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amphtaminedreams · 5 years

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Film Tier Ranking 2019: A Bad Year for Bird Films

Hi to anyone reading,

I’ve finally put it together: my 2019 film tier ranking! I know tier rankings are a bit 6 months ago but seeing British crisps sorted into god, good, mid and shit tier all over Twitter, the format really resonated with me and I was like I MUST USE THIS AT SOME POINT! And I guess since there probably isn’t much of an audience for crisp tier rankings on Tumblr, it makes more sense for me to do it with films instead, especially as doing a 2019 year in film review was something I previously claimed I would do; here’s to 2020 and following through on my proposals.

I think 2019 in general was an okay year for film, with the end of the year definitely outselling the beginning. One thing to bear in mind is that a lot of films that I would’ve been able to see in 2019, I.E Little Women and Parasite, didn’t come out until 2020 in the UK so they won’t make it onto this year’s list. It’s not a snub by any means. I more fall in line with the Elsie Fisher Film Awards school of thought than the Oscars, which have yet again disregarded several incredible performances this year: Florence Pugh in Midsommar, Taron Egerton in Rocketman, Lupita Nyongo in Us, and of course, Greta Gerwig’s direction of Little Women. I’m sure there are many more but those are the first few that come to mind. Oh to be in 2017 when nominations made fractionally more sense.

This list also includes films that weren’t necessarily released this year, but that I just got around to watching; there were a couple of disappointments but also a lot of films I can’t believe it took me this long to finally watch and have definitely made their way into my favourites. My goal for this year is to get through even more of the films on my verrrry long Letterboxd watchlist, and more specifically, watch said films without going on my phone, which is a really bad habit of mine. I find it hard to sit still! Let me live!

I also want to try and put aside my prejudices about visual quality and watch more pre-2000s movies this year; it’s really bad but I never managed to get more than half an hour into Psycho, of all films, solely because I couldn’t deal with the black and white. In 2020, I am going to stop being a whiney Gen Z/cusp millenial-er and give older films the chance they deserve.

So, without further ado, here is my film tier ranking of everything I watched in 2019! If you make it til the end and have any thoughts or disagreements, let me know. I love to hear other’s opinions and get new perspectives on things and am totally open to any criticism. Happy reading:-)

God Tier

Knives Out (Rian Johnson, 2019)

Knives Out. What a film.

I feel like I waited forever to see this at the cinema. They must have started showing trailers for it in, like, August, and I had to wait til mid-November to see it. How are you gonna just dangle a film with Toni Colette and Lakeith Stanfield in my face and then make me wait 3 months? Totally unethical.

But that being said, when it finally came around and I did see it, as much as I love Toni and Lakeith, there was one stand out and it wasn’t either of them: ANA DE ARMAS. I have to admit I’d never heard of her before but she acted the shit out of a role I feel I’d ordinarily find irritating and gimmicky. Daniel Craig, whose character seemed annoying as fuck in the trailer, was actually surprisingly funny.

Stylistically, it was a very cool film and I liked the subtle commentary on class that was running throughout. Also, I thought the ending was very clever. My issue with a lot of whodunnits is that they just pick someone who doesn’t make sense for shock factor *cough, Bobby Beale in Eastenders, cough* but the shocks here were more in the details.

Hustlers (Lorene Scafaria, 2019)

There wasn’t one single moment of Hustlers I didn’t enjoy and it’s quite amazing that there wasn’t one single point in this film about strippers that I felt gratuitously sexualised women. THAT is why you fund female directors. It made the whole thing look like a calculated art form, which I think the unsexy amongst us can all agree that it is. Constance Wu was a fantastic lead, J-Lo was kind of robbed for a supporting actress nom, and Keke Palmer and Lili Reinhart were hilarious too.

Midsommar (Ari Aster, 2019)

Midsommar was such an experience that it took me a good few days afterwards to decide whether I actually liked it. I saw it the day it came out because I loved Hereditary so much and I wasn’t quite sure what to expect. I kind of had an idea of the way it was going to go, we could all kind of guess evil cult was the route that was being taken from the trailer, but I just didn’t realise quite how weird it’d get.

The gore was great, the visuals were stunning and the character arcs were surprising and for that reason, I think this is another game changer for horror from Ari Aster. I didn’t love it like I loved Hereditary but it continues to play on my mind and 7 months later I still can’t resist a good “Things you Missed in Hereditary” or “Hereditary Themes Explained” Youtube video essay. That’s how you know a film fucked with you and that’s the ultimate goal of going into a horror for me. Put that on my headstone after I inevitably get myself into some mortally dangerous conflict because I want to “get fucked with” a little bit.

Booksmart (Olivia Wilde, 2019)

So here’s the thing with Booksmart: I was getting progressively more and more drunk throughout it so I might be a little biased when I say I loved it. That being said, worth revere seems to be a commonly held opinion so I’ll stick to my guns. Plus, movies like this, which just focus on girls living their lives, are few and far between. Why have we had to wait THIS long for the female Superbad?

IDK. But Kaitlyn Dever, Beanie Feldstein and Billie Lourd proved it’s definitely a genre worth investing in so hopefully we see more lighthearted female-led coming of age comedies. One Ladybird per year isn’t enough for me.

The Favourite (Yorgos Lanthimos, 2018)

I included The Favourite in my 50 Films You’ve Got to Watch that I made earlier this year so I don’t have all that much to say about it that I haven’t said already. To summarise, it’s an instant classic: the cinematography, the cast, the lines, it’s all perfection.

Suspiria (Luca Guadagnino, 2018)

I also included Suspiria in my 50 Films You’ve Got to Watch list so sorry if I’m repeating myself, but I adored everything about it. If I had to sum it up in one sentence I’d say divine feminine energy, but inverted. Plus ballet. That dancing scene in the mirrored room will probably never leave my mind (if you’ve watched it, trust me, you’ll know the one I'm talking about), and if there were awards given out for creepy montages in horror, this would win all of them. It still blows my mind that Tilda Swinton played 3 characters in this film; 2 of them are so distinctly different, if anyone put two and two together without prior knowledge of this fact then I’ll blow my own head up too. This is why I got so mad when there was all that discussion around her being the new female Doctor Who and there were people asking who she was. How can you not know who Tilda fucking Swinton is!? She’s a legend!

