#james franco scenarios

[age-of-greta]

The Moon

The Moon represents illusion and deception, and therefore often suggests a time when something is not as it appears to be. Perhaps a misunderstanding on your part, or a truth you cannot admit to yourself.

Author’s note: hi!! Welcome back to the moon! I’m sorry this chapter is a little, short but the next one will be meaty, I promise. Speaking of, we have ONE more chapter left, then an epilogue. Ah!! I’m leaving the country for vacation today(6/12), so please be patient for the next two parts :) As always, all parts will be posted on Wednesday at midnight est. I proofread, but typos happen. Thank you all SO much for following along. Enjoy!!

Paring: Sam x reader & Jake x reader

Warnings: angst af, cursing

Word count: 2.3k

PART 12:

127 hours.

No not the shitty movie with James Franco, that’s how long it’s been since you had seen Sam.

You’ve called him countless times, but he hasn’t picked up. You hadn’t texted him. What would you say? You hadn’t reached out to Danny. You didn’t want him to know. Of course you hadn’t texted Jake either. You didn’t want Sam to think any worse than he already does. You were stuck between a rock and a hard place. Okay so kind of like 127 hours.

You had barely left your place. It hurt, fuck it hurt. You knew you cared about Sam… a lot. But now it was evident that you loved him. You couldn’t even tell him. You think back to that day often. Part of you wishes you would have deleted the text messages. Part of you wishes you would have just told Sam from the beginning. You remember the giddiness you felt when you saw that text from Jake. That spark of excitement now felt like disgust sitting in your stomach. It wasn’t until Sam was gone, that you realized you didn’t want Jake anymore. You wanted Sam. That was a hard pill to swallow. It shouldn’t have taken this to happen to appreciate what you had, but often that’s how it works. You were completely at odds on how to handle this situation. If you showed up on his doorstep, they would all be aware of the situation. Even worse, what if Sam kicked you out? That scenario made you want to claw your eyes out. But the other option wasn’t working. You’ve called and called, he won’t answer. The last option was the worst. Give up? That didn’t seem possible to you. You had to talk to Sam. But before, you needed advice. You had rotted in your bed for long enough. You needed Margo. You shakily pulled out your phone and dialed her number.

“Hello?” She answered after a few rings.

“Hi.” You start. “Can you come over please.”

Margo laughs. “About time I heard from you. Are you and Sam trying to have a threesome? If so, I'm sorry to say I’m not into it.”

You flinch at hearing his name.

“You there?” She asks.

You swallow thickly. “Yes. Sorry, can you just please come over?” Your voice breaks.

“Honey what’s wrong? Are you okay? You know what fuck it. Yes. Yes. I’m coming. I’ll be there in twenty.”

You hang up and wipe tears from your eyes. You should probably clean up a little. You threw your bedding in the wash and took a quick shower. By the time you got out and dressed Margo was pounding on your front door.

“Hey, fuck, are you okay?” She says, taking your face in her hands.

You nod, but tears begin to well. You hated crying in front of people. It was so embarrassing.

“What happened?” Margo asked, sitting you on the couch with her.

“It’s all so fucked.” You say, wiping tears from your eyes. “I had sex with Jake.”

Margo looks at you almost bewildered. “What?”

“It was before Sam and I. It happened once. I didn’t tell Sam and he found out because Jake sent me a stupid fucking text.”

Margo puffs out. “Fuck.”

She remains quiet and then pushes her faded pink hair behind her ears. “How long was it before you and Sam?”

“I dunno. Maybe a couple of weeks?” You say.

Margo takes a deep breath. “Okay you know I love you. But I’m about to hit you with a hard truth. First, I know you care deeply about Sam. But also, I can see that you feel the same way about Jake. I’ve known that since the first time I was around you two.” She pauses for a moment. “I guess it might be hard to perceive that you’re all in on Sam. I mean you guys fucked and you didn’t tell anyone. If that were just a casual thing you would have spilled. It feels like there needs to be some self-reflection or closure there.”

You swallow hard at her words.

“But Margo I-.” You pause and collect yourself. “Yes. I had been in love with Jake since I can remember. Yes. We had sex. Yes. Jake hurt me. But that has nothing to do with my feelings for Sam. I didn’t anticipate Sam and I to be anything. It just happened. Now I wouldn’t trade it for the world, not even Jake.”

She looks at you blankly. “Have you told him that?”

You shake your head. “I haven’t had the chance. He won’t return my calls.”

She pinches the bridge of her nose. “You haven’t gone to his house.”

“No, absolutely not. I can’t face the rest of them.”

She sighs. “Babe, you’re going to have to. If you want Sam to know how you feel, you have to tell him. It doesn’t matter what the rest of them think.”

You take a breath. She was right. Fuck.

“You know I’m right.” She chimes in.

You nod.

“Well let’s go then.” Margo says, getting up.

You furrow your brows at her. “What?”

“Go clean yourself up and go see Sam.” She says calmly.

You make a face. “But Margo I-“

“Shhh!” She holds up her finger. “No more excuses. If you want him you have to go get him.”

You swallow thickly and nod your head.

It was time to go and get your man.

**

You sat in your car for twelve minutes. Staring at the front door. It was hot outside, but your blood ran cold. Your stomach was in knots going over every scenario in your head. You had never felt more anxious in your life. Margo had made you throw on shorts, a t-shirt, concealer and bronzer to make you look somewhat normal. Your hair was a mess but at least it was clean. You took a sip of water and shut your car off. You padded to the front door and prayed to god Sam would be the one to open it. You knocked and waited. Waited for what felt like 100 years. Finally the doorknob began to twitch and a sharp pain ran through your whole body. But it dissipated when you saw who was behind the door. Jake.

“Uh hey Birdie. What’s up?” He asked.

“Is Sam here?” You managed to speak out.

Jake gave you a strange look. “What?”

Fuck. Did he tell everyone already? Did he tell them that you two are over? Your mind begins to run a million miles per second, but it comes to a halt when Jake speaks again.

“What do you mean? We figured he’s been with you?” Jake asks, brows knitted together.

“He hasn’t been home?” You ask, with slight panic.

Jake shakes his head. “Not since he came and got mason jars and cucumbers.”

You feel like you're going to pass out. Was he okay?

“Hey.” Jake says, taking your arm. “Come inside.”

Your body mindless follows Jake as he takes you to the kitchen and sits you down at the island, grabbing a bottle of water for you.

“He’s okay, you know. He’s been calling into meetings. Josh has been quite hard on him because he hasn’t been there in person. We thought he was just shacked up with you.” Jake says lightly.

He’s okay. Thank god. You nod at Jake.

Jake chews on his lip. “Are you okay?”

You let out a deep breath. “No.”

Jake cautiously moves closer to you. “What happened?”

You stare up at him before responding.

