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noddytheornithopod · 3 months ago

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Phineas and Ferb Season 5 Trailer Breakdown

So everyone in the fandom obviously knows about the trailer dropping.

youtube

Well, someone's gonna go through it and see if anything sticks out, and that someone is gonna be me.

First thing's first, here's my bingo card. I'm pretty generous with these... and still no bingo, lol.

Anyway, time to break this thing down.

"Long time no see" definitely feels like the first episode, it gives "Doof reintroducing his evil ways to Perry" vibes.

Already getting Bujeet shenanigans, excellent.

What I will say is that visually, everything looks GREAT. Some of the animation itself looks a bit stiff/choppy to me, but I should be able to get used to it. Some of it looks really good, anyway.

So last Summer, we did a great ball of water, and now we're doing a great WHEEL of water? Wait, does that make this technically a Great Balls of Water sequel? Too ambiguous for me to decide, lol. But either way, loving this. Love all the poses here, especially Ferb's and of course Baljeet and Buford sharing their board.

Candace is driving. To take a quote from the press release, "Candace will take her driver’s license test". We already have an episode called "License to Bust", so we're definitely getting at least one episode focusing on her driving.

They're building SOMETHING big and blocky, no idea what though. Also lol Ferb.

The scene with Candace and Linda with the float full of stuff has been pointed out to have family photos of the Flynn-Fletchers, which is pretty cute. The press images have a shot of that wall in high quality.

Doof just announcing he's evil again on not-instagram, lol.

IDK what that small handheld thing Doof is holding, it looks like a staple gun that's a hammer.

Gecko gear? I'm sold. Love using real scientific knowledge about things to inspire ideas like this. Geckos have unique feet, they even have a dedicated Wikipedia page.

Submarine sandwich submarine? Also sold. Punny shit like this is always a delight in PnF.

Giant fish???? Or did they shrink themselves down and it's just a regular fish.

No idea why there's a Phineas in the bread bowl hot tub, as Buford calls it. Also, tell me that Isabella doesn't look particularly enamoured with it for that specific reason. :P

Perry saving a guy from a truck with presumably with an inator.

Isabella driving the submarine, presumably when the fish is chasing after them. Of course she's a badass, but also, the attack eyebrows return.

Riding giant darts again, but now to pop balloons. And if you know me, you know I'm down to see Phineas and Isabella sharing a dart. A later shot shows Ferb controlling one of the hands that throws the giant darts.

"It's like old times." Doof trying to appeal to nostalgia, lol. Probably both in and out of universe.

Perry with a swordfish as a sword! More stuff that is both punny and cool.

Perry is... sparkling? And coming out of some purple liquid? No idea what's going on, but Doof's definitely getting a fistful.

Neat disco outfits (though not the first, see Put that Putter Away :p)! And time for a musical dance sequence!

Them bursting out of school is definitely part of the first episode and the opening song, which also seems to be playing in the trailer. Still haven't listened to the full thing even though I know it's out there, mostly because I wanna see it with the finished animation.

From the same scene, I figured I should point this out because lol.

I think they took some of the old extras and repainted them? Like I recognise the designs but the colours are different.

Coltrane dancing with some goth girl. Hopefully Stacy approves, if they're even still a thing.

Okay Baljeet with the mini windmill is cute.

Candace and Jeremy still going strong! Something about Jenny looks kinda weird though, it might just be the angle but even the colour tone feels slightly different. Same with Jeremy's eyes. Maybe I'm just seeing things, lol.

Seems like EVERYRONE is celebrating the new Summer, even Linda's there with Lawrence! Could just be editing to be made to look like it's part of that larger sequence, but if it is, wonder if Linda realises why everyone is so excited, or if Summer is now just a big thing for everyone in Danville. Maybe there's gonna be fourth wall shenanigans like in Curtain Call at the end of the show, who knows?

Phineas and Isabella bouncing off balloons! This and the darts could be part of the opener with everyone celebrating and shit.

Isabella driving the boys to throw them on giant darts. Also you can see the street celebrations, so that's probably part of what I assume is the first episode. Also... this means that Phineas deliberately let Isabella share a dart with him. While Buford and Baljeet, seen sharing a board on the water wheel, are still on their own here. Guess they gotta compete here. :P But also yes, shipper brainrot.

Doof and Norm dancing! Wonder if this is also the opening song, since I know Doof sings a verse, but it could be anything.

Baljeet screaming "LET'S DO THIS!" in a very ominous, stormy environment. Cloudy with a Chance of Mom, perhaps? Baljeet also sounds a bit different, but that's probably just Maulik being older, he sounds more normal when I heard him in the other crowd shots. But yeah, dude's sweating, he definitely seems overenthusiastic, maybe even a lil unhinged. /hopingforunhingedbaljeet

The kids jumping and then freezing midair is pretty hilarious, especially with Candace calling them weird. Also, noticed they seem to have some kind of bookshelf, there's even a book on the floor. Maybe it's connected to the big blocky thing from before? Also, Candace saying "oh, there you are, Perry" indicates it could be the end to an episode. Maybe they originally made a giant book shelf but then whatever happens shrinks it down? Also, if this is like a book shelf or library, it could be "Biblio-Blast!"?

All in all, pretty cool trailer! Very restrained, but loving the chill, cosy vibes this gives, looks like the right mix of funny and sweet I love from this series.

BUT WAIT, THERE'S MORE!

There's a press release that also came out today (as mentioned before), so I'll drop some stuff on those.

New poster! Also a nice homage to one of the really old ones from like the first season.

There's some shots of them in school, probably from that opening song.

Doof with icicles? Probably the same episode as our gung-ho Baljeet, assuming there isn't more than one stormy day in Danville already. Lots of weather shenanigans, it seems.

Phineas and Ferb in flying bumper cars? Not sure what episode this is but looks neat.

The worst news: they're dropping the first ten episodes all at once on Disney+. Let the show breathe, dammit! Oh well, at least with this and the first episode apparently going on YouTube to line up with the Disney Channel and XD airings, I probably won't need to resort to pirac- I MEAN, wait a billion years to get these episodes. Shame it's specific international markets, though. Australia's probably gonna get it fine based on how things have gone in the past, especially if the show is aiming to be on D+ as much as the TV channels, but I still feel bad for a lot of international viewers. We're a global society, make access to the show equal for everyone, dammit!

A special sneak peak is gonna be on May 26. I'm guessing it will probably be the opening sequence/song, but it could be something else if they wanna surprise us.

"The boys will break several world records" Is this gonna be like an actual plot point or is this just gonna be something that happens to work and they'll technically break them?

"Perry will finally make a trip to the vet!" Well, well, well, isn't that also a title for an episode we recognise, "Chip to the Vet". I'm expecting the plot to revolve around something like Perry getting a microchip from his pet visit (maybe even requested by PnF to figure out where he goes every day), and naturally Perry's gonna have to rectify this somehow so his cover isn't blown.

"'Cartoonified with Phineas and Ferb' gets a fresh twist as the dynamic duo interviews real-life celebrities reimagined and drawn in the iconic animation style of the series." So they're doing Take Two again but the celebrity guests are now gonna be cartoons, got it. :v Now PLEASE don't have any guests who are cringe inducing or controversial. This current sociopolitical climate is a nightmare, I don't wanna have to send angry letters to Disney because they hired some shitty person to go on air.

"'Agent P, Under C' follows Perry the Platypus, who returns as his alter ego Agent P, as he takes on a new undercover mission to stop animal enemies from rival spy organization A.N.A.T.H.E.M.A. (the Alliance of Nefarious Animals That Has an Exceptionally Memorable Acronym)." This actually sounds like an interesting series of shorts (or short if it's just one, wording isn't clear enough IMO). Sounds like it's actually got a story going on. Wonder if any of this will even be relevant in the series, too.

"Additional new episodes from the flagship short-form series include the Emmy-nominated 'How Not To Draw' and 'Theme Song Takeover' featuring Phineas, Ferb and more." We've already seen episodes of those with PnF, so I guess they have even more characters lined up.

PnF Fantastic 4 cover confirmed! As expected, RIP Baljeet.

"The album 'Lofi: Phineas and Ferb' will be released on May 9 and will feature 10 songs from the original series reimagined in a relaxing lo-fi style." Sounds neat, wonder what songs they'll pick. Probably mostly the really well known ones, let's be real.

"The original soundtrack, including 13 songs, will be available on June 6 on Spotify, Apple Music, Amazon Music and other digital platforms." So right as it drops on Disney+, cool.

So yeah, bring on June. Shit, I better finish my marathon of the series by then. In the meantime, here I am two months in the future.

#phineas and ferb #Youtube

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creaman · 1 year ago

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Idk if I'm allowed to encourage this but everything you said about Kung fu Panda 4 is correct, it not only killed my grandma but massacred my bloodline. The only saving grace of that movie was the cute Dad stuff, and that the theater I watched it in had comfy reclining sofa chairs as seats.

Although you can make the point that Li and Ping 'distract from the film', being the B plot, they are genuinely the only good part of the movie. Again, you could argue that their absense would mean more time to develop the A plot, but their precense is the only funny and charming part of the film and the A plot had plenty of time.

The movie has the same runtime as its predecessors, but chose to spend near all of its time padding out the A plot with spoken exposition and filler chase sequences when it could have been fleshing out The Chameleon as a villain and developing Zhen and Po's dynamic.

Now taking this opportunity to talk about some of the secondary points I didn't get to cover in the primary post (hating is my passion)

Original Post

KFP4 spoilers again

Juniper City Sequence

A lot of the comedy is generic subversion — A statement followed by a verbal or visual contradiction which is standard, worn out and the laziest most predictable form of comedy.

There was also a scene that actually made me pause the movie and cackle; not from the humour, but from the sheer absurdity; — in which Po refers to himself as “—The Kung Fu Panda!”

Has never previously referred to himself as this

Has never been referred to as that by others

This is a genius scene which takes inspiration from the most memorable sequence in Kung Fu Panda 2, in which Lord Shen utters the chilling line, "You see, I need my Kung Fu Panda Too." (So powerful. Brought tears to my eyes.)

Smarmy. Arrogant. Unearned. Even if this was the Kung Fu Panda I knew and loved, what a pompous way to put it.

The Staff of Wisdom

It's pretty great. I tuned out all the lore, mostly because the first scene with this object is Po exclaiming "The staff of wisdom!" followed by nothing but exposition.

It's the implication that he's nothing without it, and that it embodies the Dragon Warrior. He's reduced to a staff which essentially has no function until the end. It sticks out in every scene because this meathead carries it everywhere, like its his house keys.

This one is a nitpick, but I think it looks stupid. It was fine in the third film because it functions as a little trophy for him, having defeated General Kai and finding peace with his identity — but it's too small for him, reads like a fucking lollipop and he looks ridiculous holding it because he doesn't use it in most of his scenes so it's just dead weight for the entire runtime.

The Final Act

This part is a little less structured — I had stopped taking proper notes and started typing 'WHY??' and 'FUCK YOU'.

The Kung Fu Masters. My favourite part of the film, as a Lord Shen enthusiast, was when they brought him in for two seconds and then had him sit in a cage with no spoken dialogue for the remainder of the sequence. Why are they here? Why is kung fu stored in the spirit? (pee is stored in the balls?)

Just tried to talk about the bowing scene again but I just know I'm going to give myself an aneurysm. Postponed.

The defeat of The Chameleon. Among the most memorable villain defeats, we bring you: head trauma.

The Amalgamation. Oh man. Sorcery was already a stretch in the worldbuilding of Kung Fu Panda. Now you're telling me The Chameleon can shift into a huge amalgamation of all the kung fu masters? This has nothing to do with kung fu anymore — artificially inflated as a threat by being... bigger.

Spoilers, She doesn't even do anything with this. Kind of just runs around snapping at their heels.

The Chameleon really doesn't utilise her abilities at all. She turns into Lord Shen to... to kick Po. Not to manipulate him psychologically or anything, but to... kick him. Alright.

They opted to make the fight sequence cool (by having the Chameleon shift between forms for no real purpose) but the fight scene is a nothing burger, in which no real damage is done to either party until Po busts out the pwn stick.

Closing Statements

I don't hate Kung Fu Panda 4 (blatant lie). I wanted the film to succeed, genuinely. But the state of it now...

Mess. Bury it.

#creaman-answer-sheet.pdf #creaman talks to drywall #kung fu panda 4 #kfp #hating on main #spoilers #vent again #discussion #criticism #you drive me to drink kung fu panda 4

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filmforager · 8 months ago

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Venom: The Last Dance – Review

Not with a fang, but with a whimper

With the hilariously woeful misfires of Morbius and Madame Web, the Venom series has become a jewel in the crown of Sony’s recent cinematic output. But that’s the very definition of damning with faint praise. For while this series has had its moments, its mix of unfunny buddy comedy and serviceable action has never really found a sweet spot. The last entry in the trilogy does little to change that – for the most part, this is more of what you’ve come to expect.

After an opening that pointlessly deposits our hero in the multiversal madness of the MCU (which invites comparisons to much better films), we join Eddie back in his own universe, where he’s been linked with the murder of Detective Gilligan (Stephen Graham) in San Francisco. But that’s the least of Eddie’s problems – a mysterious space-bound entity known as ‘Knull’ (voiced by Andy Serkis) is plotting his return to earth, and he’s basically the godfather of all symbiotes.

For what reason this is all happening, the film can’t really explain. It centres on Knull’s villainous plot to find a ‘Codex’, which for some reason activates whenever Eddie and Venom morph together (don’t ask why). What follows is a half-baked road trip adventure, as Eddie and Venom imagine what it means to live a normal life, while evading the pursuit of Knull’s fearsome alien lackies.

Written and directed by Kelly Marcel, who was heavily involved in the first 2 films, there’s clearly a lot of passion for the material here, but that doesn’t transfer to a good script. Tonally it’s a bit all over the place, drifting from slapstick comedy moments – Venom discovers a gambling addiction, Eddie slapping a man mid-piss – before trying to hit you in the feels with its central bromance. As Brock, Hardy hobbles through the film with the same humdrum demeanour, leaving it up to Venom’s tired banter (also voiced by Hardy) for a bit of character. At one point, after possessing a horse, Venom gleefully yells ‘now that’s what I call horsepower!’ This is the kind of comedy you’re dealing with.

Somehow this series continues to draw good actors to thinly sketched characters. Chiwetel Ejiofor does his darndest to add dramatic heft as a containment officer with a vendetta against the symbiotes, while Juno Temple isn’t given too much to do as a scientist whose fascination with aliens threatens to go too far. There’s also a weird plot point involving a road-tripping family led by alien-obsessed Rhys Ifans, which starts out quite funny before becoming more implausible as the film progresses.

There are cool moments here, mostly involving eye-popping visual effects work. Yet except for one thrilling chase scene, where Venom morphs into a fish and a frog to avoid capture, the action sequences end up blurring into one by the final act. Unfortunately, you could say the same for the films in this series.