Sorry, is the wannabe film snob in me showing?

Annihilation (Alex Garland, 2018)

Though I initially watched it because it’s branded as a horror, Annihilation ended up being a surprisingly introspective take on human nature and our self-destructive tendencies. Nothing really went the way I expected it to, even though I was constantly trying to guess that trajectory from beginning to end.

Visually, Annihilation is magnificent. Like, it’s tense, and where exactly the plot is going is shrouded in mystery, but most importantly, it’s super fucking pretty. Sure, the only thing that was mildly horrifying was the *SPOILER* end result of that bear scene but I didn’t mind too much because there was always that edge-of-your-seat possibility something like that would happen again.

Also I realised that Gina Roduriguez is really hot in this! I would just say in general but that video of her saying the n-word kind of took away shot at real world magnetism. WHY SUCH A SHITTY APOLOGY VIDEO!? WHY?!

Assassination Nation (Sam Levinson, 2018)

So I didn’t clock until I was looking up directors that Sam Levinson, Euphoria director, also directed this, and suddenly everything makes sense in the world. They both have that dreamlike, exaggerated feel that perfectly captures the emotional rollercoaster that is being a teenager, only in Assassination Nation obviously the threats are a bit more...tangible. As in its actually other people trying to kill our protagonists this time round, not just angst.

Not gonna lie, it’s not a patch on Euphoria because that show is probably the best thing I watched all year, but I did thoroughly enjoy it, even if I did feel the social commentary, despite how in your face it was, got a bit lost in translation at times. I think it’s the kind of film that, once again, would’ve felt more genuine coming from a female director, however that’s not to take away from how witty, modern, and completely relevant it still is as we move into 2020.

Sorry To Bother You (Boots Riley, 2018)

Right. WHAT THE FUCK!?

Why don’t more people talk about this film? Like it has Tessa Thompson and the world’s best earrings! Lakeith Stanfield getting more than 10 cumulative minutes of screen time! Armie Hammer being that bitch we all knew he was irl (probably)! Scathing critiques of late stage capitalism! It’s insane, in the absolute best way.

SPOILERS AHEAD: I had a mini paragraph written about the last hour of the film and the descent into pure unadulterated chaos, and how it’s like, the internet’s best kept secret, because ordinarily you lot can’t keep your mouths shut about a film or TV’s shows most crucial reveals for more than 5 minutes and THEN...My FBI agent must be feeling real cheeky because THIS tweet pops up on my Twitter timeline.

Fuck this shit, I’m out. Onto the next film. MI5 stop peeping my drafts.

Eighth Grade (Bo Burnham, 2018)

I don’t want to repeat what I said about Eighth Grade in my 50 Films you Should Watch list but Elsie Fisher’s performance in this is why I wish the Oscars also had some kind of rising star award category à la the BAFTAs. Honestly, every 13/14 year old should watch this; it’s a reminder that although feeling like an outsider is by its nature quite isolating, it’s prolific enough that a 29 year old man, 10 years out of “high school”, gets it.

American Animals (Bart Layton, 2018)

My sister and I absolutely loved this film so you can image our disappointment when we turned round to our parents at the end and our enthusiasm wasn’t matched...as in, I’m pretty sure they were both asleep for a lot of it. WHICH I DON’T GET. Because to me, there wasn’t a dull moment. American Animals is what happens when a group of university age boys with the finesse of the American Vandal Turd Burglar try and apply that to an Evil Genius stye heist, part Netflix, talking head abundant documentary, part live-action film. Splicing a stylistic reenactment with interview footage of the men who really attempted to commit the crime elevated what I probably would have put in the Good Tier™ to the God Tier™; seeing the guy Evan Peters is playing alongside Evan Peters playing him, now only the remnants of the arrogance we see in the reenactment left behind, sharply reminds you of the fall from grace these boys deservedly went through. Plus Barry Keoghan from The Killing of a Sacred Deer is in it, proving that unsettlingly stiff is NOT in fact his natural state.

Gerald’s Game (Mike Flanagan, 2017)

I wish there was a shorthand way to say I wrote about this in my 50 Films You Should Watch list so I’m gonna keep it short but here we are! This was great! If The Haunting of Hill House isn’t proof enough, Gerald’s Game (not to take away any credit from Stephen King) is a reminder that Mike Flanagan is the king of subtle, niggling sensation in your stomach that something is about to go very wrong horror. I hear he and Ari Aster have a timeshare situation going on with the crown.

The Ritual (David Bruckner, 2017)

Okay, so this is the film that made me realise we should all be very scared of forests. Nope, all the documentaries into the Aokigahara Forest weren’t enough, apparently. I subjected myself to this too, as if my unfit, cold-blooded, bug-fearing, scared of the dark ass doesn’t already have enough concerns about my survival odds in the great outdoors.

Really though, setting aside, this film maintains the sense of dread throughout and keeps you guessing what’s going on until the very end. Much like The Descent, the group dynamic and characters are realistic enough that it adds to the believability of a scenario I, in principle, know would never happen to the extent that I might keep away from vast, wooded spaces for a while just in case.

Dumbo (Tim Burton, 2019)

If film Twitter came across this post and saw I’d placed Dumbo in a higher tier than If Beale Street Could Talk I can only imagine the outrage. And sure, the latter is probably a much higher quality film. But sometimes a movie, for reasons you can’t quite put your finger on, gets you right in the sweet spot, and Dumbo did that for me. Maybe it was that the CGI elephant reminded me of my cat (I know, leave me alone), maybe I was emotional that day, I don’t know, all I know is that I cried like 5 times and was smiling for the rest of it-to be fair, the exploitation of animals for our entertainment is something that is still very much going on and that was something that was playing on my mind a lot whilst I was watching it. IRL Dumbos should be free too. Dumbo rights.