“He found out we fucked Jake.” You say flatly. “He saw those stupid fucking text messages.”

Jake freezes and makes a face. “Shit.”

“Yeah.” You say, sniffling back a few tears.

“I’m sorry.” Jake says quietly. “I didn’t mean for that to happen.”

“I know.” You reply.

Jake looks over at you conflicted. “Did he end things? If he did he would be fucking stupid.”

You shook your head. “I dunno. He said he needed time. That was almost a week ago. I haven’t heard from him.”

Jake places a hand gently on your back and you flinch.

“Jake.” You start feeling a slight panic at his touch.

“What?” He asks, removing his hand.

“We have to hash this shit out. This is what has and is hindering Sam and I.” You start. “It’s fucked. Sam is absolutely in the right to feel the way he does.”

Jake furrows his brows at you. “No he isn’t. You didn’t do anything wrong.”

“I didn’t tell him. I started our relationship without trust and-“ You pause and run your fingers through your hair. “I entertained it. I thought about the what-ifs with you even though I was happy with Sam.”

Jake looks down at the floor. “That’s my fault. I should have let you go.”

You take a breath. “A lot happened and we never got closure.”

Jake looked back up at you with tender eyes. “Let me give you closure then. Birdie, I love you. I’ve loved you since we were kids.” He pauses and thinks before speaking. “I’m fucking selfish. You were right, I wanted you and the world. I didn’t treat you like my priority- Sam did. I can see that you love Sam and I want you to be happy. If Sam is who you want, I will not get in the way anymore. I promise.”

You feel tears welling in your eyes. “I do. I love him. I want him for the rest of my life Jake. But I’m not sure he wants me anymore.” You say starting to choke up.

Jake takes in the sting of your words but keeps his poker face. “That’s not true. Sam is crazy about you. Just give it some time, he will come around.”

You wipe a tear from your face. “Yeah. Hopefully.”

Jake stares at you for a moment. “Do you think we can still be in each other’s lives? I don’t want to live in a world without Birdie.”

You stiffen a laugh. “One thing at a time. But I don’t think I want to live in a world without Jake Kiszka either.”

He smiles at you. “Okay.”

You stayed there for a few moments longer producing minimal small talk before leaving. You felt slightly better hashing things out with Jake. You knew no matter what happened with Sam, you would never venture down that road with Jake. It was Sam or nothing now. That clarity and closure felt good. The only problem was, you still hadn’t heard from Sam.

**

It was now Sunday. Still no word from Sam. In a way you had come to some sort of devastating peace. It was hard to navigate your emotions. Margo didn’t want to leave your side, but you wanted to be alone. It gave you a lot of time to think, even though your head felt like a jumbled madhouse. You took things day by day. Sometimes you would think or see a reminder of Sam, cry, then continue on with your day. Others you didn’t want to get out of bed. Grief isn’t linear. That’s what was occurring, grief. Today had been somewhat positive. You made breakfast, cleaned your house, did laundry, and even made it to the gym. That productivity bug had died now, but it was Sunday. So you drew yourself a warm bath and made a warm cup of tea to drink. You stripped down and poured in bubble bath. Then lit a candle and turned off the lights. You stepped into the bath and sunk down as the warm water engulfed you. It was hard to feel anything other than contentment at the moment. When the water began to cool off, you drained some and refilled it with hot water. You then did that about two more times. Unable to fathom leaving the bath. You were unsure of how much time had passed but you guessed it was night by now. The thought of staying in your bathtub all night had crossed your mind, but you decided against it. Ten more minutes, you thought to yourself as you closed your eyes. Then you heard a strange sound, almost like someone was in your kitchen. You stayed still and listened, then nothing. Your mind was playing tricks on you. At times your imagination could run wild. Just as you had convinced yourself it was nothing you heard another sound, this one closer.

Could it be Margo? No. She would have announced herself.

Your heartbeat began to pick up as countless thoughts swam through your mind. Before you could formulate somewhat of a plan, your door knob twisted. Unable to think, you sank down deeper in your tub, hoping that whoever or whatever was on the other side of the door wouldn’t see you. The door opened and fear spread through your body, but it quickly subsided when you saw a familiar shape.

Were you dreaming? Did you accidentally drown in the tub and this is your brain's way of processing?

The figure stood there looking directly at you. You didn’t dare move.

“Sam?” You said in a near whisper.

“Hi.” He said quietly. “I let myself in.”

You were completely flabbergasted as to what to say to him. So you just said: “That’s okay.”

“Would you mind meeting me in the living room when you’re finished?” He asked.

You nodded. He began to close the door. “Wait- Sam.”

He popped his head back in.

You bit your lip before speaking. “Why are you here? I’m glad to see you, but after days of no contact I didn’t think we would speak again.”

Sam sighed a little. “Yeah.” He says running fingers through his long hair. “I talked to Jake.”

***

[achillestickler]

Last week I posted a commission of a fan's OCs in a ticklish scenario. Poor Hugh forgot to invite his eccentric neighbor Mr. Nigels to his birthday party, so Nigels decided they'd have a little party of their own...with Hugh's ticklish feet as the guest of honor! Let's just say this one is XXXtra fun.

This week I decided it had been awhile since I'd tossed someone deserving into the ol' Box of Shame, so I gave James Franco a turn. The only problem is, that guy is probably just kinky enough to actually enjoy it so is it really punishment? Available in both barefoot and sheer sock versions!

OnlyFans HERE

Patreon HERE

[mikesq10]

My Top 50 Favorite Movies

7

127 Hours (2010)

Director Danny Boyle has worked up an amazing filmmaking career for himself ranging from Trainspotting to 28 Days Later to Slum Dog Millionaire. His filmmaking techniques are catchy and on point. in 2010 he took a real life story of Aron Ralston, a hiker whose arm gets trapped in a boulder in an awful predicament and must think of the only plausible way of survival which is to cut off his arm and pray he will survive. The real life story caught a lot of attention on national news and therefore a movie went into production about his near-death experience. James Franco is the man cast to play Ralston, where the movie details the events leading up to his arm being stuck, nothing more then a man going on about his hike. Once he is trapped, the movie reflects on Ralston's life on flashback scenes between his regrets, happy memories and moments he may be missing out on. Death is on the brink, and Aron needs to act quickly or else he's trapped forever. My favorite scenes is when Aron hallucinates and pictures himself in dream-like scenarios. These moments are met with an irony, almost relatable to scenarios we make up in our minds if we're to be in a tough place. Danny Boyle makes little into something spectacular, we know minimal about Aron coming in, only to feel a lot like him coming out. A blessing of a true story turned movie.

