be spooky yeah cause horror movie but then it changed to creepy...and then it changed to scary and i screamed like 6 times..sigh. at least ttm was there tho my saviour my lifeline im just a scaredy cat i think

YOU WEENIE WE WERE ALL GONNA WATCH THAT TOGETHER ON STREAM 🗣️🗣️

prob better to have watched it solo first anyway Spoilers my ass Will Not Shut Up durin movie time i promise LMAO BUT ANYWAY YEAH NO IT'S GREAT INNIT ??? it's sooooo funny how bad the american version does the movie... like lmao... im grateful though because when i was looking at ttm's imdb and i saw the movie i audibly went 'isn't this movie really shit wait a minute' and that's what made me watch it (╯▽╰ ) now its onea my fave movies..

[grigori77]

Summer 2021′s Movies - My Top Ten Favourite Films (Part 1)

The Runners-Up:

20.  LUCA – I’ll admit I really wasn’t sold on Disney/Pixar’s coming-of-age fantasy comedy, which revolves around a pair of young sea monsters living off the coast of the 1950s Italian Riviera, who discover they can assume human form when they dry out and go on land on a quest of discovery.  Thankfully the strong reviews convinced me to give it a chance – this is a frothy and irreverent romp through an exotically nostalgic world filled with Vespas, pasta-eating contests and found families that’s fun for kids of all ages.

19.  FAST & FURIOUS 9 – the high concept action franchise may be bursting under the ever-increasing weight of its own ludicrousness, but it’s still TONS of fun, packed with stunning over-the-top action, colourful globe-trotting and a loveable bunch of misfits we’ve grown incredibly fond of over the past TWENTY YEARS.  This time Dom (the irrepressible Vin Diesel) and the team are up against ruthless hi-tech mercenary Jakob (John Cena), a lethal jack-of-all-trades with a dark connection to the Toretto name.

18.  REMINISCENCE – Westworld co-creator Lisa Joy’s attempt to make it on the big screen looks set to go down as one of the biggest cinematic flops of 2021, which is a shame because the feature-debuting writer-director has crafted a genuinely fascinating speculative sci-fi noir detective thriller.  Set in a darkly dystopian future in which Global Warming has caused the sea levels to rise and society to start breaking down, it tells the story of Nick Bannister (Hugh Jackman), a former soldier who ekes out a living using revolutionary tech to help the idle rich relive their fondest memories, until a life-changing mystery from his own past resurfaces, threatening to tear his whole world apart.  Frustratingly, it looks like most audiences are going to bypass this, which is a criminal loss.

17.  FREE GUY – after a seven year hiatus, Night at the Museum director Shawn Levy returns to the big screen in fine form with this deliriously inventive fantastical comedy adventure about Guy (a typically on-fire Ryan Reynolds), an NPC in an anarchic, Grand Theft Auto style MMORPG called Free City who discovers his own sentience after falling in love with Millie (Killing Eve’s Jodie Comer), a player with a hidden agenda that puts them both at odds with the game’s nefarious creator, Antwan (a thoroughly hilarious Taika Waititi).

16.  EVANGELION 3.0 + 1.01: THRICE UPON A TIME – visionary anime creator Hideaki Anno brings his long-running sci-fi saga to a close with this fourth instalment to his wildly ambitious cinematic “Rebuild” of cult TV series Neon Genesis Evangelion. It’s as frothy, melodramatic and bonkers as ever, packed full of weighty themes and crazy ideas, while the animation maintains this series’ ridiculously high levels of quality and the action is as explosive as ever, and Hideaki brings the whole mad mess to a climax that’s as rich, powerful and thoroughly befuddling as the saga deserves.

15.  THOSE WHO WISH ME DEAD – Sicario writer Taylor Sheridan returns to the director’s chair (after impressive debut Wind River) with this intense and enthralling suspense thriller adapted by bestselling author Michael Koryta (along with Sheridan and Blood Diamond’s Charles Leavitt) from his own acclaimed novel. Angelina Jolie is (ahem) fiery but fallible as haunted smokejumper Hanna Faber, whose PTSD drives her to protect a desperate boy (Finn Little) who’s being hunted through the wilds of Montana by a pair of relentless assassins (Aidan Gillen and Nicholas Hoult).

14.  CRUELLA – far from the clunky cash-in retcon many were predicting, Disney’s ambitious black comedy crime caper does a thoroughly admirable job in delivering this fascinating and deeply compelling reimagining of the story of rogue fashion designer Cruella de Vil (one of the best performances I’ve ever seen Emma Stone deliver, hands down), the dastardly villainess of 101 Dalmatians. She’s certainly far more complex here, no longer a raging monster, but far from a whitewashed PC apologist, either, much more of a morally grey antihero with a very wicked dark side – then again, with I, Tonya director Craig Gillespie at the helm it’s not really a surprise.  Richly designed and dripping in spectacularly adventurous period detail, this is an divine romp from start to finish.