The VVitch (Robert Eggers, 2016)

This film taught me that there’s nothing wrong with joining a coven of young witches and getting naked and levitating around a fire. And that’s an important life lesson. Plus it gave us the quote “wouldst thou like to live deliciously?”, which is not only so perfectly creepy and simultaneously empowering that I had to get it tattooed but also, created ASMR. I just made that last bit up obviously but Black Philip getting his own ASMR Youtube channel?

The Descent (Neil Marshall, 2006)

For me, much like The Ritual, The Descent is a perfect horror film: it’s got the ghouls but the situation the characters find themselves in is also terrifying by its own merit. The reason The Descent made it onto my 50 Films list and the Ritual didn’t is because, let’s be honest, it’s 2020 and you can get mobile signal in most places. You could probably at least make a 999 call if you got lost in a forest. If you DID get stuck in an underground cave and it collapsed in on itself, you’d be pretty fucked; the idea of it makes me shudder and I will never set foot in an underground tunnel at any point in my life for any amount of money EVER after seeing this. Also, the women in this are great and the creatures in this are genuinely quite terrifying, especially the first time you see them.

Chicago (Rob Marshall, 2003)

Ah, Chicago, the last film on the God Tier™, proving that this list is in no particular order. Because WHAT A FIM. WHY DON’T PEOPLE TALK ABOUT THIS MORE?! Like don’t get me wrong, I know it deservedly won Best Picture in 2003 but I’m talking about right now! I mean, fucking Titanic is still out here getting referenced left, right and centre and yet Chicago gets paid dust! Can you tell I’m mad and that I think Titanic is hugely overrated?! Is that maybe coming across?!

ALL the songs are bops, Catherine Zeta-Jones is hot (I saw someone on Letterboxd say that Catherine Zeta-Jones in this film was their bisexual awakening and honestly, if I hadn’t already known I was a raging bisexual, same, because I FELT things in that All That Jazz opening) and Cell Block Tango is the revenge fantasy anthem I never knew I needed. Smart, tongue in cheek, beautifully shot and makes men look like little bitches which is probably why my dad hated it but what did I expect.

Good Tier

Zombieland: Double Tap (Ruben Fleischer, 2019)

Onto the first film of the good tier, Zombieland: Double Tap definitely exceeded my expectations. I was super worried about the prospect of a sequel as I love the first one so much and assumed it would be crap. Obviously, it doesn’t match up to the original because the original WAS so original, but it was still a fun, easy, witty ride. And I was SO glad they didn’t *SPOILERS AHEAD* kill off Tallahassee at the end because I really thought that was coming and it seemed so predictable and unnecessary. Highlight was the introduction of the lookalikes at Graceland.

Judy (Rupert Goold, 2019)

So, this is the first of two consecutive rants I’m about to go on about Oscar nominations and people’s reactions online. Prepare yourself.

I’ll start with the underlying message: just because you think something else deserves the praise more, doesn’t mean the film/album/*insert whatever artistic medium you wish here* that IS getting the praise is shit.

Like people are angry that Lupita Nyongo wasn’t nominated for best actress for her performance in Us which is COMPLETELY valid as she carried that film on her back. In the same vein, people are also angry that more women of colour haven’t been nominated for best actress. Also valid; I’ve yet to see The Farewell but I’ve heard great things about Akwafina’s performance and I love her so even though I haven’t seen it, I’m gonna take the general consensus that she should’ve been nominated too. The Oscars definitely has a problem with recognising the work of POC. BUT, because of this, people are angry that Renee Zellweger has been nominated for her performance in Judy, saying that it’s typical “Oscar bait”. I agree, it is typical Oscar bait. However, a lot of the people saying this will in the same breath say (or tweet rather) that they haven’t actually SEEN Judy.

How can you possibly say that Renee Zellweger doesn’t deserve any of the praise she’s getting when you haven’t even seen the film? Don’t get me wrong, the film itself is good but not outstanding (hence its place in this tier), but you can see Renee genuinely put her heart and soul into this film; it was powerful, and it was sympathetic but it was also nuanced and subtle where they could’ve just capitalised on all the sensationalised stories of the actions of a woman clearly deeply suffering in her final years and had it be full of shouting and screaming. The Wizard of Oz has always kind of felt like home to me because of the childhood nostalgia factor and so I’ve always been interested in Judy and I think Renee captured her heart and her spirit in a way she would be deeply honoured by. Maybe the film itself doesn’t deserve the acclaim it’s getting but I think Zellweger definitely deserves the nom and I think most people who’ve actually seen it wouldn’t contest that.

Joker (Todd Philipps, 2019)

Okay so second rant. I’m sorry. I have a lot of feelings. Most of them aimed at the annoying tendency of internet users, Film Twitter™ and Letterboxd users I’m looking at you in particular, to be wildly exaggerative.

There just seems to be no nuance online. It’s not just yeah, I didn’t like the film personally and the message could be perceived in a certain way by certain individuals, it’s I HATE THIS FILM AND IT’S DANGEROUS AND THE DIRECTOR FUCKING SUCKS. I noticed this trend when La La Land came out (which if I had watched last year would certainly be in God tier for me). It’s like, if a film initially receives a lot of praise and buzz, there’s almost this wave of compensatory vehement criticism in response that’s usually disproportionate to how controversial the film actually is. People didn’t like that Joker was popular because they didn’t like Joker so suddenly it’s the worst film ever and the possibility of it getting any critical acclaim is wrong. I even saw people berating Todd Philipps for channelling Martin Scorsese as he’s the only person to ever be influenced and take direction from one of the most dominant figures in film of the 20th and 21st century. I mean, what’s wrong with that?! If it was any other director, it’d be called homage. But because everything has to be seen through this malicious lens, its copying.