[othomas30]

Comedy Movie Review: This is the End

"This Is the End," directed by Seth Rogen and Evan Goldberg, is a raucous and offbeat comedy that cleverly combines celebrity cameos, irreverent humor, and an apocalyptic backdrop. This film is not your typical Hollywood comedy; it's a wild and audacious ride that successfully pokes fun at both celebrity culture and the end of the world scenario.

The film stars a host of Hollywood's funniest and most recognizable faces, including Seth Rogen, James Franco, Jonah Hill, Jay Baruchel, Danny McBride, and Craig Robinson, all playing fictionalized versions of themselves. The story begins with Jay Baruchel visiting his friend Seth Rogen in Los Angeles, and the two end up at a party hosted by James Franco. When a massive earthquake devastates the city, the surviving celebrities are trapped in Franco's mansion as the world outside descends into chaos.

The humor in "This Is the End" is bold, irreverent, and often downright absurd. The film takes full advantage of the fact that the characters are playing exaggerated versions of themselves, leading to self-deprecating jokes and meta-humor that is both hilarious and refreshing. The chemistry between the cast members is palpable, and their willingness to embrace their public personas for comic effect is one of the film's strongest assets.

The film's satirical take on celebrity culture, along with its self-awareness, provides a unique lens through which the story unfolds. It's a delightful blend of social commentary and absurdity that doesn't take itself too seriously. The apocalyptic setting serves as a perfect backdrop for the characters' various eccentricities and comedic misadventures, adding an extra layer of chaos and humor.

Visually, "This Is the End" offers impressive special effects, particularly when it comes to the apocalyptic elements. The CGI sequences depicting the end of the world are well-executed and contribute to the film's overall entertainment value.

While the film excels in humor and celebrity satire, it may not be to everyone's taste. The crude and over-the-top comedy style, along with numerous references to pop culture, can be polarizing. Additionally, the film's humor sometimes veers into the juvenile and offensive, which could be a turn-off for some viewers.

In conclusion, "This Is the End" is a gleefully outrageous comedy that pushes the boundaries of humor and self-parody. Its cast of well-known celebrities playing exaggerated versions of themselves, combined with the apocalyptic scenario, creates a unique and entertaining cinematic experience. If you're a fan of irreverent, R-rated humor and enjoy seeing celebrities poke fun at themselves, this film is a must-watch. It's a hilariously wild and end-of-the-world party that provides plenty of laughs and an enjoyable ride through Hollywood's darkly comedic looking glass.

[vintagepresley]

When I was at work the entire time I was thinking of the AE imagines I got. (Specifically the pimp outfit because that episode is my fave anyway, lol. COCAINE TUESDAYS). But when I envision AE as your pimp I see him and the reader in New York because it was super seedy, dangerous, and just amazing in the 70’s. When Times Square was called The Deuce and was lined with pimps and prostitutes and porn everywhere. (Also highly recommend that show I watch it like every few months. But James Franco is in it in case he triggers anyone.)

Anyway, besides the point the entire time I was thinking of this scenario Barry White’s ‘Let The Music Play’ was playing in my head. 😂

[prisblurbs]

"This Is the End" - An Apocalyptic Riot with Hollywood's Finest

"This Is the End" is a comedy that brings together some of Hollywood's biggest stars for an apocalyptic adventure like no other. Directed by Seth Rogen and Evan Goldberg, this film takes the concept of a disaster movie and infuses it with irreverent humor and self-awareness.

The movie follows a group of celebrities, including James Franco, Seth Rogen, Jonah Hill, Jay Baruchel, Craig Robinson, and Danny McBride, as they navigate the end of the world during a massive party at James Franco's house.

As chaos ensues outside, the group must confront their own egos, friendships, and the existential crisis of impending doom.

Performances:

The ensemble cast delivers comedic gold, playing exaggerated versions of themselves with hilarious results. James Franco's eccentricity, Seth Rogen's laid-back charm, and Jonah Hill's comedic timing all contribute to the film's comedic value, while Danny McBride's wild antics add an extra layer of absurdity to the mix.

Apocalyptic Satire:

While the film may be set against the backdrop of an impending apocalypse, it uses the end-of-the-world scenario as a springboard for satire. From poking fun at celebrity culture to exploring themes of friendship and redemption, "This Is the End" offers a humorous take on existential crises and the human condition.

Meta Humor:

One of the highlights is its self-referential humor, with the actors playing exaggerated versions of themselves and mocking their own celebrity personas. This meta approach adds an extra layer of comedy to the film and allows the audience to see the actors in a new light.

"This Is the End" may not have sparked the same level of controversy as "The Interview," but it has earned its place as a cult classic in the realm of comedy. Its unique premise, stellar cast, and unapologetically irreverent humor have cemented its status as a must-watch for fans of the genre.

[adamwatchesmovies]

127 Hours (2010)

When you look at it on paper, 127 Hours has a simple premise but when combined with Danny Boyle's splashy direction and an excellent performance by James Franco, it becomes a lot more than expected. This movie covers the full gamut of human emotion. It's terrifying, uplifting, tragic, joyous and tense.

In 2003, Aron Ralston (Franco) is hiking alone in Utah’s Canyonlands National Park when he loses his grip and falls down a slot canyon. There, a boulder traps his right arm against a wall. With no one knowing where he went, he must find a way out alone.

The film is based on a true story. This means the question isn’t really whether Aron will escape, but how, and when - you’re pretty sure this isn’t a speculation of what the man’s last thoughts might’ve been. Then again, the film hints that this may be the case. Though Aron doesn’t have a way to contact his friends and family right now, he has a camera, which allows him to record confessions and good-bye messages to his parents. 127 Hours is as much about his escape attempts as it is about the far reaches his mind goes to during the hours spent trapped against that rock. He reflects on everything that has brought him to this moment and the future he may or may not live to see.

There's beauty in the clarity and heightened emotions someone this close to death experiences. A bird that passes overhead every day at the same time, a brief amount of sunlight on his foot are Aron's greatest joys, just as him dropping his knife becomes the worst thing that could ever happen - well, besides the whole rock thing. Everything is amplified. In a way, this is the ultimate adventure because the stakes are the highest they've ever been and every luxury, every distraction is gone. In time, even basics like food, water and heat disappear. The nights become so cold Aron resorts to wrapping ropes and bags around himself to stay warm. It will make a great, inspiring story that shows the power of the human survival instinct… if he somehow makes it out alive.

I've been talking about the film as if it's a documentery because it often feels like one, and James Franco's performance feels so genuine. The screnplay is adapted from a book, but a visual medium feels like the perfect way to tell this story. You don't feel like a journal or interview could do justice to this experience. There's just so much that you can't put down into words - which is where the multitude of creative techniques employed by Danny Boyle come into play. The screen gets split in threes to show the frenetic hustle and bustle Aron wants to get away from, the landscape’s colours become impossibly vivid and bold, the simplicity of the blood stain right above Aron’s hand is harrowing and ominous. The film is only 94 minutes long but that number feels like a mistake. You could’ve sworn you were down in that canyon with Aron for days because the scenes where he thinks about his ex-girlfriend, his parents, his co-workers, the mistakes he made that brought him to that situation are packed with more emotion and reflection than you thought could be possible.