Venom: The Last Dance will please people who enjoyed the first two films, with dazzling effects and Hardy’s growly anti-hero taking centre stage. For everyone else? Stay off the dancefloor.

★★

#venom #venom the last dance #tom hardy #juno temple #chiwetel ejiofor #2 stars #marvel #rhys ifans

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offscreendeath · 2 years ago

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I watched Valerian last night. I appreciated how very ambitious it seemed, but ultimately the performances fell very short. My take is that a lot of filmmakers have tried to do what Fifth Element did as far as crafting an expansive and detailed world filled with unique designs for its characters and sets, which it absolutely did, but failed to create compelling characters who we follow throughout it. Jupiter Ascending which premiered two years after it did this much better, although I have similar critiques.

Dane DeHaan and Clara Delevingne and were not the worst actors I’ve ever seen, but they seemed too stiff and stoic to come off as endearing or relatable, even while they were joking. I didn’t feel much chemistry between them, and neither of them seemed to have meaningful character arcs to speak of.

I wish the writers took the mystery element of the plot even further. An action/adventure whodunit” type of story set in space would’ve been really cool. I found it difficult to accept Valerian as this super deadly space soldier and it wasn’t just because he doesn’t look physically intimidating. I got the impression that it was his ability to come up with a plan on short notice that was his real strength, but that wasn’t highlighted enough to be very memorable. Laureline straight up did not sell the badass and intelligent role very well.

Worse than them though, was Herbie Hancock, who didn’t have much time on screen, but his performance definitely revealed a lack of training and commitment to the role — no shade, I love his music, but he was not impressive. I was initially excited to see his name in the opening credits (and the opening scene was one of the best imo,) but after watching felt like it was mostly a ploy to draw attention.

I felt similarly about Rihanna’s performance. When she wasn’t giving awkward one-liner jokes, there just didn’t seem to be very much passion in her delivery of the lines. It doesn’t help that she was a cgi blue flubber squid alien for a good half of her appearance or dying in of the most egregious “we can’t afford to pay you/use all this cgi/create plot holes so we’re gonna have to kill you off” scenes I’ve ever witnessed.

That said, there were lots of things I found fun about this — the creative and fun moments with action set pieces, (like the chase following the market heist) practical effects, cool characters design (the three pigeon snitches, the albino twink beach aliens) and costumes (a circuit board design on a military uniform,) an unconventional story about war crimes being covered up…all things that could’ve been enhanced by just a bit more effort in terms of acting and storytelling.

There are moments where I was a bit confused about the tone of the movie. Was this a comedy? Is it for children? Am I supposed to be sad about this character’s death scene when what led up to it was a visual pun about stinky trash? I have my own issues with Marvel films, but at their very best they can manage to balance humor and tense/depressing moments pretty well. I got the impression that there was this rush to establish certain things narratively, and as a consequence, certain other parts (the best parts,) weren’t given much breathing room.

After watching Jupiter Ascending I felt pretty hungry for more exciting space epics with immersive, elaborate worlds. After also watching Avatar 2: The Way of Water just a few days earlier, unfortunately I’m still searching. JA wasn’t perfect, but had less obvious flaws than either, helped greatly by some legitimately decent performances. Avatar made me feel sorta motion sick after a while, even though it also had a few interesting plot elements and thrilling sequences.

I was expecting more, and I’m not sure why. I remembered watching the trailer years ago when it first released, and recalled feeling like “oh yes this is what the streets been waiting on!” and quickly forgetting about it not very long afterwards. The 2010-2019 period of Hollywood was very strange. I liked the direction this was heading and since it didn’t do well I’m wondering if it’s failure signaled a departure from movies like this and into the direction we’re headed now. It being the most expensive independent film kinda blows my mind—but only because it makes the end result all the more disappointing.

I don’t regret my watch, however. I think there were plenty of good decisions that were made, but unfortunately casting wasn’t one of them.

4.6/10

#valerian #valerian and the city of a thousand planets #review #text post #film blog #film review

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cyphyree · 2 years ago

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Now that you've finished utena and it's movies, what was your favorite part? Did you think the movie was a sequel? A retelling? Something else? Some scenes in utena are gonna stick w me till I'm in the dirt n id love to know if you had any like that :33

Omgosh!!!! This series 😭😭😭💖 ok bear with me im gonna have a LOT to say affgugyyythh endgame spoilers for Revolutionary Girl Utena the show and movie below

Fave parts of the show (in no particular order)

The third transformation scene when Anthy and Utena go to the arena together, badass, just one of the sequences ever

Utena's dorky lil stretches <3

The poisoned tea and biscuit scene

Badminton with Utena, Jury and Miki, along with Nanami ;_;

Miki's stopwatch. Still parsing out what it means but the animation and soundwork is so satisfying

The entire final act of the last episode wrecked me

Wakaba being there for Utena to help her snap out of her depression

Subsequent Utena vs Wakaba battle that breaks my heart into itty bitty pieces

The exploration of Utena's identity, and how she matured from "pretending to be a prince and the misconceptions of what that meant" to ultimately "being a prince"

Jury's backstory with Shiori and how it was visualized

Fave parts of the movie (in no particular order)

SHORT HAIR UTENA!! IN HER LIL BERET!!

The architecture of Ohtori is so cool

Love the opening sequence, especially when it pans up abruptly to the scene with Utena and her prince in silhouette

THEY KISS.

The partner drawing session

The dance <3

Chasing Anthy through the weird corridors of Ohtori after Jury's Duel

The farewell between Utena and Touga (how did they make me like Touga and Utena's relationship)

When they escape together from the maw of the castle in an explosion of roses, and the Shadow Girls guiding them and cheering them on turned out to be Utena and Anthy themselves!

THEY KISS!! AGAIN!!!!!

I actually love how obtuse and playful and surreal the series is, but in a way that's very intentional and gives you all the puzzle pieces to put together what's happening. After finishing the show I felt like I knew what it was about because the themes were so well visualized…… and then I watched one (1) youtube analysis video that made me realize that my understanding has barely scratched the surface of ANything lol. I was kinda embarrassed about it ngl, but I guess RGU is just one of those shows that do require multiple watches. I really, really do love how it's got multiple layers. I'd be happy if I could create a story that's half as clever and nuanced.

The movie was such an unexpected banger. I was told by a friend beforehand that the movie was a retelling+sequel hybrid. After watching it, to me it feels like an alternate version of the story that runs parallel to the one in the anime. Like…… a metaphor for the intention of the show, does that even make sense? I don't think the events or characters themselves are necessarily "canon" in a literal sense, but the philosophies and underlying character motivations are. I definitely see why everyone's like "oh the movie will clear up the themes of the show!! It's great!!" and I love how it clarifies the show by being 250% weirder LMFAO.

I also thought that the absurdity of "your girlfriend turns into a freakin car you drive towards freedom" was going to take me out of it, and it did at first. I was mostly scared for Utena because um that was a scary process, but tbh for the entire ending I had this huge smile on my face. And it was emotional for me even though it's ridiculous!! And that's because it's emotionally resonant!! And it metaphorically confirms for me that, even though Utena was in despair in the last moments we see her in the show, the endings of both the show and movie are ultimately fulfilling and---dare I say?---happy! Because both of them were wrung through the crucible that tore apart their identities, and they ultimately learned and grew, despite how hard and painful it was!

I'm also just so, so, so glad how lgbtq+ the characters and narrative are, and how neither show nor movie shied away from it (I was nervous that the movie was going to retroactively step back, but no, they made it GAYER). And plus how.... tactful and considerate they were when dealing with and visualizing heavier themes. Even the movie was very frank and intentional when portraying nudity. I appreciate that a lot.

What a masterful show. It's going to haunt me forever probably :)

#i typed this out yesterday but tumblr blipped and didnt save any progress rip #but for real what a gem of a show #also if anyone wants to talk to me about Utena please do hit up the ask box!! >:)#revolutionary girl utena #rgu #shoujo kakumei utena #sku #ask box #analysis

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reachexceedinggrasp · 3 years ago

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(my original ramble from *cough* months ago that fuck it I should just post because I’m going to have to start over and this will no longer make sense once I finish the whole show)

In fairness, I've still only watched 8 episodes and I've seen more than one person say the thing doesn't properly get going until around episode 10, but I struggle to understand why Chuno is so highly regarded and enjoys almost universal acclaim. Maybe the momentum does pick up, but I don't know how much that's going to help since pacing is not really the problem I have with how it's going so far. The pacing is fine, my problem is lack of direction and lack of heart. It doesn't appear to be really about anything.

I’ve been stuck for agessss, first on ep 7 and now ep 8, and since scrubbing through some of the later eps to fix the subs after finally finding it in semi-decent quality, as far as I can determine the thesis statements of the series are: a) slavery possibly bad b) Daegil loves Ennoyeon absolutely unconditionally and always will and this may or may not be admirable of him c) loyalty??? something about saving the crown prince’s last surviving kid

And that’s it. That’s everything. It has nothing more specific to say and has almost no commentary on those two vague things that it does say. It just wants to point them out. There’s a repeated thematic beat about human dignity and not judging by appearances, but with only one exception thus far, dehumanisation is always tied directly back to the literal institution of slavery. The larger point about classism and prejudice is not developed despite looming hugely over the proceedings. It feels... hollow? I have a disconnect from what’s happening.

The positives are the fight scenes (rightfully revered, they’re balletic and gorgeous and all the work put in by the actors is fully captured by the fluid cinematography- totally get why everyone remembers these visuals, they are insanely good) and the music. The music is fantastic. That main fight song evokes historic grandeur and scale but it also has tonnes of individual personality and is an absolute banger. The editing and score always work together in a way that creates great atmosphere, powerful juxtapositions, and many iconic images. Like, A+ work on sensory storytelling, it frequently looks and feels incredibly cool and/or epic.

But it’s not a well-written show, man. There’s no real meat under all that artful presentation. The story and characters are so paper thin that I really struggle to care about them, even when there’s occasional good dialogue.

It has great eye candy (in both the usual sense and in that it just looks good in general- the stylish action beats, the stunning vistas, the grand scope), but there's no emotional core, no anchor. I'm on episode 8 and I have no idea what the actual story being told is supposed to be. It's endless exposition involving characters I mostly see no reason to care about and one giant, aimless, interminable, slow-motion chase sequence. There's certainly a prevailing theme about the rich and powerful grinding down the poor and how this creates a cycle of violence, but there's no substantive narrative tying any of it together or providing a way in for the audience. It's more of an amorphous blob of miseryporn with cheap cliffhangers than it is a story with a committed, focussed point (even one as facile as 'slavery bad', because for all the suffering on display the actual slaves are relegated to subplots, the show does not centre 'unjust society' as the villain despite feinting in that direction).

Out of the three leads, only Dae-gil is even a bit engaging to me on a pure writing level. He has some hints of genuine complexity that cause a lot of tension in everything he does, which is interesting, but he's also very, very static and opaque. You don’t really know what he’s thinking or feeling a lot of the time or what his larger motives are. But at least you wonder about him. The other two are so insufferably, staggeringly, impossibly boring that I cannot even imagine wanting to know more. The fallen general is a featureless plank of wood who causes my attention to wander every time he’s on screen and the girl is essentially a sentient piece of luggage with whom everyone falls in love for no adequately explained reason. Then these, the two most boring people in the universe, team up to be even more boring together.

It also outright lies to me with almost every episode-ending cliffhanger, in a way that borders on comic. Where the closing cliffhanger scene will be played differently with different shots in the opening of the following episode (eg: the closing sequence will have shown a big reaction of obvious shocked realisation on someone’s face as they catch sight of the person/thing they’re seeking, but the opening sequence replays the moment without the character noticing anything). Misleading us is fine, fake-outs can be okay if you don't overdo it, but fuck you show, blatant lying is too far!

Apparently it takes 15 episodes for Dae-gil and the luggage to even meet again and I'm so tired at the very idea of what nonsense will go on between now and then. I’m told there’s also no real emotional payoff or honest conversation between them later anyway. I love his undying devotion as a characterisation choice, I find his complicated attitude towards her and how it contrasts (and doesn’t) to the flashbacks really compelling in theory, but what is the point? She is a total nonentity and there’s no actual content to their relationship- there’s just the idea of it. What is he fighting for? He was this pure-hearted, clear-eyed idealist who wanted to change the world for her, then he became cynical when she left him for dead, and now he just seems ambivalent about slavery and the status quo. Disgusted by it but complicit in it. What is his suffering for? What has he learned? What’s my takeaway from this? I mean, I need to watch the rest, obviously, but seeing bits from later episodes, I’m already frustrated.

These characters just go nowhere. It feels like nothing much changes with any of them.

Don’t get me wrong, I 10000% understand why Dae-gil is an iconic performance that’s indelible in the minds of audiences and will forever define a huge part of JH’s legacy as an actor. It deserved every accolade! But it’s because of his performance not the character on the page. No one else would have been that iconic in this role. The character on the page is every bit as anaemic, thin, and lacking personality as General Balsawood and the Living China Doll. The writing is just as one note, he’s just as much of a flat, stoic cipher as Tae Ha. The reason he feels like something more than that and is about ten million times more compelling to watch than the other two leads is the utterly towering charisma of an actor who is perfectly in his element playing this part, determined to fully inhabit the role with total abandon. There’s an absolute commitment to the character that infuses everything he does on screen with life and mystery.

Jang Hyuk is making this underwritten, one-note person engaging through sheer presence and his empathy as an actor; he has this unmatched ability to bring genuine humanity to archetypal badasses and it’s the exact same quality that makes him so mesmerising as Bang-won and Oh Hyun Jae and Doctor Lee. He can be scary and vulnerable, compassionate and callous, desperate and untouchable all at the same time. There’s so much tension in the way he plays these parts, like they’re at war with themselves, really making you believe their choices are an organic manifestation of troubled psyches, and that makes the characters feel incredibly real. He creates something endearing and intriguing out of rote tough guy bullshit by always allowing a child-like element into these macho personas, a melancholy note of broken idealism.

There is a primary lack of vanity in his approach to playing the ‘cool guy’ that elevates the whole enterprise and allows you to view a stylised character as if they were a real person. He presents no sense of self-consciousness or awareness of his own image in these performances, he makes you believe he just is and it’s all effortless and that puts him in the ranks of the all-time great Byronic heroes. He is aspirational but relatable, charming without trying to be, dark without becoming unsympathetic. Those things make him seem dynamic even when the writing isn’t. If Oh Ji Ho or another equally boring actor had played Dae-gil, he’d be just as boring as Tae Ha.