I think one of the few very valid criticisms about Joker was that it further perpetuates the idea that psychotic people are dangerous, and I can totally see where they’re coming from. At the same time, we have to accept that whilst the majority of people who are psychotic aren’t a danger to anyone apart from themselves, most “dangerous” people don’t just become dangerous because they thought, fuck it, why not? A lot of people in the prison system ARE suffering with some kind of mental illness. The character’s psychosis doesn’t make him dangerous, it’s his underlying resentment and sense of entitlement that grows throughout the film that makes him dangerous, and I think a lot of people seem to miss this point. They say that the way the film ends implies Philipps is justifying the actions of the films protagonist. However, we KNOW the Joker is an unreliable narrator, he’s one of pop culture’s most infamous villains and that being said, both in film and in the real world, few villains see themselves as the villain. Joker is about why HE thinks he’s justified in doing what he does, not why he IS justified in doing what he does because he’s not, and that’s pretty clear from the moment he shoots someone in the head on live TV. Honestly, I think there’s a bit of wilful misinterpretation going on because people don’t like that film

I liked Joker. It was gritty, it was interesting, and sufficiently dark. I didn’t think it was the best film of the year but I understand why it got the praise it did. Obviously, it’s okay that people disagree and DON’T like it. But can we please get a bit more well-acquainted with the middle ground?

It: Chapter Two (Andres Muschietti, 2019)

Okay, essays over. Back to regular scheduled programming of less impassioned reviews. Though I will say I deserved better than my Letterboxd comment of “so you can just fucking roast Pennwyise to death?” getting absolutely 0 traction. One day my grand total of 5 followers, one of which is my sister, will recognise my brilliance (lol).

It’s hard to say how much I really liked this as I think my perspective of how much I did enjoy it is warped by how much I disliked the first one. Child actors really aren’t my thing and the only cast members I warmed to in the first one were Finn Wolfhard and Jack Dylan Grazer whereas the cast here were a lot more likeable, imo. Bill Hader, Jessica Chastain and James Ransone were all great, with the only let down being James Mcavoy; I love him, don’t get me wrong, but I just think he was really miscast in this role.

Another thing I enjoyed a lot more about this instalment was that due to the more episodic/anthology-like/Creepshow-esque structure with each character conquering different monsters from their past individually, the narrative felt like it had a lot more direction, and it didn’t drag as much despite it having a significantly longer runtime. I haven’t read the Stephen King novels and I don’t know much of the pacing issues are down to them so this is me coming at it from a screenwriting angle but it felt as if the climax of the first film just kept going on and on. Every time I thought it had finished there’d be another confrontation between the kids and Pennywise whereas Chapter 2 seemed to have a more definitive third act and I appreciated that.

Rocketman (Dexter Fletcher, 2019)

So, here’s one where I WILL agree with the general online consensus: if Rami Malek got nominated for playing Freddie Mercury last year and Renee got nominated for playing Judy Garland, why the fuck didn’t Taron Egerton get one for playing Elton John? Why didn’t Rocketman itself get a nomination when Judy did? Though I personally preferred Judy because I’m more interested in her story, technically and narratively Rocketman is the better film in my opinion. This was so cleverly edited and sequenced and told with such a brutal honesty on Elton John’s part (it was co-produced by his husband David Furnish and he was heavily involved in everything from the set to the script), that I can only come to the conclusion that the obligatory biopic nomination only comes when the focus of said biopic is no longer with us as a kind of honorary thing. Whilst something like Bohemian Rhapsody was much more of an easy watch (which just goes to show how glossed over Freddie Mercury’s life was in the film), the way the story was told, by the time we got to I’m Still Standing that happy ending felt so earned.

Aladdin (Guy Ritchie, 2019)

You can hate all you want, Prince Ali and Never Had a Friend Like Me are fucking bops and somehow they were even better in this incarnation of the film. I was initially hesitant about Will Smith being cast but rather than trying to impersonate Robin Williams he went his own route and it really worked. He was the highlight of the film. It was undeniably visually stunning too. Madonna’s ex did good.

Us (Jordan Peele, 2019)

Ah, I feel so conflicted when it comes to Us. Like, there were some really strong points and it’s definitely a good standalone horror movie. It’s just you can’t help but compare it to Get Out, and with that unsatisfactory exposition dump ending, I left feeling so disappointed. It seemed to me that Jordan Peele got in a bit over his head here with trying to tie such a vague social metaphor and the actual in-universe plot together, and so ended up leaving both a bit half-baked. He tried to OutPeele himself and for me, it didn’t work.

The doppelgängers were so scary as this ambiguous, vaguely threatening presence that if you are gonna give us a full blown, sit down explanation of why they exist it needs to be really bloody good. And this explanation didn’t make much sense. For example, *SPOILERS AHEAD* I imagine that the tethered just not being able to walk up the escalator into the “real world” was supposed to be some kind of metaphor for social mobility but it’s not fleshed out enough to work. In our world, there are REASONS why the idea of social mobility is flawed. In the film, it’s just like gee, if they chose to just walk up the escalator and go on this murderous rampage now, why couldn't they have decided to do it years ago back before they all lost their fucking minds? Why were they just copying the originals for all those years? HOW did they know what they were doing? See, the metaphor as I understand it is supposed to be that we depend on the oppression of others like us in order to maintain our social status, but not only is this kind of too general a statement to try and use a feature length film to make, I don’t really understand how this dynamic works within the narrative of the film. Technically, there's nothing to stop the tethered and the originals co-existing apart from the tethered deciding not to walk up the fucking escalator. We’re not talking a bourgeoisie-proletariat relationship here. The explanation of it all just being a “government project gone wrong” was too vague seeing as the plot working seemed prior to this to hinge onto something vaguely supernatural and the eventual plan of the doppelgängers seemingly had no purpose or application to the real world like the climax of Get Out did. It just left me feeling kind of like...why? Why did this all happen? When the ending and the twist was that predictable (the old Pretty Little Liars finale style twin switcheroo was blatantly obvious from the mother’s “it’s like she’s a different person” line near the beginning, let’s be real), I was expecting some final revelation that flipped my expectation on its head or at least felt helped things click into place. Instead, it seemed a bit hamfisted and like I was supposed to feel things were deeper and more significant than they actually were.