The ending of 127 Hours had been spoiled for me years ago but in no way did this change my enjoyment of the film. In fact, it might have even helped me appreciate it. At once, I was fully immersed in the story and able to take a step back and marvel at the skills employed to make it the success that it is. For instance, James Franco. He's incredible in this role. So much of the time we spent is with just him, that rock, and his thoughts, that if he weren’t convincing, the film might be good…. but just another one of these survival stories. This? It’s on another level. There’s a single 3-second clip that burns itself in your mind. It’s pure survival instinct concentrated and shown on-screen. Confronted with such an image, your brain demands to absorb everything else around it, making the entire film a permanent resident of your mind. You’d think the horror of this scenario would be what you remember most of 127 Hours but I’d wager the beauty of this story is what will stick with you down the line. (On Blu-ray, October 5, 2021)

[franco-imagines]

What a s....y Present PART II

What a good friend I am, forgetting James’s birthday. Well I can’t change it now, so I have to get over it and tell him the truth. That’s the motivation I need right now. I splashed water to my face and looked to my reflection in the mirror. My Hair was a mess, my makeup not the freshest and I can’t remember when the last time was I felt this miserable.

Okay Julia, you got this! You have a plan!

Just tell him, that you are a human being and that simply forget these kind of days. He can’t expect, that you know every detail of his life, so just say it like that. You got this.!

 I walked back to the living room,  where people I know and some I don’t know were celebrating the kings birthday. For the last half an hour I found a way to get him out oft he way. But I couldn’t hide anymore. With a quick pace I walked to the group of Jamess Friends. I stopped right before them and looked at him. There he was. James freaking Franco standing tall and talking with some people I don’t even want to know. You see that smile? This is everything and it was the only thing that got me out of my concept. What was I doing? Right I wanted to tell him that I forgot his birthday. At that moment I imagined how his beautiful smile would vanish, if I told him the truth. Do I have the right to make him sad, on his birthday. I feel so bad.

Just at that moment James turned his head and saw me standing there. He didn’t need to call my name, for me to look back to him. Instantely he hold my gaze and I couldn’t move. He excused himself from his friends and walked with slow steps to where I stood He leaned in and whispered to my ear.

 „In 10 Minutes on the roof.“ He whispered in his low voice and walked away.

Even after he left, I stood there for a minute. I never saw James this tense and it gave me chills. I don’t want to know what would happen if I don’t show up on the roof. I didn’t tell anyone, where I went. I just texted Sophie that I am fine and that I was still at the party. Since I had to face the King, I needed a drink first, to get rid of my nervousnes.

When I was upstairs I started looking around, to see if James was already there.

It was so cold that I even started shivering. Then I heard steps behind me and I turned around. I saw James walking up to me. He put a soft white blanket over my shoulders and stood in front of me.

„Hey“ he muttered.

„Hey“ I answered.

„Couldn’t find you“ he began and looked up to me.

„I am here. Sorry.“ I gestured and smiled slightly.

„Okay, tell me.“ He started and stepped toward me. He took my hand and waited.

„W what?“ I stuttered.

„The reason, why you are hiding from me. Julia I knew that you were here all the time. You were hiding and I want to know the reason, obviously you didn’t want to see me.“ He remarked.

„James, that’s not it.“ I shook my head and hold his hand tight.

„Then what? Let me tell you something. It’s my birthday, right? And I am here with these people I don’t even like. I had to talk with them and endure their talk. All that stuff, to get the party over. And all the damn time I asked myself where you have been. It was an awful week for me and the thought of this day kept me motivated. Not because it’s my birthday, no. I just wanted to see you. You didn’t call or write and all the time I searched for a reason. But I couldn’t find one! So tell me what your problem is, so that I can fix it and we…“

I pulled him closer to me and looked to his face. James went quiet as well and looked back to me. I even could hear our hearts pounding. He took a deep breath and I felt it. I gasped and stared to his eyes. I would never get tired of the shade of his eyecolor. This guy got me with his chocolote brown eyes and it got me melting. Before I did something stupid I lowered my gaze, to escape for a second of his intense stare. It was my fault, my gaze fell on his lips and my brain stopped. What was I doing? Should I faint? I just need to escape again.

Right when I turned around, he yanked me to him and covered my mouth with his. It was a hungry kiss, plus I was hungry. I responded to his kiss immediatly and felt his warm mouth. He caressed my mouth with his soft lips and right then I opened my mouth and let out a low moan.

Suddenly it hit me. I have to tell him!

„J James“ I suttered.

„huh?“ he said breathing slowly.

„I am sorry for everything.“

„I forgive you, let’s make up.“ he nodded looking to my lips.

„No seriously, I forgot your birthday and I shouldn’t and I am really sorry for that. I promise you will get your present right when you wake up.“

„You are tempting me.“ He smiled.

„I am serious.“

„Me as well. Jules listen to me. This is exactly what I want. You don’t need to buy me anything. I want you here, next to me.“

„That’s not a proper gift. I feel like selling myself to you. A present should be something nice, where you can look at it and think about the memories.“

„Let’s make a s.. tape.“ He laughed out loud.

„What are you talking about! I didn’t mean it like that.“ I puffed my cheeck and looked away.

„Let’s make something else then.“

He pulled his phone out and opened his camera. He put his arm around my shoulder and we both smiled and made another pic with silly expressions. Just when I thought that he would take the photo, he kissed me on my mouth and snaped the picture.

„Here we have something to remember. And you know what?“ He laughed and looked to me.

„What?“ I asked.

„It’s my favourite.“ He smiled from ear to ear and hugged me tightly.

  You all can imagine how Julia’s friends freaked out the next day :D 

[thesmutgoddess]

girl sorry but this is straight up delusion, i really like your taste but this is insanity. amber setup depp with the abuse hoax, wrote an article against powerful men yet has been involved with james franco and elon musk and yes both of them are accused of sexual abuse. that's her type as she wants the fame and the money. embarrassing to have her benefiting from #metoo and act as a spokeperson for dv, truly vile behavior. she should be in jail for her lies!!!

You lack the critical thinking to realize how preposterous Depp's Gone Girl scenario is and you're calling me delusional? Glass houses shouldn't throw stones, my love.