For example: All three lead characters have a deliberately huge contrast between who they used to be in their past circumstances and what they are in the present of the show, but the only one who actually conveys this shift in identity with his mannerisms is Dae-gil. He comports himself so differently that you could, in fact, be completely forgiven for not recognising him as the same person; the way he speaks, the way he carries himself, the habitual set of his features, the look in his eyes, etc. has all changed. He is a radically different man than he was, obviously transformed from within by his traumatic experiences and also forced to alter his outward behaviour in order to survive.

The other two change outfits a couple times. Nothing else about them illustrates any kind of shake-up in their class status or self-understanding or emotional state. Ennoyeon’s sameness against Dae-gil’s sea-change makes her empty artificiality even more egregious. She should be just as unrecognisable as he is, her rise parallels his fall and is equally drastic.

Imo it’s 30% fortuitous casting of the exact right person and 70% JH doing all the work that makes Dae-gil an iconic character.

And I figure he alone might deserve most of the credit for creating this performance* considering how terrible Lee Da Hae is as the luggage. I know she’s not a terrible actress, she was perfectly fine in Robber, so the fact that she’s this expressionless, lifeless, sucking void of Perfect Noblewoman stereotypes (especially frustrating because she’s supposed to have been raised a slave and it makes no sense she’s this delicate, sheltered wilting flower) is something I’m going to blame on the director. I haven’t seen Oh Ji Ho in anything else, but I’ll give him the benefit of the doubt that maybe he could do better than this, too. His woodenness might have been intended as the character being closed off, but in order for that to work you have to show there’s something going on under the surface and there isn’t. He’s got zero presence in this part, he’s overshadowed even by the one-scene day players.

So the director clearly wasn’t helping anyone much with their acting, is what I’m saying. Dae-gil’s two bros were all right, though General Choi is also a bit wooden and the ‘funny’ one can be kinda try-hard. None of the relationships in the show were super convincing, but the three of them at least had good chemistry together and comprehensible motivations. The same cannot be said of General Balsawood and the luggage, who had the opposite of chemistry. The two of them together is like watching paint dry. If the paint and the wall also somehow didn’t seem to like each other despite being inanimate.

The music is really fucking great though. I strongly suspect a massive amount of this show’s huge cultural impact comes from the epic music along with dazzling fight choreography, superbly shot, and great overall style distracting you from how boring most of the characters are. Coolness is doing a lot of heavy lifting. Even with Dae-gil, part of the appeal is definitely that he’s so cool that it covers how opaque he is as a character despite the phenomenal depth of agony he expresses. That action scene in the first episode is incredibly memorable and I can see how if you watched this on TV spread out over weeks, you’d just focus on the spectacular parts and the big tableaux with their effective imagery while forgetting the dragging, meandering, undefined slog that is the rest of it.

Edit from 300 years later: I mean, going further, and having watched some more contemporary shows, I’d venture that the action scenes are almost revolutionary for this kind of tv. They’re on a level so far above what I’ve seen in other historical dramas from that decade, it might be fair to credit them with the show’s success. The way they’re shot is genuinely beautiful and allows you to follow the flow of the action and actually see what’s going on in a way that’s still rare now. It just makes it ten thousand times more impressive when you can appreciate the choreography playing out in full, and the lack of ridiculous sound effects or wire-work is a big plus. People do flips, but they’re real flips done for real, not gravity-defying hovering.

(I am fine with ridiculous ott magic-fighting existing, it’s just when it’s in shows that are otherwise super grounded in the real world and played totally straight that I’m like ‘wat’. If people can fly, you need to set a tone where that seems appropriate; if you haven’t, the fights should remain tonally consistent and be believable - they don’t have to be realistic, they do have to be believable.)

Like, I’m watching the white whale show now (Daemang, the Great Amibtion, which was a white whale because it seemed like I would never be able to find it) and while it’s totally exceeding my expectations and is in fact genuinely wonderful as a show, the action scenes are terrible. It’s the anti-Chuno: the characters are fantastic, the story is thematically focussed and deeply profound, and the action is almost unwatchable. The fights are shot so badly that you have no idea what you’re looking at, there’s no sense of continuous movement or screen geography, and the sound effects are absurdly silly. The actors look super uncomfortable and mostly unconvincing.

I don’t know who decided constant fast cutting was a good way to cover action, but it’s just not. Even if you have to hide stuntmen or that what the character is supposed to be doing is physically impossible, you still shouldn’t cut every nanosecond. There are better ways to do it. The truly egregious offence is cutting people who can do the thing in a such a way that it looks like they can’t. If the actors can fight fluidly and do their own stunts, my dude you need to let the audience see it. Not that I tried to watch Voice and got motion sickness or anything.

Anyway, my point here is that Chuno’s action scenes are basically the Citizen Kane of action scenes in historical dramas and that plus coolness plus bulletproof anti-hero archetype played by a human inferno of charisma plus tragic romance is probably enough reason for it to take off. I still don’t get its sterling reputation as a masterpiece or why people think it’s such a great story (knowing very loosely where it goes and how it ends, I currently stand by my ‘vague directionless miseryporn’ assessment), but I do admire those elements. It’s a subpar whole with some really, really successful parts. I find I’d like to read fanfic that fleshed out Ennoyeon and her relationship with Dae-gil, so I’m buying in at least that much.

*he even choreographed his own action scenes. Learning that he did this blew my mind. Like... how? How was that allowed? How did he know how to do that? How could he be so good? I understand he was a gymnast and studied martial arts very seriously and went to university for theatre, but none of that really explains for me his ability to be a fight coordinator or do screen action at that level. He didn’t actually do a huge amount action before this! Maybe I’m overestimating how much experience/training you need to get handed that kind of responsibility even on a big budget production. Maybe I’m underestimating how much the director wanted him to play this part since JH said it was his request to design his own fights. An excellent call by the director in hindsight but must have seemed wildly risky at the time.

I think I read this show was over budget before it even started shooting, so maybe recklessness was a theme with the director. Paid off for them, though, didn’t it.

#kdrama #chuno #jang hyuk #daemang #I need you to understand that I'm not just fangirling he is seriously carrying this show on his back #the fact that he did the fight choreography himself makes this almost literally true #I know he won pretty much the biggest award he could have won for this but his contribution is still underrated #because holy shit #he should have got the Emmy as well #fun fact: he was legit nominated for an Emmy no joke #so spectacular even the Americans noticed

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aceofthegreenajah · 3 years ago

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Okay more wheel takes stuff - again, podcast of wot readers one of who is a professional screenwriter. This is about how episode 1 begins and not as verbatim as the previous one cos I wasn’t even planning on typing this up but then I did. It has some cool industry-insider insights in it. Again no spoilers past wot episode 1.

Gus: With that central question being ’who is the dragon’, and that being the propelling, motivating thing throughout this season, this change [starting with Moiraine] makes sense to me.

Ali: Yes, it does, because I think if they had started with the point of view of any other character the audience would immediately assume that that was who the dragon was. And/or it would have detracted from the stasis according to the protagonists. So by necessity, they had to start with Moiraine.

Gus: [] In the show we get a lot of time spent in the two rivers, meeting the characters – but in the back of our mind throughout the entire thing we have Moiraine’s question: who is the dragon reborn?

Ali: Yes and I think they made this choice to depart from the books a little bit for a reason I want to speak to. [] So when we talk to our interns about writing – something that I tell interns is: the amount of time you can wait before an inciting incident happens is predicated mostly on how long an audience is willing to invest in a particular product. With a book, it’s usually within the first 100-150 pages that an inciting incident should occur.

Gus: Which, in eye of the world, that’s about when the [paraphrased] dramatic trolloc attack takes place.

Ali: So you have a big tentpole moment happening then and Moiraine arrives not that far before that. That’s because people, for whatever reason, are more willing to give books more of their time and investment than they are for a tv show, let’s say. In a play you should have the inciting incident happen about 15 pages in. They audience has dressed up, they’ve hired a babysitter, they’ve gone out to the theater – which, is typically not that cheap in terms of tickets. And the actors, most importantly, are right in front of them.

Gus: So the likelihood that you’re going to give up on that, 10 minutes in, 15 minutes in, if you don’t know what’s going on -

Ali: Low.

Gus: [] The book, you can also pick up and put down whenever you want.

Ali: And then, in a film you want it within the first ten. We’ve still gotten dressed up and gone out to the theater, but there’s no live actors in front of us.

Gus: And the tickets are probably cheaper.

Ali: We can leave whenever we want. In a tv show, where you can change the channel whenever you want – first five pages. First five minutes of your thing, we need to know why we’re here. [] I think they pushed a little bit, in terms of how long the gave it. They had a lot more exposition to jam in. But we’re getting production companies coming to us and saying ’we have algorithms for our streaming services that say if you don’t have some kind of interesting action sequence within the first two minutes of a tv show people will change the channel’.

Gus: So that actually is a wonderful seqway to what I wanted to talk about next, which is the scene with [] Liandrin chasing down apparently two men, but actually one. And that is also a scene that is not explicitly there in the book, but I think was there to provide the ’oh my god what’s happening’ moment and also to provide some necessary exposition in a relatively show-don’t-tell way.

Ali: That’s one of the core screenwriting tenets, show don’t tell. So they could turn to us and say ’this is what’s up with the magic, men can’t channel’ but it’s not visually interesting. Film and tv are visual mediums. So you have to see something physically happening, we cannot just get talking heads. So in my opinion, I think that amazon came to them and said – because we know from reading articles and stuff that the original opening of this tv show looked a little bit different. [] Nothing ever gets made in a vacuum. Rafe is at the end of the day responsible for a lot of decisions that get made, but he is also beholden to the executives at amazon who will allegedly give him – what is it, 11 000 notes?

Gus: I believe it was 11 000 on the first episode. []

Ali: And when you work in this industry you have to work out how to delicately give people what they want even if they don’t know that was what they wanted. So I am assuming that the algorithms that amazon has are the same as the algorithms in the places I’ve been talking to, and that they said: we need a tentpole moment from the beginning. And that is why they wrote this scene. And I think that what it did very effectively was, again, show-don’t-tell what happens to men who can channel. And give us a great laugh line with ’it’s not him’.

Gus: And I would say also perhaps introduces a slightly antagonistic relationship between Moiraine and Liandrin. Because to me – if we take their goals right from the outset. Moiraine’s stated goal is ’I am going to find the dragon reborn’.

Ali: And three of those candidates are male. []

Gus: Conversely we see Liandrin [] chasing down and doing something to men who can channel. Something that looks to be extremely painful.

Ali: So that immediately puts them at conflict. [] I definitely think that was a good look at the madness that takes over men who can channel. I was talking to a first-timer [] who said: ’There was a lot for me to process but at the end of the day what I know for sure is that men who can channel – it’s a bad thing.’

#wheel of time #wot on prime #wot show meta #wheel takes

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glenngaylord · 4 years ago

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Glenn Gaylord’s Capsules From The Bunker – Summer 2021 Lockdown Style

Like many of you, I’ve lost all concept of space and time during this lockdown era. I’d watch movie after movie, but somehow forget to write about them. I’d consume films for sustenance, but then I’d move on to the next task of cleaning a room, doing a crossword puzzle, or staring at my dog for hours on end. Thank goodness I have a few friends to have breakfast with every now and then, or else I’d have assumed I had been transported to a cabin in Montana. “Am I a film critic or a hermit?” I’d ask myself daily…that is, if I even understand what days are anymore. All of this is to say that I have a lot of catching up to do now that we’ve taken a baby step or two towards returning to some sense of normalcy. Wait a minute. What’s that? Highly transmissible variants? Back into the cave I go. While I still can, I’ve managed to blurt out a few capsule reviews of some films worth mentioning.

In Between Gays – Film Review: Summer Of 85 ★★★★

Prolific French filmmaker, François Ozon, has made a career out of finding dark crevices in the most unexpected of places. Here, with Summer Of 85, he tweaks this New Wave era gay romance just enough to upend our expectations. In pure Talented Mr. Ripley meets Call Me By Your Name meets Luca fashion, Ozon spins what could have been that sun-dappled, seaside summer that changed everything into a love that perhaps never was, zeroing in instead on a young man’s obsession for something unobtainable. Beautifully shot and acted, Ozon takes the story to more provocative places than you’d initially expect while still maintaining the boppy fizz of a great Cure song. Despite the mish mash of tones, the film has a pulse all of its own. It’ll make you swoon, pull the rug out from under you, and then make you wonder how he managed to quietly get a little twisted.

Summer Of 85 currently in select theaters, see official website for details. Released on DVD and BluRay August 17th.

Truffle In Mind – Film Review: Pig ★★★★

Writer-director Michael Sarnoski makes an auspicious feature debut with the story of a man searching for his stolen truffle-hunting pig. Caked in dirt, blood and looking not so much like a homeless man but as a person who died inside a thousand times over, Nicholas Cage gives one of his best performances ever as a man who seeks the truth at all costs. He asks his only connection to the outside world, Amir, played wonderfully by Alex Wolff, to drive him through Portland’s dark underbelly to retrieve his pet companion.

Although the film takes us to a rather unbelievable “Fight Club” moment, it generally holds its mood with credibility. It’s a great calling card, not only for Sarnoski, but also for his talented cinematographer Patrick Scola, who brings a painterly quality to every single image. The film finds beauty in a bite of food, a breath of air, or simply the compassion between two main characters who have seemingly little in common. It’s a shame the trailer elicits laughs when Cage utters lines like, “Who has my pig?” Clearly they want to sell the actor’s neo-gonzo persona, but Cage brings so much depth and seriousness to this project, only raising his voice once. He deserves the highest praise for committing to such an oddly touching, gorgeously quiet story. At risk of sounding Dad-jokey, the only thing that hogs the scenery is his porcine friend.

Pig is in theaters now.

All Is Lost – Film Review: Old ★★

In 1999, M. Night Shyamalan made a great film, The Sixth Sense, and has been chasing that dragon ever since, often to diminishing returns. His films, however, often do well because he has great concepts, a keen eye for visuals and timing, yet things always seem to turn clunky and inane real fast. With Old, he continues down that path by giving us something compelling—a group of people on a beach who age quickly—and ruining it with dialogue seemingly written by an algorithm and rendered unintelligible much of the time, while the terrific cast seem to have no idea how to make Shyamalan’s words sound any better than a high school play. A couple of sequences did make me sit up and take notice, and he uses compositions and offscreen space well, but overall, Old plays like a stretched-out episode of Lost, and like that cool but overstuffed series, you’re not gonna get very good explanations as to what transpires. Sure, the big twist works well enough on some level, but it doesn’t save you from the discomfort of watching good actors flatline in more ways than one.

Old is currently in theaters nationally.

Hi Fidel-ity – Film Review: Revolution Rent ★★★1/2

Shot in 2014, Andy Señor Jr., who played Angel on Broadway along with a host of other credits, staged the classic musical Rent in Havana during a thaw in our relations with the Communist regime. He did so against the wishes of his Cuban family, who suffered under Castro and insisted his production would merely serve as a propaganda tool for the government. He plows ahead instead, capturing the months long process in a rather artless home movie style. The aesthetics don’t carry any weight here when you have such a compelling subject matter. Witnessing his actors struggling with their performances while also living in harsh conditions adds new layers to the late Jonathan Larson’s story of squatters in the age of AIDS.