All that being said, I appreciate that if anyone other than the writer of Get Out had come out with this movie, I probably wouldn’t have these issues. Us was funny, it was fresh, and the concept of doppelgängers is something I’m so glad to see brought back into our modern pop culture database. The people are right, Lupita was incredible in this and it is a travesty that she didn’t get nominated. My sister, who was so creeped out by her vocal performance that she had her fingers in her ears every time Red spoke, still won’t let me attempt an impression of it. And that Fuck the Police sequence? Iconic.

On the Basis of Sex (Mimi Leder, 2019)

I apologise in advance for the shittiest “review” I’ll ever write, but honestly I can’t remember all too much about this film other than it being good. Ruth Bader Ginsburg, I’m sorry. You’re a cool lady.

If Beale Street Could Talk (Barry Jenkins, 2019)

EURGH, THIS WAS SUCH A BEAUTIFUL FIM. The score, the shots, the rawness. I imagine it’s devastatingly real. Like, *SPOILERS AHEAD* you think there’s going to be a happy ending but there’s not. It should be disappointing but it’s an honest choice. And side note: fuck those annoying middle aged white ladies in the seats behind me and my friend who lost their shit and started giggling every time the N-word was used, JFC. I hate living in a Tory stronghold.

Cam (Daniel Goldhaber, 2018)

So, as I said, I’m a fan of the whole doppelgänger thing. It freaks me out. The point in this film where the protagonist is approaching her bedroom door whilst she watches HERSELF livestreaming from inside that same bedroom had my heart in my mouth wondering what she was going to encounter on the other side. And you see, the ending of this was a lot more ambiguous than the ending of Us, so I should’ve had less questions. Whilst I’ve seen other people saying it WAS unsatisfactory and that they felt like we were owed more of an explanation, I liked the simplicity of the answer we got and the wiggle room it leaves for our own interpretation. The way I see it, given that we were told by the fan the protagonist meets with in the motel room that *SPOILERS AHEAD* it was a case of some kind of software copying these women’s likenesses to steal their viewers and thus their profits, is that Cam is a kind of a commentary on the capitalist exploitation of women’s bodies and the demand for (and desensitisation towards) sexually violent content; we don't necessarily need to know who is behind the virtual cloning, which is terrifyingly believable given how realistic some of the deepfakes I’ve seen are, because it doesn’t matter. We're basically told money is the motive and we know the kind of lengths some people will go, and someone DID go to in Cam, to in order to make a shitload of money and that’s as true in real life as it is scary. On the other hand, if you want to believe there’s a more supernatural presence behind the events of the film, there’s enough left to the imagination that you can go down that route too. Some films are better left un-exposition dumped and this is the proof. My one criticism, is that, like many films, it would be even better if directed by a woman; I’ve seen people say that its portrayal of online sex work isn’t entirely accurate and though I can’t say with certainty that women working in this industry weren’t consulted in the first place, I imagine a female director would not only be more likely to listen to their concerns but could translate the confusion and fear that comes with being expected to makes oneself sexually desirable to get ahead in the world but then shamed and used for doing so even more viscerally. A few tweaks and it’d be God Tier.

Colette (Wash Westmoreland, 2019)

The costumes, sets, and Keira were so, so stunning. Also it was just an inspiring, beautiful story. The navigation of womanhood, so called “deviant” sexuality and self-expression against the backdrop of early 20th century Paris with a load of Edwardian era tailoring thrown in, it’s everything I could possibly want and more; 10/10 moodboard content.

The Boy (William Brent Bell, 2016)

I can’t believe this film was made in 2016, and it almost makes me move it down to mid tier based on the fact that a lot of the allowances I made for cheese factor I made on the assumption it came out earlier in the decade. BUT, that being said, I was creeped out for a good portion of this film. Most horrors I watch and I’m probably a bit too chilled (a head comes off or some witchy ass ghost screams into the camera and my only thought is some kind of judgement of the SFX), and yet I felt like watching this behind my hands. I don’t know what it is about dolls and puppets, Chucky was my childhood fear even though I never actually watched the film, but something about the uncanny valley of it all makes me just spend the whole time they’re on screen silently praying they don’t start moving or talking. So in a way, given the resolution of the film *SPOILERS AHEAD*, the premise of The Boy was actually a lot scarier to me than the reveal of what was really going on. Someone hiding in my walls? NBD. That demons are real and that they live inside creepy old dolls? Terrifying. Why does everybody I debate this with disagree!? You can't call the police on a demon! At least with a human being you can stick them with the pointy ending of something! Regardless, I enjoyed the journey and trying to work out how things would end and if there IS anybody secretly living inside my house right now, even if you are a supposedly dead murderous family member (last time I checked I didn’t have any of those so I should be all good), kindly vacate. Thanks.

Oprhan (Jaume Collet-Serra, 2009)

So the fact that this film is based on a real life case makes this all the more terrifying. It was a bit campy and tacky at times but the shot of *SPOILERS AHEAD* Esther taking off her makeup in the mirror and revealing her true age will always be iconic. Plus I love Vera Farmiga, even though I did struggle to see her as anyone other than Norma Bates.

First Reformed (Paul Schrader, 2018)

A hauntingly beautiful film with a lot of room for interpretation. There were so many gorgeous shots and so much subtext, this is proper 10/10 media studies essay material.

The Invitation (Karyn Kusama, 2015)

I would say the concept and implications of this film, which don’t fully hit you til the final shots, are a lot better than the film itself. It feels very realistic though and is definitely tense.