[fuckdamn]

american psycho remake dream scenarios:

robert pattinson as patrick bateman

or a great undiscovered drag king as patrick bateman

directed by todd haynes

or tag team co-directed by coens and wachowskis

or directed by guinevere turner this time

script at least co-written by phoebe waller-bridge

turner and harron still consult on the script no matter what

or they just write it again full stop

alternately, harron still directs

christian bale still plays patrick bateman

there is no american psycho remake ❤️

american psycho remake nightmare scenarios:

james franco as patrick bateman

or jared leto as patrick bateman...you’ll always be paul allen you piece of shit

directed by tarantino

or directed by paul thomas anderson

or they give it back to oliver stone

whoever the director is makes it much gorier than harron did 

whoever the director is tries to make bateman sympathetic

it becomes a ~deep psychological character study~ and all elements of camp and comedy are removed

it in any way validates the dudebros who think the original film is for them

[vladfromparis-blog]

Full interview of Timothée and Armie : Le Figaro 02.28.18 Translation (approximative by me)

-INTERVIEW - In competition for four Oscars, Luca Guadagnino's film will be released this Wednesday. His director has breathed his sensuality and unprecedented modesty, revealing the talent of the actor of 22 years and resurrecting the career of Armie Hammer. Le Figaro met the two actors for a facetious discussion.

-No respite for the Call me by your name team. After a week spent between Los Angeles and Rome, they landed mid-January in Paris to promote the film from the cult novel by André Aciman Later or never. This jewel of tenderness and humanity signed by Luca Guadagnino, the director of Amore and A bigger splash tells the awakening of the desire between two young men in Italy of the 80s and is like Tom Thumb at the Oscars, with 4 appointments. The idyll is in the running, on March 4, the statuette of the best film and the best actor for his star and revelation, Timothée Chalamet. At 22, the Franco-American actor, seen in Homeland and Lady Bird who also released Wednesday in theaters, is the youngest actor to compete in this category since 1939! Call me by your name also marks Armie Hammer's return to the stage. Noticed in 2010 in The social network by David Fincher, the 31-year-old American has also suffered several setbacks at the box office, with Lone Ranger, birth of a hero and very special agents: Code U.N.C.L.E.

-Unveiled at the Sundance Festival in January 2017, Call me by your name has offered its stars an incessant world tour. Despite fatigue and jet lag, no weariness was visible to the accomplice duo who responded with enthusiasm and jocularity to our questions.

- LE FIGARO - Call me by your name took more than eight years to mount. Initially the adaptation of Andre Aciman's novel was to be brought to the screen by James Ivory. Then producer, Luca Guadagnino was propelled coscenarist and director. When did you join the adventure?

-TIMOTHEE CHALAMET - I met Luca when I was 17 in 2013. The only reason I got this appointment when I had no experience was that I had the same agent as Tilda Swinton with whom Luca had just turned A bigger splash (laughs). At the time, there was no scenario yet. I borrowed André Aciman's novel from the library of my university. I discovered a rare role for an actor of my age. Elio is an authentic and sincere description of the obsession that can accompany the awakening to sensuality. There was the added complexity of playing a contradictory character and very intellectual.

-ARMIE HAMMER - I met Luca seven or eight years ago. He liked The social network and came to Los Angeles to meet me. We had a fabulous 4:30 hours conversation about art, cinema, philosophy, literature. I said to myself: "I hit the nail, I had the role". Then no more news ... Until two years ago. I wanted to say yes immediately. My agent was worried and encouraged me to read the script: but even with a love scene with a peach, I was going!

-Do you have much in common with your characters?

-AH - Very much. Oliver is good at giving the change, to make him feel comfortable, to have confidence in him, when he does not feel that way at all. I am like that too. Oliver is not well in his skin because he can not live as he wishes: only Elio manages to break through his defenses.

- TC - This Italian summer reminded me of my holidays in France in Le Chambon-sur-Lignon in the family of my father in Haute-Loire. In small European cities there is a different awareness of time: we have breakfast, we discuss, we read newspapers, we bask in the sun ...

- How did you prepare for your roles?

-TC - With Luca, we tried to stay close and faithful to the book. I have also been inspired by other films of transition to adulthood and awakening to sexuality, such as Y tu mama tambien by Alfonso Cuaron and La vie d'Adèle by Abdellatif Kechiche.( Blue is the warmest colour is the english tittle)

AH- The book portrays Elio's point of view which is not very reliable (laughs). It is enough for Oliver to say hello to him so that Elio finds cala fantasy. Conversely, if Olivier leaves without saying a word it's a bastard. Researchers gave me an idea of ​​what it is like to be gay and Jewish in the 80s in the United States on the East Coast.

- What were your most delicate scenes to shoot?

- AH- The dance scene. Oliver had to let go, get lost in space and time. This is exactly the antithesis of who I am. Swinging in front of 75 extras and technicians without music is the most uncomfortable thing I've ever done, much more than sex scenes!

- TC - The most pointed was the piano scenes because in the book Elio is a little genius. I arrived in Italy a month and a half before shooting started. I am often asked about the scenes of love, Luca filmed them with a lot of delicacy. I never had to fear that they were opportunists or voyeurs.

-Did call me by your name change your outlook on life?

- AH - In this film, there is absolutely no exposure. At no point does Luca Guadagnino tell you what these characters feel. Everyone can identify themselves. During our existence, we will go through bitter moments and milder moments. The accumulation of these moments makes what makes life so precious. Do not throw away the good for fear of the bad.

- TC - I think back to Michael Stuhlbag's monologue playing Elio's father. Listening to him declaim it's like I heard a little voice say to me, "Timmy, hunt exhilarating experiences. Be sad if they do not succeed but do not repress what you feel. If one hurts and one suffers, it suffers in the right way. To suffer in the wrong way is to suffer by hating oneself.

- ... and your career?

- TC - Call Me By Your Name is a dream come true. I got this role when I left school. How lucky to find such a fresh, demanding project with which the public reacts! When I called Call me by your name, nobody knew me. I did not have a career to risk unlike Armie ...

-AH- You mean my tramp career?

-Call me by your name was presented in January 2017 at Sundance where he received an enthusiastic actor, then in February 2017 at the Berlin festival. Now you are promoting in Europe and are in the running for four Oscars. How did you live these past months, out of the ordinary?

-TC- I do not feel absolutely jaded. I benefit every moment. Go to the four corners of the world to interact with the spectators is magic. When I was shooting with him Christopher Nolan's Interstellar, Matthew McConaughey told me something very fair: "A movie is not a sprint but a marathon. There are catches, gambling bets that do not work. We must not fight the guilt but start over and continue. Playing with Armie, seeing how he let himself be guided by his instinct but also how he approached the press events, the evenings were very instructive. It was enough for me to look at him, Luca or Daniel Kaluuya of Get out who also had an extraordinary year to know how to do it.

AH -  I am so happy that Timothy lives this great moment of recognition. There has not been such a catchy performance, so subtle from a young actor for 70 years!