With a limited talent pool, one of whom doesn’t feel comfortable with the gay subject matter and another who lives with HIV himself, Señor finds new connections to Larson’s material as well as an affection for his heritage. What we may have taken for granted here in the US in terms of sexuality and gender expression feels like a whole new experience when seen through a Cuban lens. Señor speaks out against the Castros with quick sequences showing moments of oppression, thus preventing this film from perpetuating the lies of its government. Instead, he gifts the people of this poor, struggling country with a real sense of community and its first burst of musical theater in ages. Sure he’s a privileged westerner who dangles hope in front of people only to return to his cushy life, but he does so with heart and good intentions. You end up loving and rooting for his cast in this moving, sweet documentary.

Revolution Rent is currently streaming on HBO Max.

Do The Hustlers – Film Review: Zola ★★★★

Call me wary when I went to see a movie based on a viral twitter thread and directed by Janicza Brava, whose Sundance Award-winning short, Gregory Go Boom, proved to be not only tone deaf but downright offensive towards people with disabilities. Her new film, Zola, excels however, in ways her prior work has not. Taylour Paige, a standout in Ma Rainey’s Black Bottom, plays the title character, a stripper who meets Stefani (Riley Keough) one night and is convinced to travel with her down to Florida where they can make a lot of money dancing all weekend. Things, however, do not go as planned, with Zola’s story escalating from one insane twist after another. Paige and Keough are outstanding, as are Nicholas Braun and Colman Domingo as their traveling companions. Jason Mitchell, so great in Straight Outta Compton and Mudbound, brings a wild, dangerous energy, something he shares with the film itself. It comes across as The Florida Project meets Hustlers, but with its own surreal, unexpected tone. I laughed out loud often, especially with Paige’s loopy reactions to her surroundings and the giddy, zippy energy on display. Zola chews you up, twerks on your face, and spits you out, exhausted yet anxious to see whatever this talented group of people will do next.

Zola is currently playing in select theaters and available on demand.

Banned On The Run – Film Review: There Is No Evil ★★★★

It’s impossible to review There Is No Evil without giving away its central premise, so I will avoid as much description as possible. Iranian filmmaker Mohammad Rasoulof has crafted a four-part anthology of sorts around an agonizing moral issue important to people worldwide. At the end of the first part, a stunning cut to an unforgettable visual reveals everything and allows you to watch the rest with informed eyes. Rasoulof seamlessly excels at different genres, from family drama, to action escape, to romance, weaving a tale of such depth and sorrow for its talented cast of characters.

The making of it proves as interesting at the film itself. Banned by the regime from producing feature films for two years and prohibited from traveling outside of Iran, Rasoulof, like any crafty filmmaker, came up with an ingenious plan. He slipped under the radar by calling these four short films, mostly shot in small towns far outside the reach of Tehran, and then had the final product smuggled out of the country. A filmmaker with such talent not only at telling stories, but the with ability to will his vision into existence against all odds, deserves the world’s attention.

There Is No Evil is available on DVD, BluRay and VOD now.

In Space No One Can Hear You Think – Film Review: F9: The Fast Saga ★★★

Considered review-proof, the Fast and the Furious franchise has ruled the box office for the past 20 years, so my calling its latest entry, F9: The Fast Saga, monumentally dumb will have zero influence on anyone’s decision to see it. We all know it’s big and stupid, as do the filmmakers. These films, deliver said stupid with such gusto, that you simply surrender and have a great time nonetheless. Nothing, however, prepared me, for this series to go all Moonraker, sending a car to a place no car has ever gone before. You’ll know it when you see it and probably say, “That’s ludicrous!” and also say, “That’s Ludacris!”

F9: The Fast Saga is currently playing on every screen on Earth and in select theaters throughout the universe.

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miloscat · 4 years ago

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[Review] Conker: Live & Reloaded (XB)

Let’s see just how well this misguided remake/expansion holds up. This will be a long one!

Conker’s Bad Fur Day is my favourite N64 game. It’s cinematic and ambitious, technically impressive, has scads of gameplay variety with fun settings and setpieces, and when I first played it I was just the right age for the humour to land very well for me. A scant four years later Rare remade it for the Xbox after their acquisition by Microsoft, replacing the original multiplayer modes with a new online mode that would be the focus of the project, with classes and objectives and such.

First, an assessment of the single-player campaign. On a revisit I can see the common criticisms hold some water: the 3D platformer gameplay is a bit shaky at times, certain gameplay segments are just plain wonky and unfair, and some of the humour doesn’t hold up. It’s got all the best poorly-aged jokes: reference humour, gross-out/shock humour, and poking fun at conventions of the now dormant 3D collectathon platformer genre. I also am more sensitive these days to things like the sexual assault and homophobia undertones to the cogs, or Conker doing awful things for lols. Having said that, there’s plenty that I still find amusing, and outside of a few aggravatingly difficult sequences (surf punks, the mansion key hunt, the submarine attack, the beach escape) I do still appreciate the range of things you do in the game.

As for the remake, I’m not sure it can be called an improvement by any metric. Sure, there’s some minor additions. There’s a new surgeon Tediz miniboss, the new haunted baby doll enemy, and the opening to Spooky has been given a Gothic village retheme along with an added—though unremarked on—costume for Conker during this chapter based on the Hugh Jackman Van Helsing flop. Other changes are if anything detrimental. The electrocution and Berri’s shooting cutscenes have been extended, thus undermining the joke/emotional impact. The original game used the trope of censoring certain swear words to makes lines more funny; the remake adds more censorship for some reason, in one case (the Rock Solid bouncer scene) ruining the joke, and Chucky Poo’s Lament is just worse with fart noises covering the cursing.

The most egregious change, and one lampshaded in the tutorial, is the replacement of the frying pan (an instant and satisfying interaction) with a baseball bat which must be equipped, changing the control and camera to the behind-the-back combat style, and then swung with timed inputs to defeat the many added armoured goblings and dolls carelessly dumped all throughout the game world. This flat out makes the game less fun to play through.

On top of this, all the music has been rerecorded (with apologies to Robin Beanland, I didn’t really notice apart from instances where it had to be changed, such as in Franky’s boss fight where the intensely frenetic banjo lead was drastically reduced as a concession to the requirement to actually play it in real life), and the graphics totally redone. Bad Fur Day made excellent use of textures, but with detail cranked up, the sixth generation muddiness, and a frankly overdone fur effect, something is lost. I’m not a fan of the character redesigns either; sure Birdy has a new hat, but I didn’t particularly want to see Conker’s hands, and the Tediz are no longer sinister stuffed bears but weird biological monster bears with uniforms. On top of all this you notice regular dropped details; a swapped texture makes for nonsensical dialogue in the Batula cutscene, and characters have lost some emotive animations. Plus, the new translucent scrolling speech bubbles are undeniably worse.

I could mention the understandable loading screens (at least they’re quick), the mistimed lip sync (possibly exacerbated by my tech setup), or the removal of cheats (not a big deal), but enough remake bashing. To be fair, the swimming controls have been improved and the air meter mercifully extended, making Bats Tower more palatable. And some sequences have been shortened to—I suppose—lessen gameplay tedium (although removing the electric eel entirely is an odd choice). But let’s cover the multiplayer. Losing the varied modes from the original is a heavy blow, as I remember many a fun evening spent in Beach, War, or Raptor, along with the cutscenes setting up each mode.

The new headline feature of this release is the Live mode. The new Xbox Live service allowing online multiplayer was integrated, although it’s all gone now. Chasing the hot trends of the time, it’s a set of class-based team missions, with the Squirrel High Command vs. the Tediz in a variety of scenarios, mostly boiling down to progressing through capture points or capture the flag. Each class is quite specialised and I’m not sure how balanced it is, plus there’s proto-achievements and unlocks behind substantial milestones none of which I got close to reaching (I don’t think I could get most of them anyway, not being “Live”).

The maps are structured around a “Chapter X” campaign in which the Tediz and the weasel antagonist from BFD Ze Professor (here given a new and highly offensive double-barrelled slur name) are initially fighting the SHC in the Second World War-inspired past of the Old War, before using a time machine, opening up a sci-fi theme for the Future War. These are mainly just aesthetic changes, but it’s a fun idea and lets them explore Seavor’s beloved wartime theming a bit more while also bringing in plenty of references to Star Wars, Alien, Dune, and Halo; mostly visual.

Unfortunately the plot is a bit incoherent, rushed through narration (unusually provided by professional American voice actor Fred Tatasciore rather than a Rare staffer doing a raspy or regional voice like the rest of the game) over admittedly nice-looking cutscenes. They also muddle the timeline significantly, seemingly ignoring the BFD events... and then the Tediz’ ultimate goal is to revive the hibernating Panther King, when the purpose of their creation was to usurp him in the first place! It expands on the Conker universe but in a way that makes the world feel smaller and more confusing. It’s weird, and also Conker doesn’t appear at all.

On top of this, I found the multiplayer experience itself frustrating. To unlock the full Chapter X, you need to play the first three maps on easy, then you can go through the whole six. But I couldn’t pass the first one on normal difficulty! The “Dumbots” seemed to have so much health and impeccable aim, while the action was so chaotic, obscured by intrusive UI, floating usernames, and smoke and other effects with loads of characters milling around, not to mention the confusing map layouts, the friendly fire, the instant respawns, and the spawncamping. Luckily I could play the maps themselves in solo mode with cutscenes and adjustable AI and options.

I found some classes much more satisfying than others. I tried to like the Long Ranger and the slow Demolisher, but found it difficult to be accurate. The awkward range of the Thermophile and the Sky Jockey’s rarely effective vehicles made them uncommon choices. I had most success with the simple Grunt, or the melee-range Sneeker (the SHC variant of which is sadly the sole playable female in the whole thing). You can pick up upgrade tokens during gameplay to expand the toolset of each class, which range from necessary to situational. But ultimately it’s a crapshoot, as I rarely felt that my intentions led to clear results.

Live & Reloaded is such a mess. The Reloaded BFD is full of odd decisions and baffling drawbacks, while the Live portion feels undercooked. I’d have preferred a greater focus on either one; a remake is unnecessary, especially only four years on, but a new single-player adventure would have been ace. And a multiplayer mode in this universe with its own story mode could be cool if it was better balanced and had more to it than just eight maps. As a source of some slight scrapings of new Conker content I appreciated it to some extent, but I can’t help being let down. I guess it’s true what they say... the grass is always greener. And you don’t really know what it is you have, until it’s gone... gone. Gone.

Yes, that ending is still genuinely emotionally affecting.

#review #conker #conker live and reloaded #Rare Ltd #xbox

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cinemavariety · 6 years ago

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Cinema Variety’s Top 25 Favorite Films of the Decade

This past decade has been a monumental ten years for the state of cinema. To think that there were actually still video rental stores all around the country, to almost becoming nonexistent, is statement enough to show how vastly audiences have changed the way they consume media. Through much thought and careful deliberation, the following 25 films are my personal favorites of the decade and are what I think best represent all that indie, international and arthouse cinema had to offer over the past ten years. Honorable Mentions: Shame Green Room A Ghost Story The Lost City of Z Knight of Cups 20th Century Women Jackie Blade Runner 2049 The Lighthouse Ingrid Goes West A Hidden Life

#25 - Suspiria (2018) Dir. Luca Guadagnino

“It’s only hours afterward that Guadagnino’s film will cohere for you and yield its buried treasures: the bonds of secret sorority, the strength of a line of dancers moving like a single organism, the present rippling with the muscle memory of the past. It’s so good, it’s scary.”

#24 - Call Me By Your Name (2017) Dir. Luca Guadagnino

“The final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late.”

#23 - American Honey (2016) Dir. Andrea Arnold

“Part dreamy millennial picaresque, part distorted tapestry of Americana and part exquisitely illustrated iTunes musical, “Honey” daringly commits only to the loosest of narratives across its luxurious 162-minute running time. Yet it’s constantly, engrossingly active, spinning and sparking and exploding in cycles like a Fourth of July Catherine wheel.”

#22 - Post Tenebras Lux (2013) Dir. Carlos Reygadas

“Some metaphors score and some miss, but this is leap-of-faith cinema: the rewards entail some risks.”

#21 - The Revenant (2015) Dir. Alejandro G. Iñárritu

“Pushing both brutal realism and extravagant visual poetry to the edges of what one customarily finds in mainstream American filmmaking, director/co-writer Alejandro G. Inarritu, cinematographer Emmanuel Lubezki and a vast team of visual effects wizards have created a sensationally vivid and visceral portrait of human endurance under very nearly intolerable conditions.”

#20 - Her (2013) Dir. Spike Jonze

“What begins like an arrested adolescent dream soon blossoms into Jonze’s richest and most emotionally mature work to date, burrowing deep into the give and take of relationships, the dawning of middle-aged ennui, and that eternal dilemma shared by both man and machine: the struggle to know one’s own true self.”

#19 - Annihilation (2018) Dir. Alex Garland

“A shimmering example of what Hollywood sci-fi can achieve when the aim is high, Annihilation is a gripping, mystifying adventure and proof that a transportive experience is more rewarding than a story with clean-cut resolutions.”

#18 - The Neon Demon (2016) Dir. Nicolas Winding Refn

“Spectacular, gross and delicious (so unsavory it’s almost sweet), the film is more proof of Refn’s mastery of his trash aesthetic and more fun than anything this indulgent and empty-headed has any right to be.”

#17 - Waves (2019) DIr. Trey Edward Shults

“Propelled by color, energy, electronic music and a quartet of career-making performances, here is that rare sort of cinematic achievement that innovates at every turn, while teaching audiences how to make intuitive sense of the way it pushes the medium.”

#16 - Mother! (2017) Dir. Darren Aronofsky

“Mother! is something truly magnificent, the kind of visceral trash-arthouse experience that comes along very rarely, means as much or as little as you decide it does, and spits you out into the daylight dazzled, queasy, delirious, and knock-kneed as a newborn calf.”

#15 - Melancholia (2011) Dir. Lars Von Trier

“The vision is as hateful as it is hate-filled, but the fusion of form and content is so perfect that it borders on the sublime. Melancholia is a remarkable mood piece with visuals to die for (excuse the pun), and a performance from Dunst that runs the color spectrum of emotions.”

#14 - Song to Song (2017) Dir. Terrence Malick

“Any number of sequences find feelings both externalized and hidden intermingling within the same shot, continuing in a subsequent image that carries the impression, the feeling, without replicating the exact tenor of what has just been seen. They exist simultaneously as certain backstories and what motivations they may inspire delicately unfold. Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here.”