As Above, So Below (John Erick Dowdle, 2014)

I was so stoned when I watched this that a lot of the allegory and Dante’s inferno references went straight over my head, and it just seemed absolutely balls to the wall wild. I couldn’t buy that the characters would just KEEP GOING either when things began to get terrifying, like people in horror films really out here making the most nonsensical decisions and it drives me mad. But anyway, it was definitely entertaining and there’s a lot more to it in terms of plot and mythology than most similar quality horrors and I appreciate that

Climax (Gaspar Noe, 2018)

Climax is an interesting one that I think I’ll have to watch again to judge how much I truly like it. As with Us, I know it’s a good film, but I think my expectations of what it was going to be left me slightly disappointed. See, when I read about the premise I assumed that the horror was going to come from seeing the perspective of the characters on said acid trip and that leaves so much room for any kind of terrifying visuals you want whether that be something based in realism or fucked up creatures of the imagination. Buuuuut, it wasn’t that at all; at no point does Climax take place from the first person perspective of any of the characters. Similar to Darren Aronofsky’s Mother, the horror comes from not being able to do anything but watch as everyone starts losing their minds and the situation gets increasingly more dire. It’s pure stress; the acting is so unnervingly good that you really do feel like you’re watching some unintentionally horrific incident take place. That’s not a bad thing-I like it when films make me feel something intense, whether that emotion be positive or negative. It was just a different viewing experience to the one I had precipitated.

Mid Tier

Nativity (Debbie Isitt, 2009)

I find Mr.Poppy hilarious. Does that make me a child? Probably. I’m not really one for Christmas movies but this one’s alright.

Scary Stories to Tell in the Dark (André Øvredal, 2019)

I get that it’s based off a book so it’s not exactly like the “monsters” were a secret in the first place, but for those of us who didn’t read the Scary Stories to Tell in the Dark books as a kid, my main beef with this film was that they basically revealed all of said monsters in the trailer. Like how It: Chapter 2 spoiled the scene with Beverly in the old lady’s apartment but with EVERY. SINGLE. CREATURE. The only one that wasn’t was the “jangly man” and the only takeaway I have from him is the “jangly in the streets, but is he jangly in the sheets?” Letterboxd comment I read afterwards. Like the creature designs are the selling point of this film and by showing us them all before we’ve even seen it, any anticipation that would’ve built up from their reveal was kind of gone. Plus, it definitely felt like the writers were trying to ride on the hype train of “It” when they wrote this-only they made it even more childish. I mean, I know it was classed as PG-13 in the US which is maybe part of the reason it was so tame but the Woman in Black was a 12 when it was released here and it could be the bias of my 13 year old brain but I remember that being terrifying to watch in the cinema.

Also, I found it weird how *SPOILERS AHEAD* a couple of the main characters died and there didn’t really seem to be any consequences? Idk, maybe that’s because I found them all a bit one dimensional but I’ve seen others make the same criticism so I don’t think so.

Don’t get me wrong, this wasn’t a BAD film. It just wasn’t super good.

Charlie’s Angels (Elizabeth Banks, 2019)

I’ve never seen the 2000s Charlie’s Angels so I really don’t have anything to compare to, but I don’t think this was THAT bad. I was fairly entertained throughout and I enjoyed Naomi Scott and Kristen Stewart’s characters. My main issue was the unnecessary inclusion of Noah Centineo, and that weird ass montage at the beginning of stock video shots of girls just...doing miscellaneous things. Why, Elizabeth Banks, why!?

Toy Story 4 (Josh Cooley, 2019)

In some ways, I see why Toy Story 4 was narratively necessary: co-dependency had been a running theme throughout and we needed to see Woody (I feel stupid saying this considering he’s a fucking toy but allow it) realise that he can exist independently of Andy, and that there’s more to life than pleasing somebody else. The way Toy Story 4 ended felt like a satisfying conclusion to his character arc, and as well as the animation being top tier, Forky was a hilarious addition to the cast. However, I don’t think it carried the emotional weight of the 3rd Toy Story, which I think people had accepted as the last instalment and had used to say goodbye to the franchise, and therefore the sceptic in me thinks that the obvious purpose of this addition was a cash grab. I don’t doubt that a lot of people worked incredibly hard on it-I’m just saying that the propelling force behind the film probably wasn’t “the people need to see Woody’s character growth” and that was quite apparent throughout.

Doctor Sleep (Mike Flanagan, 2019)

There were some really beautiful scenes in Doctor Sleep; the astral projection sequences in particular were magnificent and I loved Rebecca Ferguson as the villain. Stylistically, though I didn’t find out he was the director until I was writing this up, you can definitely tell it’s Mike Flanagan, and like I’ve said, he does horror very tastefully. Unfortunately, I just wasn’t all that interested in the premise and I wasn’t hugely invested in grown up Danny Torrance either. The execution was great and the return to the Overlook was brilliant, of course, but the story just wasn’t for me and nothing much sticks out as being a particularly intriguing plot point.

Mary Queen of Scots (Josie Rourke, 2019)

What to say about Mary Queen of Scots other than...yeah, it was alright. I mean, I really should’ve liked it more than I did, because these specific events were part of the Edexcel A-Level history curriculum (Can I get some Rebellion and Disorder Under the Tudors students representation up in here!?) and I usually love seeing history translated onto screen, plus it centred around Margot Robbie and Saoirse Ronan. It was just very...meh. I feel like there’s so much more complex a story here than was told. Both women were undoubtedly a lot more complicated than this film made them out to be and I think to reduce Mary Queen of Scots to a Mary Sue-ish heroine was a disappointing choice. Plus, if we’re gonna talk historical accuracy (which all the racists came out of their caves to discuss at the time), Mary and Elizabeth never actually met; I’m sure there was a more creative way to explore their dynamic than by forcing an interaction that never actually happened.

Apostle (Gareth Evans, 2018)

There were elements of this film I really liked; the mythology behind the cult, I.E what the townsfolk actually worshipped when you stripped away all the secrecy was pretty interesting. However, I felt it depended too much on atmosphere and not enough on plot, and I didn’t warm to any of the characters.

Searching (Aneesh Chaganty, 2018)

It’s difficult because technically, Searching is obviously an ingenious film. My issue is the way it ended, which was imo, super anti-climatic, and honestly pretty predictable in that it seemed like the writers just went out of their way *SPOILERS AHEAD* to make the culprit the person viewers would’ve ruled out by default for shock value, and then work out WHY that person was the culprit from there. I was expecting something a lot darker to be behind the protagonist’s daughter’s disappearance-irl, these situations usually are-and so maybe it’s just me being a bit of a sadist but I was disappointed by how things resolved themselves.