-TC - After March 4th, it may be time to take a little vacation. Armie and his wife invited me to come to the Cayman Islands where he grew up! (Laughs).

[sandeepadnani]

Breathe

Dumplin’

Hello, my name is Doris

I love you Philip Morris

Swiss Army Man

Identity thief

Behind the Candelabra

Boy Erased

Bird box

The emoji movie

Babu driver

Why him

The little prince

Geostorm

Breathe: Based on a true story, with effective leads Andrew Garfield and Claire Foy, it speaks of the perils of polio and how a couple fought to survive it in the 1950s. A moving and triumphant film!

3.5/5

Dumplin’ : Jennifer Aniston plays a former winner of a local beauty pageant and the mom of a teenage girl, Danielle Macdonald. Perceptions of size and beauty are handled sensibly, while exploring the relationships of those who care for us and those who give birth to us.

3/5

Hello, my name is Doris: Sally Field plays an woman in her 60s, who hasn’t seized a moment in her life. Enter a much younger colleague Max Greenfield, who she tries to impress by stepping outside her comfort zone. What follows is a cute story of taking a chance, evolution and letting go.

2.5/5

I love you Philip Morris: Based on a true story, Jim Carey figures out multiple questionable ways to make money and escape from jail. His partner Ewan McGregor stands by him as he moves from phase to phase of life, till the law catches up with him. An entertaining watch.

3.5/5

Swiss Army man: Daniel Radcliffe makes an unusual corpse in this film, acting as a metaphor for how our survival makes many instincts set in. He inadvertently helps Daniel Scheinert rescue himself. A bizarre tale!

2.5/5

Identity thief: Melissa McCarthy is an expert identity thief, and poor unsuspecting Jason Bateman gets conned into a big mess. What follows is a wild goose chase with an unexpected end. A light watch.

2.5/5

Behind the Candelabra: The famous pianist Liberace is played by Michael Douglas and Matt Damon plays his partner, and together they show us a world of excess, deceit, talent, love, lust and power. A great insight into an icon, his eccentricities and his mind games.

3.5/5

Boy erased: This film explores a topic of controversy and how it impacts a conservative family. Nicole Kidman and Russel Crowe play the concerned parents of Lucas Hedges, who they coerce into trying conversion therapy. It’s effects on him and them are explored as the family fight to stay connected.

3.5/5

Bird Box: Sandra Bullock shows us once again why she’s at the forefront of good content. A novel concept, a kind of apocalypse is explored here, where the audience is invested from the first moment. She keeps it taut and tense till the end. A brilliant watch!

3.5/5

The emoji movie: The film explores something we use in daily life, but cunningly makes a world filled with challenges for emojis, giving them distinct personalities. A fun watch!

2.5/5

Baby driver: Has a cool Ansel Elgort who drowns out his intense and chaotic world, and Kevin Spacey who puts him there. Supported by Lily James, Jamie Foxx and others, it’s a tale of great love, great opportunities and great betrayals.

3/5

Why Him: Is a funny film which centers around the protests of father Bryan Cranston on his to be son in law, James Franco. He is eccentric and odd, with nothing conventional about him. A perfect flight watch.

2/5

The little prince: Based on the novel by Antoine de Saint-Exupery, it’s a wonderful film which explores a rich world filled with metaphors and messages, giving proper homage to the source using stop motion animation woven into computer animation.

3/5

Geostorm: A disaster film starring Gerard Butler, it weaves a not so unreal scenario of drastic changes in weather caused by climate change. Filled with good special effects and set in many cities across the world, it sends a message loud and clear.

2.5/5

[failinhearts]

Movie Review: Kin

Probably never heard of this movie, have you? Don't worry, I'll tell ya about it.

Kin.

This is a movie that I had interest in seeing after hearing the premise. A family drama crime thriller, but with a sci-fi twist. It sounds like a neat, fresh idea. So I decided to give this film a shot and... it's interesting.

I honestly feel like this movie would be better without the sci-fi elements. Lemme talk about it.

Family on the run:

Now, if anyone tells you about a movie involving a broken family that comes together thanks to something from space, the first thing you'd probably think of is the animated Disney movie, Lilo and Stitch. This movie, while having its differences, I can't help but think of that movie when viewing this one. We have the Lilo, Eli, a kid from a broken home who recently lost his mother and has only his father left, resorting to finding scraps to make a bit of money. We have the Nani, Jimmy, a rebellious thief with attitude and Eli's brother who just wants to be there for his sibling. We have the David of the movie, who is a friend who helps them through their journey... who in this movie's case, a stripper named Milly.

Now, who's our Stitch in this movie? Well, it isn't an endearing alien... but one thing these two intergalactic entities have in common is that they both were made to destroy. In this case, a bulky space ray gun that Eli finds.

After a series of tragic events causes Jimmy to take Eli across the country to escape from a crime lord's crew led by James Franco, with Eli not knowing the tragedies behind the scenes that led to this trip, it's a race to not get caught while the two brothers bond despite their differing morals. Meanwhile, intergalactic hunters are also after the family, searching for the stolen gun... kinda like Jumba and Pleakely trying to find Stitch.

While the movie has a really lame, generic opening, that feels boring and done before, the moment the plot kicks into gear, you're instantly invested in the fate of those two brothers when before, you cared... but not too much since their character types have been seen a thousand times before. It just goes to show the importance of circumstances in a story, and how the directions and tone changed catches you off-guard. Because of the dire scenario these two are in, and the secrets withheld by Jimmy that are central to everything, you are hooked in seeing how they get out of this. If they get out of this.

The movie plays into our emotions, specifically, empathy to make up for the cliche character archetypes. Even if someone isn't a person you particularly like too much, you still feel sad and worried if anything happens to anyone you know, and it's not like nobody in this movie is by any means hatable. Because of this, the movie gets you to care for their well-being and hope their relationship grows and all will be mended. It's clever how the filmmakers were able to step aside the poor establishment yet molds a compelling story regardless.

Now, does this mean I should excuse the archetypes of these characters? No, not really. There could be more meat to some and it would make the story infinitely more engaging, but as it is, it could've been a lot worse.

In regards to character development, though, that's where the archetypes do add to the story, not gonna lie. A big part of the movie involves around emotional impression. How one can be influenced to do bad for an ulterior motive, even if it's good. Just how far should you go before something is too far? What will separate the heroes from the villains, and Eli's impressionability and Jimmy's "do at all costs" attitude aid to that theme very well because they are so blatantly emphasized as a specific personality trait.

James Franco as a villain, while over the top at times, also deserves some praise for still being intimidating and actually having quite a bit more meat than your average cigarete smoking, booze drinking, money obsessed bad guy. If anything, money isn't even much of his motivation but rather his own connection to his family, providing a thematic parallel as to what happens to someone without a family to go to.