13.  THE GREEN KNIGHT – the latest feature from writer director David Lowery (Ain’t Them Bodies Saits, Pete’s Dragon, The Old Man & the Gun) is as offbeat and unusual as you’d expect from a visionary filmmaker with such a wildly varied CV.  Adapting the fantastical chivalric romance Sir Gawain & the Green Knight, he’s crafted what’s surely destined to be remembered as the year’s STRANGEST film, but it’s a work of aching beauty and introspective imagination that sears itself into the memory and rewards the viewer’s patience despite its leisurely pace.  Dev Patel is unbearably sexy and wonderfully complex as Gawain, while Sean Harris delivers show-stopping support with stately charisma and world-weary integrity as King Arthur.  This film is sure to divide opinions as well as audiences, but I think it’s a bona fide masterpiece that must be seen to be believed.

12.  CANDYMAN – after watching this wildly imaginative and frequently gut-wrenching soft-reboot/sequel to Bernard Rose’s acclaimed adaptation of Clive Barker’s short story The Forbidden, I feel supremely confident about emerging writer-director Nia DaCosta’s coming MCU breakout with The Marvels.  Wisely papering over the clunky previous sequels, this streamlined trailblazing deep dive into the pure horror of the legend of the righteously mad spectral killer haunting the Chicago housing ghetto of Cabrini-Green sees a daring modern artist (Aquaman’s Yahya Abdul-Mateen II) find his latest project turning into a dangerously self-destructive obsession. Writer-producer Jordan Peele’s fingerprints are all over this, but DaCosta clearly shows signs that she’s going to be a hell of a talent to watch in the future.

11.  THE WITCHER: NIGHTMARE OF THE WOLF – I wouldn’t normally shout about an animated spinoff to a TV series like this, but I was SO INSANELY IMPRESSED with this brilliant prequel to Netflix’ popular fantasy show (which clearly intends to lay some origin story groundwork for the impending second season) that I just can’t help myself. Recounting the backstory of Geralt of Rivia’s own Witcher mentor Vesemir, this beautifully expands on the already compelling universe the series has created, as well as delivering some breath-taking thrills and chills through some of the most exquisite cell animation I’ve ever seen outside of the greats of anime.  A must-see for Witcher fans, then, but one I’d also highly recommend to anyone who likes their animation a bit more grown-up and edgy.

[britesparc]

Weekend Top Ten #375

Top Ten Games That Could be Films

Well. Sonic. That’s a thing, yeah? The last couple of weeks, when not consumed with Avengers-related news and emotions, have seen people on t’net talking about Sonic, and his weird human legs and nice set of teeth. It’s certainly an odd design, although I sympathise with the creatives involved, even the executives who (I’m presuming) were the driving force behind Sonic’s movie look, okaying what the artists and animators were producing and steering them towards something that, I’m sure, they thought would sell. It’s a tough business and, to paraphrase William Goldman, nobody really knows that much when you think about it.

Among the many think-pieces that have sprung up, however, there is one point I disagree with: that it’s pointless to adapt a game into a movie at all. Certainly there should be no attempt to “legitimise” a gaming property with a film adaptation; games are great and will always be great, as games. But there are games with an iconography, storyline, or set of characters that could translate into movies. As it happens, Sonic the Hedgehog is one such game. He’s instantly familiar both to old farts like myself who remember the nineties, and also to the young folk who will be the film’s target audience. As it happens, I think the rough plot of the film – Sonic and Robotnik enter the “real world” – is probably the best storyline to tell, rather than adapting the game’s plot; it gives us a recognisable world, allows for some A-list casting (Jim Carrey as Robotnik, James Marsden as Sonic’s human pal), and following on from the likes of Alvin and the Chipmunks, The Smurfs, Christopher Robin, et al, the notion of CGI characters interacting with humans is a familiar movie trope, so much so that it’s practically a sub-genre of kids’ films (and can end up getting lampooned in adult-oriented films such as Paul or Ted).