Deliver Us from Evil (Scott Derrickson, 2014)

So, this isn’t boring. It’s interesting to have a horror navigated through the lens of something as procedural as a police investigation. But ultimately, the acting isn’t great, there’s very few scary moments, and it’s a little cheesy. As horrors go, it’s pretty shallow-it is what it says on the tin.

Dumplin’ (Anne Fletcher, 2018)

I watched this right at the beginning of the year and I can’t remember all too much about it, but I remember not hating it? See, looking at the cast, Odeya Rush and Dove Cameron are both in it which would suggest I’d come away hating MYSELF instead but yeah...I got nothing.

Lights Out (David F.Sandberg, 2016)

The concept is very scary, the execution not so much, and the actual storyline is a little cheesy. I found myself just being like OH MY GOD, IT’S BELLA’S DAD FROM TWILIGHT! And then *SPOILERS AHEAD* getting mad that they did Charlie Swan dirty like that by killing him off in the first 10/15 minutes.

The Goldfinch (John Crowley, 2019)

So I LOVED the book of The Goldfinch. I read it after the Secret History and even though most people seem to prefer the latter, the former hit me right in the sweet spot. The length was almost one of my favourite things about it; I felt by the end that I came to know the character so well he felt like someone I knew in real life. When I heard Ansel Elgort was cast as Theo, I was really happy; I’m not necessarily a huge fan of him as an actor, I've only ever seen him in shitty teen-y dramas which I forced myself to like at the time E.G. The Fault in Our Stars and Divergent, but he looks kind of exactly how I pictured Theo looking. Almost like an Evanna Lynch as Luna Lovegood situation. And then honestly, the actual film came around, and I found myself much preferring the young Theo sections. I get that Theo is quite a muted character and I hate to properly slate anyone’s performance, but Ansel as him felt a bit flat. The casting in general was pretty whack; I love Nicole Kidman but she didn’t feel right as Mrs.Barbour and it seemed that they added a lot to her character to the detriment of Hobie’s character who was a much bigger part of Theo’s life in the book. Also, can we talk about Finn Wolfhard as Boris? I’m sorry, but that accent was godawful. Really bad. Boris’ accent was always supposed to be kind of ambiguous but this was just butchered Russian. Another gripe that my friend and I, who also read the book, had with the Vegas section of the film (which was otherwise probably the best part) was that they never properly explored the complexity of Boris and Theo’s relationship. Obviously I’m not saying that I want 2 minors to shoot a sex scene but it could have been referenced when they reunite as adults because the kiss on the head when they part in Vegas seemed misleadingly platonic. It was heavily implied in the book that there was some kind of love that went beyond friendship between the two and I didn’t get that in the film at all.

Ultimately, when you try and adapt a book as long as the Goldfinch, you’re always going to have some pacing issues and people complaining that things were left out or that X or Y character didn’t have enough screen time. But in ways, I think the fault here was trying to stay TOO faithful in the limited time available. They definitely could have focussed less on certain relationships and more on others, and when it comes down to it, I think we lost a lot of the grittiness of the original book for the sake of pretty visuals.

Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

Don’t get me wrong, this would 100% be in shit tier if it wasn’t for the last hour or so of the film and all the Manson lore which is so disappointing because I love Tarantino films and I love that era. As for the first couple of hours, I loved the vibe and I love Margot Robbie, and I think it was very respectful towards the Tate family (if anything radiated through the screen more than anything else it was Sharon Tate’s sweetness), but I just wasn’t that invested in Leo or Brad’s characters-it all just felt a bit pointless. I really like Brad Pitt and even that couldn’t really save it for me. Maybe if you took away the remaining 2 hours and 20 minutes of Leo DiCaprio making vague allusions to his own career to a girl only slightly younger than the combined age of all girlfriends past I’d enjoy it more but then I don’t think there’d be much footage left. I guess we should just be grateful that Tarantino managed to refrain from unnecessarily sprinkling the N-word into every other line of his script this time, right?

Also.

SO. MANY. FEET.

But then again, this did result in Brad publicly mocking Tarantino’s foot fetish during his speech at the SAG awards so...I’ll allow it. Sometimes kink shaming is okay. Especially when it’s this guy:

Isn’t it Romantic (Todd Strauss-Schulson, 2019)

I guess as romantic comedies go it wasn’t AWFUL because it was self-aware but still just not my cup of tea and it didn’t really make me laugh. Plus, I feel like it did just follow the plot of a conventional rom-com in the end so...what was it all for, you know?

Green Room (Jeremy Saulnier, 2016)

I think my disappointment with this film was a case of too high expectations. It wasn’t as gory as I hoped, in fact, there was very little on screen gore at all. I was just expecting something very messed up and I didn’t get that. But then again we did get Maeby from Arrested Development singing a fuck Nazis song so I guess that was a nice surprise?

Shit Tier

Birdbox (Susanne Bier, 2018)

First the disappointment of the Goldfinch, and now Birdbox (although they were chronologically the other way round but for the sake of this review, let’s just ignore that). It really is a bad year for bird films.

It’s weird because when this first came out I remember everyone hyping it up and making memes about it and stuff and then I actually watched it and dear god, it was boring. Honestly, who paid you lot to pretend you cared enough about it enough to make content? And where can I get in on this action?

I mean it didn’t start off terribly but then they killed off SARAH FUCKING PAULSON and somehow managed to make SANDRA FUCKING BULLOCK unlikeable. How does one do that? The mind baffles.

Pet Sematary (Kevin Kolsch & Dennis Widmyer, 2019)

The kid acting was bad, the leads were meh and there wasn’t one creepy moment. This should be SO MUCH MORE hard hitting than it actually was given the subject matter and it just fell completely flat. I will say, though, *SPOILERS AHEAD* that the ending was appropriately doom and gloom and even though I’ve seen lots of others say they hate it it was probably the only thing I actually liked.