Ohana doesn't need a big freakin' gun:

...Now, you noticed how after all this, I never talked about the main gimmick of this film? The space gun? Yeah, that's where we delve into the movie's more negative standpoints... and I can't believe I'm saying that since I love seeing sci-fi elements in everything but the execution of the implementation of the alien sub-plot is poorly done.

Not enough of the movie revolves around the gun. It feels too disconnected and not irrelevant for the most part, and once you get to the halfway point, the gun is finally used to aid to the story's progression but by that point, it's too little too late. Now it feels out of place, and still isn't that important aside from moments where something needs to be blown up to provide an exit or getaway, nothing more and does little to aid in the bonding Eli and Jimmy form because... well, it came into the film too late.

It's not like the sci-fi couldn't be done well. For example, let's bring back Lilo and Stitch for comparison. Lilo and Nani were two people that didn't get along. Lilo couldn't understand Nani well while Nani was trying to do the best she could as a mother figure because Lilo had nothing else. Then, Stitch came into their life, and thanks to his endearingly curious albeit destructive personality, and the circumstances his appearance led to, it only got Lilo and Nani closer in the end. Stitch as a character, as well as the intergalactic aspect as a whole, was written with the goal of aiding to the theme of the story which is getting it back together.

I mean, look at the title, even the title for Lilo and Stitch was tailor made to convey this theme. It was never just a cheeky and obvious naming convention because yes, the movie's about Lilo and Stitch. If you look deeper, though, it was telling you the story in three letters. Lilo in Hawaiian means "lost", which is the state of Lilo and Nani's relationship and Stitch, as the literal term suggests is a means of putting something back together.

So Lilo and Stitch means "lost and put back together".

The ray gun never embodies that message, nor is a metaphor for one. It was just a gimmick to lure sci-fi lovers into the theater and nothing else, which is a shame. Because it never amounts to much in the main theme, the scenes which focus on the gun grinds the film's pacing to a halt to either see these needless hunters on their search for the gun, to see the gun perform cool noises and actions or to blow something up. Nothing more, nothing less.

Actually, it does less and hurts the movie more than you expect.

A gunned down resolution:

With this story of a team comprising of a thief, a stripper and a kid with a gun on the run from the Green Goblin's gang and a couple of Halo knockoffs, you expect quite an epic climax, right? Well, you do get an intense climax, which is pretty much the movie in general where the suspense of impending doom looms over any sort of levity the movie gives, leaving you on the edge of your seat... this doesn't mean the film gave a good resolution.

If anything, more problems arise from it. At least for us.

We learn barely anything about the gun, about these aliens, Eli's connection to the gun, the overall mystery is still a mystery aside from a sequence of what are literally teases. Teases for what? Well, we're in the age of cinematic universes where nothing can be standalone, right? Might as well tease a sequel promising to reveal all the mysteries we really should have from movie 1.

Because I don't think we're getting a sequel.

It goes to show just how meaningless the gun is. Not only does it pause the movie to uphold a mandatory gimmick, not only does it not aid all that much into the theme, but it just leaves you with more questions than answers for the sake of hoping you'd shell out more bucks just for a simple answer. While the family drama aspect is wrapped up, lots of elements are still left out in the open and the movie knows it.

Movie studios shouldn't be this confident in their build-ups. They are totally free to leave it open to continuation, but the movie, particularly the first installment should work standalone. Because now, this movie can't stand on its own. It can't. Now it's just an hour and fifty minute long teaser for a film we might not even get, ruining the impact this movie leaves on you.

This, most of all breaks the movie. We go into it expecting a solid beginning, middle and an end. I argue, we never even got an end, making the story practically incomplete.

Final thoughts:

I appreciate Kin for what it tried to do. It tried to be a compelling family drama with a clever twist from an entirely different genre in an attempt to make an new concoction of storytelling. It tries to prove there truly are no limits to the power of imagination and I do agree with that statement. Such a mixture is possible, Disney got that down in 2002.

But Kin suffers from a slow, uninteresting beginning and a non-existent end where it makes you wonder if the middle is even worth it. Not to mention the stunning cinematography, which uses the shaky, unkempt camera style of a drama with the techno music of sci-fi. Has those negative aspects dragged the great parts down with it? Maybe. You wonder if all of this was even worth it.

If you're looking for a movie to eat up your time and don't mind too many open questions that may never get answered, all for the sake of a good second act? Kin will do just fine for you, then.

Anyone else? You're better off watching Lilo and Stitch.

[scripttorture]

Where does the "mentally/willpower broken by torture" trope even come from if it's a myth? I don't think every content creator who uses it WANTS to indirectly support torture but it's a very widespread trope...

Good question.

 I am 100% sure that mostpeople who use this trope don’t wantto support torture in any way and are horrified by the idea that they might be.The problem is that we learn from fiction. We see well written fictionalportrayals using tropes like these and we see how widespread the idea is and weassume.

 That’s natural. We all do it. Five years ago (when I’d donesignificantly less reading on what torture does vs how it is done) I wasmerrily assuming it was true as well.

 I honestly don’t know where thetrope comes from. I’m pretty sure that finding out definitively would be atleast a PhDs worth of work.

 I do have an educated guessthough.

 One of the patterns that emerged from Rejali’s analysis of mediasurrounding the Franco-Algerian war was just how much French torturers warpedthe narrative.

 The ticking bomb scenario beloved of torture apologists literally comes from a novel written by aFrench torturer.

 It’s a…interesting read. The main character is an ultra-macho,ultra-violent stereotype whose willingness to brutalise Arabs somehow magicallyresults in enemies giving him information, men respecting him and women fallingin love with him.

 I am reaching slightly here but I believe this is how the author sawhimself- it’s what he wished he was.

 And what struck me about it whileI read Rejali’s summary was how similar it was to narratives coming out of theNew World during the Trans-Atlantic slave trade.

 The details change but a central theme was this insistence that theviolence was ‘necessary’. That without a level of violence which was quiteliterally decimating the population society itself would collapse.

 I don’t think the idea that brutality made people ‘passive’ came fromthe slave trade. I think it’s probably significantly older than that.

 But it is amazing just howmuch slave owners clung to that idea when the New World was full of uprisings, violent attacks,non-violent resistance and outright wars (for which see West African Warfare in Bahia and Cuba by M Barcia- not the only sourcebut an excellent book, I also recommend the classic Black Jacobins by C L R James). 

 So I think torturers have anestablished history of arguing for torture, and chief among their arguments isthat torture is ‘necessary’. The exact reason varies with the times but making victims ‘passive’has been one of the ‘reasons’ for a long long time.

 Stepping back from specific periods in history I think you could alsoargue that someone could come to this conclusion by fundamentallymisunderstanding how mental illness works.

 Iknow I always link to the symptoms but seriously let’s look at that list.

 They want to die. Well obviously they’re ‘broken’.