No, I think a much worse decision is to try to adapt a game’s plot; to straight-up cart it across from console to movie screen (or, if you’re watching it on DVD, from, er, Xbox to Xbox, I guess). The first generation of game adaptations were especially guilty of this, often trying to graft a more realistic plotline, with character motivations and whatnot, onto games where “story” should really be read as “objective”: Street Fighter, Mortal Kombat, Super Mario Bros, Doom, Lara Croft: Tomb Raider. Whilst some of those films still retain a goofy charm (I will go to bat for Street Fighter being an absolute camp delight), they’re not good, not really. Far better, in my opinion, to take an existing world, one with deep and familiar iconography, and tell stories within it: sort of what the Sonic movie is doing, which we can almost assume is in continuity with the previous games. The best example of this, I think, is Halo; there have been a number of shorts and TV series based on the Halo games, set in the same world, often serving as prequels to the games themselves. And whilst they rarely go beyond a spot of pulpy fun, they do feel of a part with the games themselves. What they don’t do is re-tell the story of the games, and in that, they succeed where other game adaptations have fallen down.

There are examples of games with strong storylines that could be adapted, I think, but they would need care and attention, and should avoid being straight-up ports of the games. Use the storylines, if strong enough, but feel free to chop and change to make it work on film.

Another thing that some games have going for them, that makes them difficult to translate into movies, is that they’re really just film adaptations anyway. I think this is why the Doom and Tomb Raider movies have been less successful than perhaps you’d think; Doom is a sci-fi horror film, not too far away from Aliens (and especially quite close, even though it pre-dated it, to Event Horizon); Tomb Raider is basically Indiana Jones with a woman. The same is true for Red Dead Redemption, which I’m sure has Hollywood types arranging meetings as we speak; it’s a blockbuster, a game with instant name-recognition, a built-in audience, and strong iconography. The problem is that iconography is adapted from dozens of Westerns from The Searchers to Unforgiven to Deadwood to Bone Tomahawk. Quite frankly, we’ve seen that before.

Anyway: here are ten games (or game franchises, I suppose) that I think could stand to be adapted. Some of them are strong stories, some of them are great worlds. Hollywood, feel free to get in touch.

The Secret of Monkey Island (1990): despite banging on about adapting worlds not stories, Monkey Island has a story worth adapting. Sure, it needs adapting, but it has characters, a beginning, middle, and end, and a world that could be seen on the big screen. Pirates of the Caribbean probably stole a bit of its thunder, but that franchise looks like it’s sinking at the moment (no pun intended), so doing a much wackier, almost ZAZ-style take on the pirate movie could be really good fun. My advice would be to put Guybrush and Elaine together for much of the narrative and give them some screwball dialogue.

Command and Conquer (1995): hear me out… the C&C games have a seam of mythology richer than a source of Tiberium, and could lend themselves to a sci-fi war epic. There are characters in there worth adapting – well, Kane, at least – and whilst the risk of it turning into a GI JOE movie is great, if they keep their tongue slightly in their cheek it could be a really good, fun action movie that harks back to ‘80s genre classics. I mean, the C&C cut-scenes are famously hammy, and whilst I don’t think they should quite dial it up to eleven, maybe keeping it a good seven or eight would be good fun. Also: Red Alert, which arguably is funnier (and funner, if that’s a word), but at the moment “comedy Russian bad guys” isn’t quite so benign a concept.

The Legend of Zelda (1986): either as an animation or live-action, I could definitely see a Zelda movie working. For a start, every game is sort of a reboot, a brand new story but still set in the same world as tropes, characters, and events repeat themselves. That means you could tell a story right from the start, drawing on the best plot elements and pieces of iconography from across multiple Zelda games, but it could still be in-continuity with the game series itself. A sprawling fantasy epic but skewing younger than the likes of Lord of the Rings, it could be an absolute winner. Like Monkey Island, I’d keep Link and Zelda together for much of the narrative, however.

Mass Effect (2007): this one might be cheating a bit, because I think there actually is a film in the works (I mean, there’s probably a film in the works for half of these games…). Also it might be cheating a bit because in this case, I don’t think you’d adapt it into a film, but rather a TV series. I’d adapt the story, roughly, but give it a direct narrative thrust. I think if it was a film you’d have to cut too much; it’d feel too propulsive, and risk becoming just another sci-fi action movie. But a series – maybe a 12-episode Netflix affair or something, with a big budget – could allow room to linger, to have the odd episode go off on a tangent to explore the Geth or Rachni or whatever. I’d also look at both men and women for the lead, and cast whoever was best, in a nod to the gender choices of the game itself.

Fable (2004): this is one where I think it’s the world rather than the plot that’s worth adapting: a fun, almost Python-esque version of a fictional fairy-tale Britain. A new recruit to the Hero Academy who is trying to prove themselves whilst also battling Jack of Blades. I’d keep the humour and the bawdy tone, and add in characters from across the Fable series, making it much more of an ensemble. Arguably it’s the gameplay and the emergent storytelling that’s part of Fable’s charm, but I do really think there’s enough there to hang an adult comedy fantasy film on.