#13 - If Beale Street Could Talk (2018) Dir. Barry Jenkins

“What Jenkins gets most right—what astonishes me the most about this film—is Baldwin’s vast affection for the broad varieties of black life. It’s one of the signature lessons of Baldwin’s work that blackness contains multitudes. In some ways Beale feels less like a movie than a well-staged, meticulously shot play; a period piece that floats beyond its specific time and place and into the realm of allegory.”

#12 - Samsara (2012) Dir. Ron Fricke

“Simply put, Samsara tells the story of our world, but onscreen, it is so much more than that. A darker and more ambitious meditation on impermanence, Samsara relies on blunt force and unforgettable imagery, overcoming the hazy logic of Fricke's editing to earn your awe.”

#11 - It’s Such a Beautiful Day (2012) Dir. Don Hertzfeldt

“A highly original and utterly enthralling film that touches on staggeringly expansive themes - more typically expected in the work of master auteur and persistent award-winner Terrence Malick, than from animations. An existential flipbook and a heartbreaking black joke: stickmen have never looked so alive.”

#10 - Upstream Color (2013) Dir. Shane Carruth

“You may not be able to figure it out, but that's part of the point of this sensually-directed, sensory-laden experiential (and experimental) piece of art that washes over you like a sonorous bath of beguiling visuals, ambient sounds and corporeal textures.”

#9 - Hereditary (2018) Dir. Ari Aster

“It’s a supremely effective gauntlet of supernatural horror that’s also, at blackened heart, a grueling domestic drama about how trauma, resentment, and guilt can seep into the roots of a family tree, rotting it from the inside out.”

#8 - Spring Breakers (2013) Dir. Harmony Korine

“Spring Breakers seems to be holding a funhouse mirror up to the face of youth-driven pop culture, leaving us uncertain whether to laugh, recoil in horror, or marvel at its strange beauty. Full credit to Korine, who sustains this act of creative vandalism right through to the finish. Spring Breakers unfolds as a fever dream of teenage kicks, a high-concept heist movie with mescal in the fuel tank.”

#7 - The Master (2012) Dir. Paul Thomas Anderson

“Two things stand out: the extraordinary command of cinematic technique, which alone is nearly enough to keep a connoisseur on the edge of his seat the entire time, and the tremendous portrayals by Joaquin Phoenix and Philip Seymour Hoffman of two entirely antithetical men. Written, directed, acted, shot, edited and scored with a bracing vibrancy that restores your faith in film as an art form, The Master is nirvana for movie lovers. Anderson mixes sounds and images into a dark, dazzling music that is all his own.”

#6 - Interstellar (2014) Dir. Christopher Nolan

“It’s a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike, and yet it always feels grounded in its own deadly serious reality. An exhilarating slalom through the wormholes of Christopher Nolan’s vast imagination that is at once a science-geek fever dream and a formidable consideration of what makes us human.”

#5 - The Place Beyond the Pines (2013) Dir. Derek Cianfrance

“A brilliant, towering picture, The Place Beyond The Pines is a cinematic accomplishment of extraordinary grace and insight. The movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.”

#4 - Black Swan (2010) Dir. Darren Aronofsky

“A full-bore melodrama, told with passionate intensity, gloriously and darkly absurd. It centers on a performance by Natalie Portman that is nothing short of heroic. This is, no doubt about it, a tour de force, a work that fully lives up to its director's ambitions.”

#3 - Drive (2011) Dir. Nicolas Winding Refn

“From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights. Drive dynamically merges a terrific film noir plot with a cool retro look. It's an unapologetically commercial picture that defies all the current trends in mainstream action filmmaking.”

#2 - Blue Valentine (2010) Dir. Derek Cianfrance

“Cianfrance and his actors, Michelle Williams and Ryan Gosling, have not made a cold or schematic film. They aim instead for raw emotional experience, one that's full of insight into the ways a relationship can go astray, but mostly feels like a slow-motion punch to the gut.”

#1 - The Tree of Life (2011) Dir. Terrence Malick

"The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. I wrote earlier about the many ways this film evoked my own memories of such time and place. About wide lawns. About a town that somehow, in memory, is always seen with a wide-angle lens. About houses that are never locked. About mothers looking out windows to check on their children. About the summer heat and ennui of church services, and the unpredictable theater of the dinner table, and the troubling sounds of an argument between parents, half-heard through an open window.”

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365days365movies · 4 years ago

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January 11, 2021: Come Drink with Me (1966)

Wuxia.

Wuxia in an of itself is a form of fiction, highlighting martial arts. You always know a wuxia film when you see it. Like your more traditional kung fu/martial arts film, it usually focuses on one or a few protagonists facing enemies using the martial arts skills. However, wuxia is...different.

First of all, most wuxia take place in ancient China, or during periods of high conflict. Second of all, wuxia heroes are usually independent agents, not working for anyone in particular, but still with a personal code of honor. And thirdly, at least when talking about film...it’s kind of hard to explain. It’s more of a visual thing. See, look:

And yeah, I put Kung Fu Panda 2 in there, SUE ME IT’SWUXIAINSPIRED!!!!

Ahem.

To be fair, wuxia’s been a little Flanderized over the years, with the slow-motion, bold color palettes, and non-existent physics eventually taking over as genre-staples. If you’d like some proof of that, have no fear. That’s the point of today’s movie, King Hu’s 1966 classic Come Drink with Me.

Fun fact, by the way, if you search “wuxia” in the Tumblr gifs engine, this is the first one that comes up! Fitting, since this is considered one of the greatest Hong Kong movies of all time, was nominated for a Foreign Language Film Oscar. Additionally, it’s often considered the seminal wuxia film by many. Which is why I’m watching it! And yeah, there are other wuxia films on my list this month, but I really wanted to see this one first.

OK, let’s do it! SPOILERS AHEAD!!!

Recap

Two prisoners are being escorted through a field by a large party of soldiers, when a man, Jade-Faced Tiger (Chan Hung-lit), blocks the path. He gives a letter to the warden in charge, and the soldiers attack the man in white and his cohorts. They quickly lose, and a battle ensues. And for a movie in the ‘60s, it’s surprisingly brutal and bloody. The group of bandits kidnaps the warden, Master Chang.

They torture the warden to discover where their leader’ll be taken. Chang is the governor’s son, making him a valuable hostage to exchange for their leader. They have nothing to fear...except for Golden Swallow, whomever that is.

We cut to a village, where a young woman is seated at a table in an inn. She works for the Governor, and is seeking information on Chang. She speaks with one of the bandit leaders, and reveals that Chang is her brother. It also turns out that this is Golden Swallow (Cheng Pei-pei), and the bandits decide that it’s time to kill her.

And it is at this point, where the English dub REALLY got to me. It’s uh...it’s bad, you guys. IT IS SO BAD. And, yeah, it’s probably because I’m not used to dubs, but I needed the subbed version SO MUCH. So, I searched far and wide, and finally found the subbed version in Mandarin. Man, it is SO much better, Jesus.

Oof. Anyway, even the bad dub can’t distract me from the coolness of this scene, as Golden Swallow takes on this bar of bandits, led by Smiling Tiger (Lee Wan-chung). After defeating them handily in an cool fight, Smiling Tiger leaves, stating that they will kill the hostage in 5 days if their leader isn’t returned.

Meanwhile, the bandits are staying at a Shaolin temple, where they KILL A CHILD. No joke, a kid dies in this scene, and the bandits laugh about it.

Meanwhile, a drunk beggar from earlier barges into Golden Swallow’s quarters as she retires for the night, asking to stay with her. I should mention, by the way, that she’s been referred to by male pronouns for the entire movie at this point, even though she’s clearly female. I’m assuming that’s an honorific thing that I’m unfamiliar with, but I figured I’d mention it. MOVING ON.

She chases the beggar away in a neat little chase sequence, then goes back to her quarters. Turns out that the beggar interrupting her was a good thing, as she was about to be ambushed in her sleep, and she takes on her would-be attackers. Morning comes, and the Beggar’s singing to the patrons of the inn about his lifestyle.

Golden Swallow attempts to thank the beggar, who introduces himself as Drunken Cat (Yueh Hua). He mostly ignores her thanks, then asks for money in exchange for another song. He sings another song, in which he sings...about the bandits. Sending a message directly to Swallow. Realizing Cat’s usefulness, Swallow tries to confide in him and ask for help. However, the Cat doesn’t even seem truly aware of his own usefulness, and brushes Swallow off. However, in one last song, he sings about a Chinese character, which means temple. Yeah. He tells Swallow the location of the bandits THROUGH THE SONG. That’s pretty goddamn cool.

youtube

Which is why it’s AMAZING that the English dub I was originally listening to DOESN’T TRANSLATE OR DUB THE SONGS. DO. NOT. WATCH. THE ENGLISH DUB. I CANNOT stress this enough.

Swallow makes her way to the temple, and...is referred to as a woman by the bandits when they confront her. Wait...It’s not an honorific thing? Do the Beggar and Bandits think that Golden Swallow is actually a man? DESPITE ALL EVIDENCE TO THE CONTRARY? Huh. Sexism in action, I guess.

Anyway, the bandits all gather together in the temple to fight her, and it’s awesome. She goes up against Jade-Faced Tiger directly, as well as a few more, yeah, GODDAMN is it cool.

Should be noted, by the way, that this is before a lot of widespread wire-work and some of the more sensational wuxia trends that you see in more modern films. Still, this is pretty great, and actually...this is what I wanted from live-action Mulan. Real talk. If we got more like this movie in last year’s travesty, I’d be all in for it.

One-on-one against Jade-faced Tiger in the courtyard of the temple! Blood’s shed, hair is cut, and Cat returns as a mysterious benefactor for Swallow, tossing a sword back to her and throwing off the archers. But at the end, Jade hits her with a poisoned dart as she escapes.

She doesn’t make it far, and faints in the forest When she comes to, she’s in the care of Drunken Cat. She blames him for setting a trap, but he blames her for rushing in too early, eager to show off her prowess. There’s more to Cat than meets the eye, it would seem.

Still not doing great, Swallow remains in the care of Cat, who eventually reveals that he’s a master of kung fu, not just a random singing drunk. He easily and immediately takes down some intruders, LIKE THAT.

Cat disguises himself as a drunk beggar, and delivers the bodies to the temple, claiming that Swallow herself took them down. But this ruse fails when Abbot Liao Kung (Yeung Chi-hung) from Cat’s temple appears, confirming that he’s the kung fu master that killed these men. He also reveals that his true name is Fan Da-Pei, the Drunken Hero. He stole the bamboo pole of the original leader of his temple, and is considered a traitor by the abbot.

As they go to kill Cat (yeah, still calling him Cat), he’s already escaped his guard. We see him back at the temple, where he does this:

He’s an Earthbender.

After doing more cool kung fu tricks (MOOOOORE), he reveals that the Abbot is evil, and that he killed their old teacher for the bamboo staff that Cat stole. Additionally, he’s much stronger than him, AND once did Cat a huge favor. This makes Cat feel both inferior and indebted to him, complicating things.

Despite this, Cat agrees to help negotiate for Chang’s release, in exchange for the release of their leader. He also encounters the Abbot, and the two set up a time for them to settle their score.

Prisoner exchange time! Ah, but it’s rigged in the Governor’s favor, as Cat betrays the bandits to keep their leader imprisoned, while getting Chang back. Which, obviously, the bandits are pissed about. They ambush Swallow and the governor’s procession by firing arrows and CRUSHING THEM WITH ROCKS.

Also, just want to note that the guard around the bandit leader is primarily female. Alongside the female protagonist, I’m surprised that Tumblr’s slept so hard on this movie! Seriously, the women kick ass here.

Golden Swallow outdoes them all, though, and absolutely wrecks the Tigers and the rest of the head bandits. Just as he’s about to finish Jade-Faced Tiger, the Abbot heads her off, and is...stab-proof? Kung fu, man. He outclasses her, but our man Cat shows up in the nick of time!

Surprisingly, though, the Abbot’s defeated pretty quickly. Cat spared his life, then returns to his home. BUT THE ABBOT WAS FAKING! He comes back for revenge, and the two have a quick airbending sesh.

They destroy Cat’s home in the woods (which was very cute, by the way), and after a much longer and bloodier fight, Cat kills the Abbot. And man, lemme tell you, that’s a fight to watch too.

Golden Swallow leaves with her female warriors, and Cat and his kids watch them ride off.

And that’s Come Drink With Me! Awesome. Definitely more understated than many of the movies I’ve seen this month, but also a great classic film! We gotta bring more attention to this one, Tumblr. If was HAAAAAAARD to find GIFs for this one. Thanks, @martialartsactionclub, you bodied this one.

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neoduskcomics · 6 years ago

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Ranking All 10 Star Wars Movies

The final installment in the Skywalker Saga (as it is now retroactively being christened) is upon us, and so I’ve decided to do a bit of a retrospective on all the films leading us here.

The purpose of this personal ranking is not to put down any particular films or to invalidate anyone else’s opinions. In fact, I will be focusing largely on what I like about each movie, rather than what I think was wrong with it. I’ll still touch on criticisms of each film, but know that even if I don’t think they’re all objectively amazing films, I still like every single one of them, and have watched each one numerous times.

The fandom, as it always has been, is so weighed down with hatred and lashing out and segregation, that it overshadows the unabashed joy and love that many still hold for that galaxy far, far away. And so, I’d like to put that anger away for a second, and just talk about why each of these movies holds a special place in the Star Wars saga.

10. The Phantom Menace

Chronologically the first film in the series, and also the first on this list. I saw this movie when I was pretty little, and I have to say, it’s the first Star Wars film I ever saw that I actually enjoyed. When I was a kid, I never cared for the original trilogy. Those movies bored and, to be honest, kind of frightened me. But Phantom Menace was replete with colorful visuals, whacky humor and loads of CGI action. That appealed to me quite a lot.

Yes, in retrospect, the plot is contrived, the characters are incredibly bland and pacing is all over the place, but it was my gateway drug into the magic that the rest of the franchise had to offer. And I’m gonna say it -- Jar Jar Binks was probably half the reason the movie kept my attention for as long as it did. All the other characters were so stuffy and stoic, and all they talked about was an overly complicated plot of political intrigue; Jar Jar added some much needed humor and levity for my childhood self to stay interested. It’s heavily flawed for sure, but I can’t rag on this movie too much when I have it to thank for the love that I have for the series now. Besides, Darth Maul kicks ass, right?

9. Attack of the Clones

Is it controversial to rank this above The Phantom Menace? My reasoning is twofold: 1) The movie has an actual emotional throughline to follow, that of Anakin being frustrated with his feelings of fear, resentment and love; and 2) There’s a lot more action. The Phantom Menace was my first step into the shallow side of the Star Wars pool, but this movie is what got me to dive in headfirst.