 They jump at every little thing. ‘Broken’.

 They don’t talk or interact like other people. ‘Broken’.

 Every single thing on that list of symptoms has been used to devaluehuman beings before, regardless of what may or may not have caused the symptom.The behaviours these words represent are things society has judged forcenturies.

 And those same behaviours are why calling this ‘broken’ is nonsense.None of these illnesses, these patterns of behaviours, make people ‘compliant’.None of them encourage obedience and many of them (completely outside of thecontext of torture) work in ways that make obedience more difficult.

 It’s not a definite answer. I never had the chance to take Media Studiesand I don’t have much official schooling when it comes to history (which is probably lucky, I shudder to think how history is taught in most of my countries)- And I thinkthat makes me the wrong person to try and chase down a definitive answer.

 But my instinct, based on what I do know, is that it comes from a potentstew of stereotypes about mental health problems and allowing torturers, abusers and their supporters to tell uswhat violence is ‘really’ like.

Disclaimer

[cinomar]

My top 10 movies of 2017

As December draws to a close, and year-end lists dominate social-media feeds, I thought I’d share my own views on the crème de la crème of what has been an extraordinary 12 months for motion pictures.

Full disclosure: I have not yet seen a lot of the heavy-hitting Oscar contenders (The Post, Phantom Thread, All the Money in the World, I, Tonya...), so my favourites will be limited to the movies I’ve managed to watch so far.

Without further ado, let the countdown begin!

10. Mother!

Perhaps the most polarising movie this year, Mother! is a toe-curling exercise in endurance cinema that recasts parables from the Old Testament. Within a suffocatingly claustrophobic house, whose creaking groans and seeping blood only augment the sinister storyline, this nightmarish scenario plays out before reaching a harrowing symbol-crash of a crescendo. There were moments in Mother! when I looked down at my hands and they were convulsively shaking. Is it my favourite Darren Aronofsky? No. Will I be watching it again? Absolutely. 

9. Get Me Roger Stone

“I revel in your hatred, because if I weren’t effective you wouldn’t hate me.” So says Roger Stone, the polemical political strategist who has been getting rich off his moral bankruptcy since his involvement in the Watergate scandal. This Netflix documentary traces the life of the self-defined agent provocateur, from his encouraging Donald Trump to run for office in the 1980s to his intentional thwarting of the Florida-election recount in 2000. Guaranteed to make your blood boil, this film offers maddening insight into the extent of corruption in Washington.     

8. Baby Driver

Baby Driver is a triumph, resplendent in its tyre-screeching glory. By seamlessly embedding music into the film’s narrative, Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. the World) delivers a startlingly original heist movie that marches to the beat of its own drum. Boasting an eye-watering rating of 97% on Rotten Tomatoes, a hyper-stylised sensory richness and adrenalin-inducing car chases, Baby Driver is a cinephile’s film par excellence.

7. Three Billboards Outside Ebbing, Missouri

They say people cope with grief in different ways, and this certainly seems to be true of Mildred Hayes (Frances McDormand) who takes her local police (led by Woody Harrelson and Sam Rockwell) to task after the rape and murder of her teenage daughter. The expletive-spewing Hayes plasters accusatory messages on billboards challenging the town’s law enforcers to reopen her daughter’s unresolved case. She is a reckless firecracker of an anti-heroine. Whether she’s kicking a schoolchild in the crotch or flinging a petrol bomb at a police station, Mildred has an infectious desire to put these killers behind bars that makes her a treat to watch.

6. Good Time

Robert Pattinson is unrecognisable in the Safdie brothers’ nerve-shredding thriller Good Time, turning in a career-best performance as a petty criminal hustling his way through a colour-leached Queens to save his mentally ill brother. Since he earned a six-minute standing ovation at Cannes, it’s unsurprising the actor is being compared to De Niro in Taxi Driver.    

5. BPM

Set in Nineties Paris, BPM (beats per minute) provides a brutally heart-wrenching take on the AIDS crisis without sinking into sentimentality. The movie, which scooped up the Grand Prix at Cannes, centres on the LGBTQIA activist group Act Up. Through heated, strategy-focused meetings – where the blood-hurling advocates clash with the big-pharma sympathisers – the campaigners raise awareness of the epidemic, forging relationships along the way. I’m thoroughly disappointed that the Oscars snubbed this defiant, sincere film in the foreign-language category. 

4. The Disaster Artist

The Disaster Artist is a hysterical behind-the-scenes exposé tracing the making of Tommy Wiseau’s self-financed vanity project, The Room (widely regarded as the worst film ever made). James Franco – who also directed The Disaster Artist – has earned plaudits for his sensitive, yet hilarious, impersonation of the filmmaker. I was so intrigued by the trailer that I fought my way into a (massively oversubscribed) advanced screening at the BFI, where I full-on cried with laughter, then collapsed on a Tube platform when my sister quoted a line to me on the way home. Funniest film of the year without a shadow of a doubt. 

3. Get Out

The flash of a camera. The clinking of a teaspoon. The humming of crickets in a suburban street. Get Out’s accumulation of seemingly banal details makes it so masterfully unsettling. The movie is something of a modern-day Guess Who’s Coming to Dinner? that sees an African-American (Daniel Kaluuya) visit the parents of his white girlfriend (Allison Williams) and gradually discover an unsettling truth brewing beneath mind games and micro-aggressions. The film marks the sketch comedian Jordan Peele’s first foray into cinema as a writer-director, and has already established him as one to watch. Get Out is a sucker punch to the status quo that is impossible to forget.

2. Lady Bird

Lady Bird is an astounding addition to the coming-of-age canon, a feel-good film exuding a sincerity and warmth that quickly confirms its status as one of the cinematic highlights of 2017. Raw and relatable, the movie is a show-stopping masterpiece that ushers the actress-turned-director Greta Gerwig into the pantheon of blossoming auteurs. The film faithfully captures the essence of what it’s like to grow up female; the awkwardness of that disconcerting stage of adolescence in which you are unceremoniously prised from the familiar embrace of girlhood and thrust towards womanhood. In the tradition of great cinema, Lady Bird takes a profoundly personal story and transposes it with such dexterity that it feels universal. 

1. Call Me by Your Name 

“Call me by your name and I’ll call you by mine,” whispers Oliver (Armie Hammer) as he gently caresses the cheek of his lover Elio (Timothée Chalamet) in the soft darkness. The blossoming romance between these two men, that unfurls over six sun-dappled weeks in northern Italy, is utterly ravishing. The director Luca Guadagnino creates a sensory masterpiece by lingering over the finer details of their relationship: peach juice trickling down a chin, bicycle pedals whirring into action. Call Me by Your Name is a shining beacon of tolerance and acceptance, with a heartbreaking ending that will bring tears to your eyes.