Duke Nukem 3D (1996): this is one that could go very badly, but I still think there’s potential. Duke Nukem as a character is a boor, an oaf, a misogynistic pig, a relic of a bygone age worth forgetting. Whilst I think exploring this character in a contemporary setting would be more interesting in a game (especially as you could explore the twenty-year-old gameplay differences, too), you could use Duke as an avatar of the ‘80s, almost, to critique action cinema of years gone by. A washed-up sexist dinosaur who has to be pulled out of retirement, I’d cast an older actor with some comedy chops but also a solid physical pedigree: maybe even Arnie?! You’d have to be careful that if you had a redemption arc for him you didn’t end up justifying the crassness of the original game, however.

Another World (1991): this is one where it’s the world and the style that’s the key, although there’s a vague enough story there to adapt. A scientist is transported to, literally, another world, and has to survive, ending up joining a slave rebellion. The game is all funky graphics and cool gameplay (by 1991 standards, at least), but with the right director you could transfer that brilliantly to the screen, and it allows enough room to explore the psychological effects on Lester Chaykin. One of the things I really like about the game, is that unlike other human-transported-to-alien-world storylines, Lester is way out of his depth; he’s not a superhero, not a revolutionary. He is battered by the elements, hunted by animals, imprisoned, beaten, and ultimately (spoiler alert) saved by one of the aliens. You’d have to keep this element of the game to avoid it feeling like too much of a cliché.

BioShock (2007): this one might be a bit more conventional, and risk being another Doom-style adaptation of a game, trying to follow a story that’s more about gameplay than literary flourish. But there is something there, I think; for one, there’s the steampunk aesthetic of a decaying underwater 1940s utopia, all art-deco and brass, the outside world rushing in and laying waste to such finery. There’s the philosophical discussion at the heart of BioShock, giving filmmakers something interesting to hang it all on. There’s the horror element: the creepy Little Sisters, the shock-horror Splicers, the terrifying Big Daddies. Finally, there’s the twist, which – I’m gonna be honest here – would not work anywhere near as well in a film, but all the same, it’s a twist. It is, perhaps, the most vanilla of the options I’ve laid out here, but I’d still like to see it.

Jet Set Willy (1984): there are quite a few relatively obscure (compared to, say, God of War) 1980s games that could make good films. The first Maniac Miner; Skool Daze; Dizzy. But I’ve plumped for the surrealism of Jet Set Willy. Picture it: cast someone who broke through in the ‘80s – Pierce Brosnan, Richard E. Grant, Adrian Edmondson – and get someone like Danny Boyle or Edgar Wright to direct. The tale of a drunken gone-to-seed former celebrity who starts out trying to clean himself up after one party too many – possibly in some vain attempt at a comeback – only for the film to just get crazier and crazier as he ventures deeper into his bizarre stately home, discovering hidden treasures, secret rooms, occult shenanigans, and much more. Is it “real”? Is he losing his mind? A freakish, twisty, deeply surreal black comedy ensues. It’d probably make no money but be a cult classic!

Worms (1995): most of these I’ve imagined as being live-action, often big-budget affairs; Hollywood blockbusters. But who’s to say we can’t adapt a game into a cartoon? Certainly, it’s been done before, and with degrees of success: obviously on TV, but there’s also the Angry Birds movie, which I’ve not seen and which doesn’t strike me as being overly impressive, but which was clearly a big enough deal to warrant a sequel. There’s an animated Mario movie in the works, animated Pokémon has been a staple for twenty years, and there are those who’d argue that animation was a better route for Sonic, too. So why not apply that logic to Worms, a great British success story? There could be different clans of Worms warring over a piece of land (perhaps a garden that, from their view, is an epic battlefield); that would allow the different Worm voices to come into play. But something means they have to unite for a common cause. Inject it with a dose of British humour, a splash of surrealism, and a some satirical social commentary, and you’re onto a winner.

There you are. Seemingly-obvious suggestions like Metal Gear, Gears of War, or Half-Life I have quietly shifted to one side, and other adventure games with good stories (Grim Fandango, Thimbleweed Park, Life is Strange) I sort of feel had their box ticked by Monkey Island. But somewhere in this list I’m convinced there’s at least one great, great film. In the meantime, I’m off to see Detective Pikachu. Who knows? Perhaps that will be the film that breaks videogaming’s cinematic duck (or at least Psyduck).