Is the dialogue embarrassingly terrible? Yes. Is it 75% CGI fluff? Yes. And as a kid, I ate all that stuff up. Plus, honestly, the movie’s not all bad. People started liking Ewan McGregor as Obi-Wan with this movie, as the charming, dry-humored, slightly exasperated mentor. We got a load of lightsaber fights, and chases through cityscapes and asteroid fields. There was a ton to think was cool about this movie. Sure, it’s still messy and awkward, and it’s loaded to the brim with outbursts of teenage angst, but this is the film that really got me to think lightsabers, starships and bounty hunters were just the most awesome things ever. You can bet I had a few specific items on my Christmas list that year.

8. Solo

I saw Solo a second time this year, and on a re-watch, I actually enjoyed it quite a lot more. It’s fun and frantically paced, there’s loads of Star Wars fanservice, and the lead actor actually does a pretty good impersonation of a young Han Solo. The supporting cast is pretty likable, too, and the dialogue is always snappy. The action sequences were exciting, and while the movie does go out of its way to try to answer every single question about Han-related trivia, I still think it’s fun to see how things unfolded.

Sure, the movie is pretty hollow when it comes to its themes. Han doesn’t get a very solid character arc in the movie, and we definitely don’t see a very cohesive transformation from relatively altruistic kid to completely self-centered nerf-herder -- and that’s a real shame. But honestly, as a Star Wars side story and blockbuster action film, I think it’s a pretty solid couple hours of entertainment. If you shrugged this movie off when it came out or weren’t impressed and haven’t seen it since, I say maybe give it another chance. You might still not like it, which is totally fair, but maybe tempered expectations and a slightly more lenient attitude will allow you to enjoy it a bit more this time around.

7. Rogue One

Now, as much as I enjoyed Solo as a relatively shallow but fun Star Wars action movie, it is not my favorite Star Wars movie of that brand. That honor goes solely to Rogue One. This movie is pure Star Wars fan service. You got X-wings, TIE fighters, stormtroopers, AT-STs, AT-ATs, star destroyers, new ships and infantry armor, and let’s not forget Darth Vader. That scene with him at the end of the film is one of my all-time favorite scenes in any Star Wars movie. I got chills watching that sequence. It was everything I’d ever wanted from a Darth Vader cameo.

Now, Rogue One might be almost nothing but action and fanservice -- most of the main cast of characters is not terribly interesting or memorable -- but that’s okay. This is a lot of people’s new favorite Star Wars movie, and I don’t think it’s hard to see why. It’s basically everything fans loved most about the prequels -- the spectacle, the new worlds, the new weapons, the new soldiers, while still trying to keep true to the spirit of the franchise, and making nods to its roots. The characters can be bland, and some of the fights drag on a bit, but it’s still a thrilling ride. Also, K-2SO is probably the funniest character in any Star Wars film.

6. The Last Jedi

This movie has some of the greatest, most powerful moments in the entire franchise. Rey’s relationship with Kylo Ren and their confrontations with Luke were an incredible emotional foundation to the story. Many of the visuals were dazzling, and not all but many of the jokes landed pretty well. Luke was provided with a realistic and interesting character arc that gave room for actual growth and depth and struggle -- not simply making him another wise old Jedi Master with a padawan who turned to the dark.

This movie took a lot of risks, and not all of them panned out for sure. I disagree with a lot of the narrative choices in this film, especially when it comes to how Kylo Ren and Rey’s relationship ends up by the end of the movie, and what they did with Poe and Finn. However, I cannot understate how great I think other elements of the story were. This is the movie that made me actually start to feel like Rey was a more fleshed-out character, and it made Kylo Ren my new favorite character in the sequel trilogy (also I really like the fight with the praetorian guards, which I guess is a controversial opinion?). While the movie is deeply flawed, it also has a lot in it that is deeply good, and that is definitely worth something.

5. Return of the Jedi

It was very close for me between this movie and The Last Jedi, but I settled on placing episode 6 higher because, to me, it just presents a more elegant narrative with a more cathartic resolution. Return of the Jedi gives us a strong and satisfying conclusion to Luke’s story, and is probably full of more heart and love than any other installment in the series, showcasing bonds between Han and Leia, Leia and Luke, and a reforged bond between Luke and his father. The team is reunited, and it feels so good.

That being said, the movie does have its share of flaws, many of which are in common with The Last Jedi. A lot of the movie feels like needless padding and sort of wasted screentime for the main characters, aside from Luke, who didn’t get much of a meaningful role in the story. However, I feel that it’s counterbalanced by the fact that this film also has some of the most powerful drama in the series. Luke’s confrontation of Vader and the Emperor is wonderfully tense and exciting, and it comes to a stirring conclusion. Plus, Han, Leia, Chewie, C-3PO and R2-D2 are all still their lovable selves, bantering away and getting in way over their heads. It’s kind of hard to not find the film charming. All in all, a great way to wrap up an iconic trilogy.

4. Revenge of the Sith

I remember when this film came out, some critics even went so far as to say it was “better than the original trilogy.” While that’s certainly up for the fans to debate, I do think this movie demonstrated a sense of clarity that was lacking in either of the other prequels. It’s a story all about one thing -- Anakin wants to stop his wife from dying a certain death, and will do whatever it takes to make that happen. The resulting story is filled with incredibly potent pain, fear, anxiety, suffering and darkness, as Anakin fights and eventually gives into temptation.

Okay, yeah, the dialogue is still mostly terrible, and the acting can still feel forced and awkward, but I think if you’re able to look past that, you’ll see what it easily the strongest narrative in the prequel trilogy. It also has a lot of things that the other two prequels were missing: humor (the entire beginning sequence is a fun and largely comical ride not found in the other prequels), memorably dramatic scenes (“Did you ever hear of the tragedy of Darth Plagueis the Wise?”) and the wickedly over-the-top Emperor finally taking the spotlight with his cackling and pontificating. It may not be the most gracefully crafted movie in the series, but it does have one of the most powerful stories to tell, and I think that’s what ultimately shines through.

3. The Force Awakens

I love this movie. The action, the effects, the characters, the humor -- it is a cavalcade of blockbuster science-fantasy wonder. Abrams did an outstanding job retooling the original trilogy to suit a modern audience, with new, creative takes on the faceless, nameless stormtrooper, a Darth Vader stand-in who knows he’s a stand-in and hates it, and a burgeoning hero doesn’t run toward adventure but away from it. There is an energy, a sort of vitality, to this film that I don’t think you can find in any other installment in the series. It’s dazzling, powerful and full of spirit.

And yes, it has its own fair share of flaws. The political situation is weirdly under-explained, the movie heavily relies on the original films as a template for the plot’s structure, and Rey could’ve used more coherent development as the protagonist of the film. However, I wholly and heartily believe that the movie more than makes up for all of that with its unique and charming cast of original characters. I loved Poe Dameron, Kylo Ren, Finn, and the returning Han and Chewie in this story. They all did wonderful performances with snappy dialogue, great performances and thrilling fights. It would’ve been great if the studio had tried to stray from the norm more, sure, but The Force Awakens, in my eyes, is still an exhilarating, warm and entrancing entryway into the territory of a new era for the franchise.

2. A New Hope

This one was tough to place. If I’m being completely honest, I think I probably actually like The Force Awakens more as a film, but it just doesn’t sit right with me to not give priority to the original. And I think credit should be given where credit is due: this movie, for better or worse, revolutionized cinema. It’s the movie that started it all, defying all odds and expectations. It’s the ideal archetype of the hero’s journey; a boy from humble beginnings meets with an old mentor who shows him a much bigger, brighter, and scarier world that he must face for the good of the world he lives in. Along the way, we meet some of the most iconic and memorable characters in the history of film -- Han Solo, Princess Leia, C-3PO, R2-D2 and the ever-lovable Darth Vader.

Now, has this movie been overly mythologized? Yes. Has it in many respects aged poorly? Sure. It totally has. The dialogue can be goofy, the action can look hokey and the pacing can feel terribly slow. But a lot of people will throw statements around like “It’s only famous because it was the first” when looking at movies like the original Star Wars, or the characters contained within. But I think that line of reasoning is misguided. Cheesy sci-fi features, space operas, action movies, roguish characters, princesses and humble heroes were not invented by Star Wars or George Lucas, just as people with superhuman abilities were not pioneered by the creators of Superman. And yet, this movie stood out in all of moviemaking history, proving that it had accomplished what no film like it had before. It is not a beloved film simply because it was the first. It’s the first because it was beloved.

Honorable Mention: The Clone Wars

Not the movie, the series (because the movie was basically just the pilot to the series that honestly shouldn’t have been shown in theaters). It doesn’t technically qualify for this list, but I just have to mention it (honorably). This series took a look at the prequels, for all their flaws, and said “I can make people like this era of Star Wars.” And you know what? They succeeded. The versions of Obi-Wan, Anakin and the many clone troopers featured in this series are now often the versions people think of when remembering the Clone Wars era of the saga. It was a rollercoaster of a series, with surprisingly dark and dramatic stories, as well as shockingly good action and visuals.

Sure, there were a lot of subpar episodes, but those aren’t what people remember. People remember a version of Anakin that made him a likeable hero, a new Jedi padawan for the audience to identify with, new stories that deepened and expanded upon the lore of the universe, and some really cool warfare that honestly blows a lot of what we saw in the actual prequel films out of the water. If you haven’t seen it yet, get a free trial of Disney + and start binging.

1. The Empire Strikes Back

Okay, okay, yeah, we all saw this coming. Not exactly an original opinion, is it? Still, I can’t deny that I solidly believe The Empire Strikes Back to be the best-made Star Wars film. It may not have the razzle-dazzle of the prequels or the sequels, and it may not have the satisfactory finality of Revenge of the Sith or Return of the Jedi. But what this film does have is care. It’s a movie that feels like it was carefully crafted from top to bottom, with every scene, every narrative throughline, every theme and every line of dialogue.

This is where we got “Do, or do not. There is no try.” This is where we got “I am your father.” This is where we got “I love you/I know.” This is where Vader really cemented himself as the end-all-be-all big bad of the Star Wars galaxy. This is where Han and Leia became the cinematic couple of a lifetime. This is where we really learned about the Force, the Jedi and what sorts of trials Luke would have to face were he to take on that legacy. It’s a magical film, full of wonder, hope, darkness, tragedy and love.

I won’t say it’s a perfect Star Wars movie, because it’s not. No Star Wars movie is. But that’s the beauty of the franchise. Everyone values something different about Star Wars. Everyone has their own favorite movie or series or book or comic or even theme park ride. It’s a phenomenon that spans generations, each one looking back fondly on the era that came before. There were people who grew up on the original trilogy, and now we have people who grew up on the prequels. And in just a few short decades, we’ll have people who grew up with BB-8, Kylo Ren and Rey, and that, to me, is just fantastic.

I know many of you have already written off Star Wars, or at least the new movies, but I am both nervous and excited to see where this all goes in seven days. And I know that there are many of you out there still celebrating Star Wars, holding it dear to your hearts, and not forgetting the feeling it gave you whenever you first fell in love with the franchise. I hope that feeling stays with us, and that it cuts through all the hatred and shouting and derision.

Now if you’ll excuse me, I need to watch today’s episode of The Mandalorian.

#star wars #ranking

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thestray · 4 years ago

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The 62 2020 Movies Releases I Watched During 2020 Ranked

Like the awkward title says, I’m going to rank (and talk about) all the 2020 movies I watched in 2020. This is not meant as any empirical list of what was best, it’s ranked by what I liked the least to the most, and my main criteria is what kind of impact it had on me and/or how much I enjoyed the experience of watching it.

Little bit about myself, I went to art school for animation, then after art school I went to a community college where I studied screenwriting. Never ended up pursuing either thing professionally, but I still write screenplays in my free time and read screenwriting books and listen to screenwriting podcasts. I'm the type of person that loves special features, seeks out behind the scenes information and director interviews, and watch youtube videos analyzing films. I love film, and thinking about film and talking about film and sharing the films I like, and maybe one day making films of my own, who knows.

Ranking and reviewing 62 movies was a more ambitious and challenging task than I anticipated, I rearranged this list swapping titles back and forth so many times, and then I’d remember a movie I forgot I watched and have to add that and figure out where it ranks. I started this on January 1st and am just now ready to post it on the 17th, I was still switching rankings right up until posting this. Even looking at it now there are some kinda want to switch but I’ve accepted that this is more or less arbitrary, lol.

The more I learn about film and what goes into creating a movie the more lenient I am about them. It’s not like I’m never critical of films, but I try to consider both the good and the bad of a movie instead of thinking in a binary of films are either amazing or trash. Some of these films aren’t great, but I typically still enjoyed them to some degree. Except Mulan, lol. I’m sorry Mulan. Speaking of Mulan...

62. Mulan

I'm going to try to say something nice about all these movies even if I didn't like them at all. So... I like the cast, and there are some nice visual moments. I actually was looking forward to this movie before reviews started coming out, it has 2 of the martial arts G.O.A.T.s in it, Donnie Yen and Jet Li, and also Jason Lee as the bad guy, so I figured it might at the very least have some decent action, but they were all underutilized. There’s not a single moment in the film where I felt anything at all. I think all these Disney live-action remakes are doing is making a case for how effective animation is for storytelling.

61. Color Out of Space

I heard a lot of good things about this movie, and it’s really cool visually, and I love Nicolas Cage always, but I really couldn’t get into it. I guess my main issue is that it starts off already too campy for any of to the Lovecraftian horror to really hit. It felt like a B-movie with great production value, and maybe that’s what they were going for? I really wanted to like this but I really just did not feel invested in anything going on, did not relate to anyone in the family, so I don’t think I got much out of it besides the cool visuals.

60. Bloodshot

I think the main flaw of this movie is that is that Vin Diesel was a producer on it, and Vin Diesel should be kept away from making creative decisions on movies. How Did This Get Made did a great podcast episode on this movie. It’s absolute nonsense, it has a couple of cool sequences and special effects in it, and Lamorne with a British accent is great, he’s the main redeeming value of this movie.

59. The Midnight Sky

It seems like this movie wants to be Interstellar, it’s structured in a very similar way, but it just didn’t quite have that same emotional punch. It looks very good, it’s well-acted, it has it’s moments.

58. The New Mutants

It's not as much of a trainwreck as people make it out to be in my opinion, I think the cast is good and it has some good character interactions, but it mostly suffers from the fact that it's way too predictable, from the beginning you're way ahead of the characters, and it doesn't help that they're in this confined setting so there's not a lot for them to actually do. But I appreciate the attempt at using mutants to do a horror breakfast club thing, good concept.

57. Vampires vs The Bronx

Vampires as a gentrifiers taking over the hood, great idea. Mero is in it, the brand is brolic. It was a fun set up, but it was neither funny enough or scary enough in my opinion. The vampires die so easily it's like okay whatever. It's like a really long Goosebumps episode.

56. Freaky

I don't think the execution lived up to the great concept, but Vince Vaughan was really great in those sincere moments playing a teenage girl. Horror fans will appreciate the gory kills. I'm not going to spoil anything but I do think there are some narrative issues that keep this from being stronger than it could've been. If you made the killer a creepy janitor at the school or even one of the teachers, then I think that would've created more interesting situations.

55. Eurovision

I love Will Ferrell, I even love some of his flops like Casa De Mi Padre and Kicking and Screaming, and even the House I think had a lot of really funny moments. This was definitely one of the least funny movies he's done to me. I think the director David Dobkin couldn't commit to being silly the way Adam McKay can cause there's a lot of this movie that just has no jokes, and the movie is over 2 hours long which isn't normal for comedies so you spend a lot of time watching unfunny scenes and extended musical numbers.

54. The Wrong Missy

I'm not a big fan of most Happy Madison movies, the jokes are very hit or miss for me. I'm a big fan of Lauren Lapkus though so I watched it to support her, and she plays an absolute psycho in this. It's so over the top it's like this character is not a human being, but I have to admit there are a few moments where she made me laugh pretty loud. I'd never watch this movie again, but maybe I'd look up certain parts on youtube.

53. The Platform

High concept dystopian sci-fi horror. Reminds me of the Cube. It's one of those things that makes you think about what you'd do in the same situation. It's a very on the nose allegory, so by the end of it my only takeaway was "Yeah, it really be like that."

52. Archenemy

Another high concept movie. Joe Mangienello is good in it, but Glenn Howerton and Paul Scheer are my favorite parts of the movie, it's fun to see comedy actors play bad guys. My main problem with the movie was that I did not find the teen character to be interesting or relatable at all, in fact he can be kind of obnoxious. In his introductory scene he's REALLY bothering this random guy minding his own business, not respecting his boundaries at all. Then the rest of the movie is about him exploiting a homeless man and being really pushy for likes on some app, and he doesn't really have a character arc. Also wasn't a big fan of the animated sequences but I forgive that knowing this was a low budget movie and those sequences were done by a team of just 3 people.

51. Power

Jamie Foxx is great. I think he makes almost anything he's in watchable to some degree. The idea of this movie is fun but I think the action sequences are kinda underwhelming, but Jamie makes it worth watching in my opinion.

50. Birds of Prey

This movie was all style and absolutely no substance. When your main character doesn't have a solid purpose or goal you're really just watching shit happen, and that can be okay if the shit that's happening is occassionally fun or funny, but it doesn't really make for a memorable story in my opinion.

49. Wonder Woman 84

The most panned movie of 2020 maybe? It's got flaws for sure and some narrative choices I just can't understand why they made. It has some fun performances though and I ultimately appreciated that our superhero wins not by using her fists but by appealing to goodness. I feel like you rarely see that kind of idealism any more. It may not be realistic but I think that's one of the things fantasy is good for, showing us a way things could be better to strive for. But yeah, the Steve Trevor things was fucking weird, why'd they do that? And neither Steve or Diana seem concerned with about this random guy's fate. I'd probably rate this film higher if they had Steve simply appear out of thin air, I mean why not? It's magic. But I loved Kristen Wig and Pedro Pascal in this. Pedro is performing with his whole body, did he film this after season 1 of the Mandolorian? Maybe being under that helmet for a season made him want to be really expressive. The films overall kinda campy but I didn't necessarily mind that.

48. Peninsula

Sequel to the already classic Train to Busan, this film decides the up the scale, which is what sequels often do, but I think it was a mistake in this instance. This is more of an over the top action movie than a character-driven horror film like the first. There's a climactic Mad Max-esque car chase scene that is almost entirely CGI. I don't think it was a bad movie, it's an okay popcorn flick, but it definitely doesn't live up to the original.

47. The Old Guard

In terms of action I don't think it did anything interesting, but I like how they explored how horrific and heartbreaking it would be to be immortal. Coming to terms with your own mortality is a tough thing to do, but we often don't consider the idea that death is a blessing we take for granted.

46. Sputnik

A Russian sci-fi thriller about a young doctor being tasked with trying to figure out how to separate an alien parasite from a Cosmonaut that's returned from earth. Good performances, creepy vibe, and lots of interesting questions about ethics. It has a sort of epilogue ending with a reveal I didn't quite understand the significance to the story, but didn't take away from either. Solid.

45. The Invisible Man

Fun sci-fi thriller about toxic abusive relationships and gaslighting. Elizabeth Moss is great in it and my favorite sequences are before her character actually catches on and you have moments where the camera is just focusing on a random place, very creepy and effective.

44. Sonic the Hedgehog

Personally I would've preferred a fully animated film taking place in Sonic's world. I don't know why they always feel like they need to make these movies about human characters and then spend a lot of time having to hide your CG character and having people do comical reactions to them. It feels very played out to me. BUT Jim Carrey is great in this, of course. Jim Carrey is the reason to watch this movie. He makes the movie. And it goes without saying thank God they changed that character design.

43. 2067

What I liked about this dystopian future is that the cause was basically everything. War, famine, ruining the environment, pandemics, just all our collective fuckery has resulted in a world where the human race is on the verge of extinction, plants are extinct, and oxygen is synthetic. Enter time travel, a young man is tasked with traveling into the future to bring back the solution to saving the human race. Very timely obviously. I liked it.

42. Monsters of Man

Some asshole tech bros let some killer robots loose on a remote southeast asian village as a trial run. It has lots of flaws but I give it some leeway because this is the first film of a guy who wrote, directed and was the cinematographer by himself, he didn't have a huge budget or much experience, so it's hard to expect perfection. My biggest criticism is that the film centers a white guy living in this village and some westerner medics, not the actual Asian people of the village. Could've been so much more of interesting commentary about racism and eurocentrism dropping these robots in a village of brown people no one will miss just for practice. That aside though I think it was a solid enough thriller and the robots looked pretty good.

41. Family Romance LLC

An interesting movie about a Japanese entrepreneur who has a business where he'll play whatever role in your life you need. Father, husband, coworker, etc there's a scene where someone even pays him to be scolded in his place by his boss. The main thrust of the film though is him playing the role of a girl's absentee father, pretends to reconnect with her and take her out on the town for activities. It's shot very documentary style, and there are a mixture of first time actors and non-actors. Sometimes there are long awkward conversations that feel just as awkward as real life. I really liked the premise, and the only thing that keeps it from being higher on my list is it doesn't have a strong enough conflict nor does it really have a satisfying conclusion.

40. Over the Moon

Directorial debut of animation legend Glen Keane, I really liked this visually. It was sufficiently enjoyable, but it doesn't have that emotional gut punch that Pixar or Disney films tend to have. But I guess cartoons don't NEED to make you bawl your eyes out to be good. I think there were some missed opportunities narratively, like I guess this is spoilery so just scroll ahead if you don't want to know, but she gains a step brother that she doesn't like and doesn't want to spend time with, once the adventure starts on the Moon they get separated very early on, and don't ge reunited until towards the end, but she somehow now cares about him and considers him her brother. I didn't feel like that was really earned, they should've been together throughout the adventure getting to know each other. But I otherwise liked the story aside from that nitpick. Loved the colors of this movie, almost everything in the moon world is luminescent which provides some nice visuals. Hope to see Glen direct more in the future.

39. The Croods 2

Nothing revolutionary but it has some solid physical comedy and great voice acting. All of Nicolas Cage's overacting is perfect for animation, and I liked Peter Dinklage as Mr. Betterman as well. There's a lot going on thematically but it all works pretty cohesively.

38. #ALIVE

Another Korean zombie thriller. I really liked this because I felt like as far as zombie outbreaks go this is the most realistic scenario. Once you realize what's going on you will just stay in your house rather than risk going outside and fighting zombies. But that poses the problem of a limited supply of food and water. The main thrust of the movie is not how this character survives though it's about him trying to retain his will to live. It's the perfect pandemic isolation allegory.

37. Love and Monsters

It looked kinda corny but I actually enjoyed this more than I thought I would. I like Dylan O'Brien, I love Tom Holland as Peter Parker but I've always felt like Dylan O'Brien would've been a great choice too, he has a good everyman relatable quality. There's also a dog in the movie that I loved. Put a dog in peril in a movie and I will be on the edge of my seat guaranteed. It's a fun movie with some interesting creatures in it and a solid character arc for our main protagonist.

36. Extraction

I love the trend of stunt coordinators directing films. That's the main reason why the John Wick series is so good, and the reason why this also has some very solid action. Nothing crazy here in terms of story or themes, everything is an excuse for Chris Hemsworth to fuck people up and it delivers on that. There's one scene where he slaps around some kids attacking him that I found hilarious as well. Fully welcoming an Extraction 2.

35. Save Yourselves

A couple decides to take a break from social media and get away to a cabin outside the city. While they're disconnected from the world an alien invasion occurs, furry little basketball sized poofs. This movie was pretty funny. I'm a little ambivalent about the ending but I enjoyed these hipsters arguing about what to do about aliens.

34. Bill and Ted Face the Music

A most bodacious movie. Fun gags and a robot that steals the show. It's not as good as the first 2 but I don't think that's any surprise. I think it borrows a little bit too much from the previous films, like the collecting legendary musicians thing, could've done without that. It was a fun movie though, and the daughters really worked.

33. An American Pickle

Seth Rogen playing an orthodox Jew who's been preserved in pickle juice for 100 years and his modern day app developer grandson. I think this may be Seth Rogen's best acting role, as silly as this movie is he's kind of endearing as this character from 100 years aro, and as the grandson he's a lot more understated than he usually is in movies.

32. Tenet

Tenet! Is it controversial that this is not higher up on the list? I really like Nolan's films, actually been a fan since watching his first film Following in a film class. Nolan likes playing with time in his movies so it was inevitable that he'd do something that addresses it very directly eventually. I love the time travel genre and I think this is one of the most ambitious and unique approaches to it to ever done. I actually braved theaters to see this because I did not want to miss the opportunity to see it on the big screen. I did it as safely as possible and booked a reserved seating theater where I knew I wouldn't be sitting by anyone, had a mask, gloves, antibacterial gell on deck, sanitized my seat with wipes, etc, there only 2 other people in the theater all of us sitting way for from each other. Weirdest moviegoing experience I've ever had but glad I saw it on the big screen because the visual spectacle of this is excellent. The reason it's not higher on the list is because as conceptually cool as it is as I did not feel invested. Just on a story level having a character we know very little about pursuing a goal he knows very little about for no clearly defined reason makes it feel like... we're just watching events unfold as opposed to watching a character-driven story. There's a moment at the end that you can tell was meant to be an emotional moment, but I felt nothing. They try to introduce some emotional stakes with the female character, but idk, since it wasn't tied to the inciting incident it felt more like a b-plot than fundamental to the story. So it was a really fun cool looking puzzle, more like watching a cool Rube Goldberg machine, but not something I really thought much about after it was over.

31. Guns Akimbo

I really have been enjoying Daniel Radcliffe's post-Harry Potter career, he'll do some solid dramas he seems to prefer doing fun weird shit like Swiss Army Man, Horns, his role on Unbreakable Kimmy Schmidt, etc. This is in that vein of fun weird shit, a guy who gets guns bolted to his hands and is running around the city in a robe trying to survive essentially a real life video game. A lot of the movies lower on this list had fun concepts but were lacking in execution, but this is one that is just as fun as the idea sounds, even more fun actually, it's funny, the action is good, and there are some great visuals. I found it all around enjoyable.

30. Let Them All Talk

Glen Close as a celebrated author who invites her nephew and 2 estranged best friends on a cruise with her. It's a very light-hearted movie with some underlying conflicts that the characters are afraid to address head on. Glen Close is great, obviously, she plays this pretentious self-important woman with affectations but is still likable and warm. It's a fairly pleasant almost slice-of-life until the 3rd act where everything comes together. To me it was a movie about communication, saying what you mean, saying what you feel, and those unspoken assumptions of what those around you are thinking or feeling about you. I know I can relate to the idea of wanting an apology from someone who might not even be cognizant of the fact that you feel slighted by them, or vice versa finding out someone's had a long standing problem with you when you thought you were cool. One sided grudges do no one any good.

29. True History of the Kelly Gang

I've heard of Ned Kelly, but I've never seen the Heath Ledge or Mick Jagger movies about him and I don't know much about him other than he's a famous Australian outlaw and something of a folk hero to some. The performances and cinematography if this are great. George MacKay from 1917 is the lead and he's amazing, sometimes vulnerable and soft, other times a madman. It spends a lot of time in his childhood and the child actor who plays Ned is great as well. It's gritty and sometimes surreal in it's imagery. From what I can gather previous films seemed to focus more on what happened with him and his gang, while this movie seems to focuses more on everything in his life that led up to him becoming who he is and forming that gang. Like a 3rd of the movie is spent in his childhood, and once the gang is actually formed things move at a pretty brisk pace, seemingly skimming over the exploits of the gang to the conclusion. The film feels very raw and gritty and very fuck the police which I always appreciate.

28. Lucky Grandma

A stubborn grandma in New York's chinatown gets her fortunte read and is told that she's going to be very lucky and come into a fortune, she then comes into possession of a bunch of money that belongs to a gang and she decides to try to keep it feeling it's owed to her by the universe. A funny crime drama with the unlikeliest of protagonists.

27. Da 5 Bloods

Spike Lee is an icon but he can honestly be a little hit or miss for me. I don't always enjoy every choice he makes, for instance he uses real footage of war attrocities in this, and it's really upsetting to see REAL people, including children, be killed, when you're not expecting that. I understand it's meant to be upsetting, but it does make the movie something I'll probably never rewatch. Spike Lee's films to me can also feel at times heightened to the point that it feels a little cheesy (Miracle At St Anna), and there moments in this that kinda took me out of it to be honest, but overall I enjoyed it. The performances were great, Delroy Lindo in my opinion is one of the most underrated actors of all time, he's just always good no matter what he's in, everyone else in it is good too, but of course I have to mention Chadwick Boseman who was great. At the end of the day it gave me a lot to think about in terms or race, war, America, forgiveness, trauma and so many other things.

26. The Devil All The Time

There's a LOT going on in this movie, maybe a little too much, it's like 2 or 3 movies smashed into one, but... I really liked it, and that's probably because Tom Holland is so good in it. Really liked Robert Pattinson in it too. I can’t really think of more to say about it say I won’t. Next movie.

25. Bad Education

A true crime movie about school district officiala who stole from the budget of a highschool. Hugh Jackman is great in this. I loved Jackman as Wolverine, but now that he's done with that I'm excited to see him other stuff cause he's always interesting to watch; The Fountain, Prisoners, The Prestige, he's always solid. I enjoyed this, it was done with nuance, it doesn't let them off the hook for what they did but it doesn't paint them as absolute monsters either. I really have to ask myself, if I could get away with stealing money that no one would miss... I don't know, I think I'd not do it out of fear not altruism, lol.

24. My Octopus Teacher

This is a documentary on Netflix about a diver who immerses himself in the world of underwater life and documents the life of an octopus. It's really beautiful, both in terms of visuals and in content. There's not a lot to talk about because it's fairly straightforward, but it was really fascinating to learn about this octopus and see the bond they mutually formed, and again I can't talk about how great this movie looks, it's like you're in a different world. This is something I could put in and mute while I draw just for the ambiance.

23. Kajillionaire

A quirky dramedy about a family of really obtuse poor scam artists. As absurd as their behaviour is I can totally imagine a trio of weirdos like this living in Los Angeles ( I can say that cause it's my hometown and where I lived most of my life. It's Evan Rachel Wood's best role, I never would've imagined her doing something like this but she's great as "Old Dolio". It's funny, at time sad but not in a hammy melodramatic way, and I feel it had the perfect ending.

22. The Gentleman

Guy Ritchie doing what he does best. It's fun, stylish, witty, has layers and twists and reveals. Everybody's good in it. It doesn't have anything poignant to say, but it's fun to watch the entire time

21. Run

A thriller about a wheelchair bound teen who suspects her mother is drugging her and tries to get to the bottom of it. You can tell this director is a Hitchcock fan because it definitely has that Rear Window vibe but takes it a step further, and in many ways it's even shot and paced like Hitchcock. The lead actress is actually wheelchair bound herself so it really adds to the realism of all the things she does in this film. Oh, and Sarah Paulson is the mom, when is Sarah Paulson ever not good?

20. Horse Girl

Alison Brie is an awkward neurotic woman getting over recent grief and a history of mental illness in her family, she starts to have weird dreams and then notices people from her dreams in real life, starts blacking out and having gaps in time, and starts to believe it's due to alien abduction conspiracy. Is she losing her mind or is it really happening? Alison Brie is really really good in this, and she co-wrote it too, it has a lot of moments where you really feel sorry for her or scared for her and you start to question what's real yourself.

19. Swallow

I found this movie really fascinating, it's like what if you turned one of those My Strange Addiction episodes on TLC into a movie. It's about this woman who ostensibly, at least from appearances, has the perfect life (at least by societal standards), she came from nothing and is now housewife to a rich successful man, and behaves almost like a Stepford wife. Then develops a compulsion to swallow inedible things, like marbles and batteries and thumbtacks, which is a real condition called pica. Its the kind of movie that gives you a lot to think about but no easy answers.

18. Time to Hunt

A Korean heist thriller set in the near future. A bunch of childhood friends rob the wrong person and have an Anton Chigurh-esque killer sent after them to retrieve the money and kill them. It's a really tense cat and mouse thriller with good performances. The ending seemed to turn a lot of people off based on a lot of youtube comments I read, but I didn't mind it. My only real gripe is that they set this in the near future but aside from some imagery in the beginning it doesn't seem to come into play that much, this all could've taken place in modern day or even the past with no alteration of the story. I think the future setting was more just for some social commentary that maybe went over my head a little bit because I'm not from Korea, but I think if they were going to do near future they could've added some futuristic weapons or something. But that's just nitpicking, while the future setting didn't add to the story much it didn't take away from it either.

17. Tigertail

As I get older one of my worse fears is making decisions that I will regret for the rest of my life, so this movie really hit home as a cautionary tale. It's a kind of quietly devastating movie. There's no huge tragic horrific even, just a huge miscalculation. Decades of your life of work and unhappiness go by and all you can do is wonder what things could've been. I also especially appreciated the cinematography and music of this film.

16. Mother

It's been a while since I hated a character this much, but this titular mother really pissed me off. She's a neglectful mother who only sees her son as a tool, but he sticks by her cause he loves her. It's definitely not a fun movie to watch, but it made me feel a lot and meditate on the idea of love and whether it in itself has innate value.

15. Call

I went into this movie cold, having no idea what it was really about other than that it was a thriller that revolved around a woman getting mysterious calls. I'm glad I had seen no trailers and did not know the gist of the plot becuase it went places I really was not expecting. One of the most fun thrillers I've seen in a while. So, I'm not going to talk about the movie but what I will say is that Jeon Jong-seo, who played the woman in Burning is in this, she was great in Burning and she's great in this. After watching it I googled her to see what else she's been in that I can watch and this is only her 2nd film. Apparently Burning was her first audition EVER and she BOOKED IT! Like, one a million success story right? But she deserves it cause she's great and I look forward to seeing what else she does.

14. Possessor

This was directed by Brandon Cronenberg, the son of David Cronenberg, big shoes to fill, and I think he's going to fill them fine cause this is already a cult classic in my opinion. The visuals in this, which look like they were mainly created with practical and in camera effects. There is some very graphic very realistic violence in this. The movie is about an assassin who works for an organization and uses some type of scientific process to "possess" people to carry out hits. When she's in a body for too long who's in control starts to blur. It's really fucking trippy, like a fucked up Black Mirror episode.

13. Borat 2

Been a fan of Sacha since the old Da Ali G Show days when Borat was just a side character. I'm amazed with out Sacha can stay in character the way he does, especially when later on in the movie he shelters in place with some Qanon conservatives with who knows how long staying in character. Maybe they'll reveal they were paid actors who knows, but whatever I fucking laughed a lot at this movie. There's a black woman in this movie that I hope to god was not an actress cause I loved her and her reactions so much. It was a breath of fresh air to watch something that's just goofy in 2020 because it wasn't a good year for comedy. As much as I love film sometimes I got a little fatigue from watching so many things with very heavy themes, this also had heavy themes it was satirizing, but also chimp pornstar jokes, so.. a fun time.

12. A Sun

A drama about a family's eldest son going to juvenile detention for his involvement in a violent crime. We see how his father, his mother, his brother and his pregnant girlfriend all deal with this. I found it very engaging. My only gripe is that there are some moments of levity where they use this really generic comedy music score it and it really takes you out of the film. No music at all is better than bad generic music. Other than that I really loved it and the ending is great. I really thought this would end up in my top 10 but the following films just had more personal relevance or were more fun to watch.

11. Ma Rainey's Black Bottom

R.I.P. Chadwick Boseman, this movie is like an acting showcase for him, he has so many great monologues here, the ending really took the wind out of me. It's also packed with really still relevant commentary on race.

10. Onward

You already expect a Pixar movie to make you cry, but this came from angle I was NOT expecting and I bawled hard at this. This movie was so applicable to my life experience it's like they specifically engineered it to make me personally cry. Honestly there are better movies lower on this list, but movies are just like any other art, when a song touches you on a personal level it doesn't need to have complex instrumentation cause it's how it made you feel that matters.

09. Palm Springs

A comedy released during a pandemic about trying to find stimulation and meaning when every day is the same thing? Ya don't say! Another take on Groundhog Day, which at this point I feel like it's its on genre with the amount of times the concept has been done, but I'm not complaining, I typically enjoy a good time loop movie (or show; Russian Doll). I don't know what else to say besides that it's really funny and Andy Samberg and Cristin Milioti are both charming and great in it.

08. Scare Me

This movie was funny, creepy, the performances were great, and it's just really unique and clever. Written, directed, produced, and starring Josh Ruben, who I know primarily does really idiosyncratic "impressions" on instagram. It's 2 people alone in a cabin telling each other scary stories, they don't cut away to the stories you just watch them act it out. 4 people in the cast, one location, and it still manages to be a fun ride of a movie and manages to touch on some good themes in the overall story. I really hope to see Josh Ruben direct more films because I think he's really creative.

07. Ride Your Wave

A romantic comedy about a woman trying to find joy and purpose in her life. I often go into movies very cold, so I didn't know much about what this movie was about, just knew that it was from an animation studio and director that I really respected. It's very beautiful, very grounded, until it's not. Kind of movie that breaks your heart so it can uplift you later.

06. Uncle Frank

I really did not expect a lot from movie, not that I thought it would be bad, I just thought it be your middle of the road movie. It's about a teenage girl who really looks up to her uncle who she learns is a closeted gay man, in an era where that was potentially dangerous to be. They go on a road trip home when his father dies and learn about each other and themselves, it sounds kinda cookie cutter, but it really surprised me. Paul Bettany is so very good in this, and it made me cry. Easy way to get on high on this list is to make me cry lol.

05. Children of the Sea

This film had to be in my top 5 because I'm an animation nerd and this is one of the most beautiful animated films ever. Ever. It's right up there with Akira and the Ghibli catalogue, and the works of Satoshi Kon, and all the Disney movies and everything else. It focuses on details and nuances in a really gorgeous way. The story is VERY ambiguous and gets very metaphysical towards the end, the climax is like watching an acid trip. It's about a girl who meet 2 young boys who have adapted to living underwater, and they form a bond, and then... uh... there's no way I can concisely explain it. The creator has said it's not supposed to be understood logical, instead it's supposed to be felt. There's a lot of symbolism and metaphor, it's very philosophical and explores themes of connection and the cycle of life. It's produced by Studio 4°C, which is my favorite animation studio because they really push the envelope, they're responsible for Mind Game, Tekkonkinkreet, and the recent Mutafukaz, and other, if you've never heard of any of those definitely look them up, they're unlike any anime you've ever watched before. Anyway, beautiful movie and the cryptic plot allows for you to rewatch it multiple times and take different things away from it. I can't wait to own it on blu-ray.

04. 37 Seconds

I saw this very early in the year and love it. It's about a young woman with cerebal palsy who is also an aspiring hentai artist trying to get laid. Her mother who takes care of her like a child smothers her, so it's not only about trying to get laid but trying to have some independence. Firstly the performance of this woman who actually does have cerebral palsy and is a first time actor is so natural and endearing, secondly there are things they portray with an uncomfortable amount of realism and awkwardness that it really draws you in to the nitty gritty of her reality and what it can be like for someone who is wheelchair bound to try to have sexual experiences. I like that there were 2 films this year about characters in wheelchairs that used unknown actresses that face the same things their characters do, it adds to the authenticity of either film. Films like this are why I think diversity in film is not just about doing something for the demographic you're depicting but also giving everyone else not of that demographic new unique stories and perspectives.

03. Soul

I guess spoilers if you haven't seen this because it's easier to talk about why I liked it if I talk specifically about the plot. I wasn't expecting much from this when the initial trailer dropped, it made it seem like it was going to largely take place in this imaginary soul place with these blue things, and for most of the first act it seemed like that's what it was going to be, but when they come back to earth and the story really starts I really started enjoying it. This movie tricks you into thinking the film is about finding or fulfilling your purpose, only to throw a curveball that living life in and of itself is the "purpose", and this movie resonated so much with thoughts that were already on my mind. I relate so much to Joe as a creative person myself with so many unfulfilled dreams, at 36yrs old, having to put many of my goals on the backburner just to survive, and generally having that feeling that I'm still waiting to live life because I'm not fulfilling my "purpose". Sure reaching for goals is great, but I think our culture breeds this idea that happiness is a destination, an accomplishment, a certain amount of recognition, a monetization of your passion. I really loved how the film depicted that there's a dark side to focusing on your passions and how it can become a source of stress and unhappiness. This movie is just about savoring life itself, which people have been expressing through platitudes since forever but this film illustrated it in a way that words fail at, and that's what makes film such a great form of art.

02. Sound of Metal

This movie had one of the best trailers of 2020, I couldn't wait to watch this movie. FIrst of all I love RIz Ahmed and think he's an underrated and underutilized actor, he's fucking amazing in this, he needs an Oscar nom FOR SURE. His frustration is so palpable and he feels so natural in this movie. It follows a metal punk drummer who loses his hearing and goes to stay in a deaf community to acclimate. One thing I think is absolutely brilliant about this movie is the sound design. I'm not deaf so I can't speak from any type of experience, but they try to replicate what going deaf sounds like, what the audiologist tests sound like, what hearing aids and cochlear implants sound like, it's very immersive. I almost think of it like a companion piece to Soul, cause I had almost the same take away, it's just coming from it at a different angle.

01. I'm Thinking Of Ending Things

Okay, so I’m going to have a lot to say about this movie.

Maybe a very controversial pick for my number one because so many people absolutely hated this movie, lol. I am biased given that I'm a huge fan of Charlie Kaufman, he's my favorite screenwriter, and his films have only gotten weirder and weirder, so I know to expect the unexpected when going into one of his films. I can understand how this would be an offputting experience if you're expecting the conventions of normal narrative structure. It was surprising and perplexing to me how this film unfolded but I've watched non-narrative and experimental films before so I was intrigued rather than frustrated. You think it's about a woman who is thinking of breaking up with her boyfriend as they head to meet his parents. Once we get to his childhood home things start getting surreal, and that surrealism just escalates to the point where you realize this film is not at all attempting to depict reality and doesn't even have any continuity. This is the most a movie has ever felt like one of my dreams. I don't know how other people dream but this was so much like every weird nightmare I've ever had where I feel trapped in a situation.

There's a scene where the family is talking about art, the dad says he hates abstract art because it takes no skill, he prefers paintings that look like photographs because that takes real skill, the son asks why make a painting look like a photograph when you can just take a photograph, the woman states she paints pictures of landscapes and tries to imbue them with a sense of interiority, capturing the way she feels, the dad asks how can a landscape be sad if you don't have a person in it looking sad. I felt like this was a bit of meta commentary on the film itself. After I watched this movies I had my own theories, I watched some analysis videos on youtube that confirmed a lot of my ideas and gave me insight on other parts of the film, I watched the film again and formulated more ideas, it's so dense with things to project meaning onto and interpret it. I went on instagram and ended up having lengthy discussions about what the film meant both with people who loved it and hated it. Everybody I spoke with had slightly different interpretations and takeaways. One woman who initially did not like it came away with an appreciation for it after we had a lengthy discussion about it's meaning.

All of this is why it's my favorite film of the year, not only did I relate to it on a personal level because I'm in a stage of my life where I'm approaching middle ages and afraid I'm going to end up like the guy in this film, but I can't remember the last time a film led to such meaningful conversation about life, death, love, mental health, loneliness, trauma, etc. So like the scene where they're talking about art, I think this movie is neither intended to be abstract or realistic, it's supposed to be imbued with a sense of interiority. I know I sound way pretentious right now, but I just really appreciated Charlie Kaufman for making something unabashedly expressionist and serving it up to mainstream audiences. I really feel like I grow as a person and an artist every time I watch one of his films.

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So there ya go. That’s it. That concludes this arbitrary exercise in ranking the movies i saw last year, thank you for wasting your time on this, lol. I think it was a very good year for movies.

If there was a movie you were expecting to see on the list and it’s missing I just didn’t get to it in 2020, I may do an unranked follow up list of 2020 movies I missed in 2020, maybe.

That’s it.

End of post.

Bye.

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