The Lion King (Jon Favreau, 2019)

Seth Rogen and Billie Eichner were the only good things about this which is sad because I fucking love Donald Glover and I was so excited when he was cast as Simba. Like, it was pretty but empty and unnecessary and I’m not one of these people who think CGI remakes always have to be this way-I loved Dumbo and I liked the live-action Jungle Book too! I just think the people who made this cared too much about good CGI and realism and less about heart. There was no personality whatsoever and it’s such a waste when you think about the fact that they had Donald and Beyonce on board.

Red Sparrow (Francis Lawrence, 2018)

Eurgh, I hated this. I think Jennifer Lawrence is stunning and I usually love her films but every shot of her in this felt so male-gaze oriented, even the ones which were sexually violent, which I found to be completely unnecessary in the first place. At times it felt almost torture-porn-y which was not what I expected at all seeing as the marketing made it seem like some kind of female empowerment movie.

It Comes at Night (Trey Edward Shults, 2017)

I literally can’t remember fucking anything from this film. Clearly there is a very, very fine line between atmospheric and boring.

Warm Bodies (Jonathan Levine, 2013)

Maybe it’s because I watched this about 6 years too late and the whole human-girl-falls-in-love-with-supernatural-creature hype train has long since left the station but I couldn’t even finish it. Cutesy necrophilia ain’t for me, sorry Nicholas Hoult. Still love ya. You’ll always be Tony Stonem to me xoxo

Million Dollar Baby (Clint Eastwood, 2005)

I’m pretty sure this movie won a lot of awards so I’m sure this is a very unpopular opinion but the way this film ended was so...depressing. SO depressing. Did it have to be THAT depressing? The Always Sunny in Philadelphia episode outsold.

This is the range Oscar winning actress Hilary Swank wishes she had.

Would You Rather (David Guy Levy, 2013)

Started off well but became cheesy and predictable as it went on. The acting wasn’t great either plus there was another unnecessary attempted rape scene here too.

Christmas with the Kranks (Joe Roth, 2004)

So I watched this movie in the run up to Christmas because my best friend and her mum were referencing it like it was this cult classic (which I guess for some reason it is?) and I’m sorry to her and her mum but what the hell is this shit?! It’s not even so bad it’s good. It’s just bad.

The plot, the characters, EVERYTHING, it’s ridiculous on every level. I wasn’t into it enough to suspend my disbelief that anyone’s neighbours would actually care THAT much that they weren’t celebrating Christmas. Go on your damn cruise, take me with you whilst you're at it, ease my seasonal depression! I wouldn’t mind so much if it was funny or if the protagonists were likeable but it wasn’t and they’re not. Nobody’s actions made any sense. It didn’t put me in the Christmas spirit at all it just made me angry that Jamie Lee Curtis’ agent made her do this shit. She’s a scream queen goddess and she deserves better.

ANYWAY.

I’m now realising that I should have started on shit tier and worked my way up to god tier because now this post has ended on the rather sour note of me getting worked up over Christmas with the Kranks, lol. As always, these are just my opinions and I love to hear other people’s; when it comes to something like this, it’s all a matter of preference and there really isn’t a right or wrong answer, so I’m open to discussion!

With the Oscars less than a week away now I rushed a little to get this out on time, so apologies in advance if anything doesn’t make any sense or there’s any typos, I will look back over it at some point over the next couple of days to check.

But if you read to the end thank you! And stay tuned for my overview of Paris Haute Couture Week S/S 2020 if that’s something you’re interested in as that will most likely be next post!

Lauren x

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pooshnulooshnu · 5 years

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Alright, most of the people I follow don't like Thor: Ragnarok, and it seems to be for good reason. I can sympathize with Loki, and how he was the center of every joke, but I wanted to show some highlights of the movie.

We got to see Loki as king. It may have only been for a few minutes, but it was still there, and we still got to see his technique. Loki isn't a violent king; he invested his time in plays and creative arts. He's respectful to his citizens (cue, "thank you, darling" as the handmaiden hands him some wine), and he built rails on the bifrost bridge, which I don't know why he did that, but it looks cool, right?

We get to see the differences in Thor's and Loki's style on Midgard. I mean, we all love the suit, right? Plus, Thor's "you look like a witch line," was pretty brotherly. I understand some people see that as condescending, but if you have siblings, you understand we tease eachother non-stop, so, to me, that line is pretty special. Also, the suit was amazing. You can not prove otherwise.

Doctor Strange. If you don't love Benedict Cumberbatch, there is something up with you because he's awesome. I've been wanting Tom and Ben in a scene together since I learned about War Horse, and, though I didn't necessarily like how it played out, I'm glad my wish came true. Besides, I can deal with Doctor Strange and Loki's bickering. I didn't like the portal situation, but find their additudes towards eachother to be pretty funny.

Hela is pretty cool too. I found it weird that they added her into the story as a daughter of Odin, given she's Loki's daughter in myth (I think), and I really wanted Thanos and her to have a thing like in the comics. Besides that, she was amazing. Cate Blanchett is by far one of my favorite actresses, and I think she portrayed the character really well. Plus, we got a lot of fanart of the Odinson trio together. (If only Odin wasn't the world's worst dad™, we could have actually had that)

Sakar was like a comic book brought to life. I know plenty of you could care less what Tikita Waititi says or does, but I know he purposely made Sakar look colorful and different.

This is probably as close as we'll get to a Planet Hulk movie, at least until someone starts either re-making the movies or the MCU goes off the alternate realities thing and makes a movie for it.

Jeff Goldblum gets 10/10 goldblums, my friend. I know the Grandmaster\Loki situation is a touchy subject, but when you look past that particular peice, we get a great character. We know the Grandmaster and the Collector are related, so it leads to the question of what the heck happened to their family? Why are they so weird? When did the Collector start collecting things and was it because of the Grandmaster? When did the Grandmaster get to Sakar and did the Collector ever go there? Do you think the Grandmaster and the Collector keep in touch? And if they do, does the Grandmaster know about the infinity stones? Do you think he took such an interest in Loki because of the Tesseract? And, yes, these are actual questions I'm asking, so if you know, please tell me.

Valkyrie is also a great character. I know she's meant to be, "more of a guy than the guys," but really who cares? We got a tough, flawed, awesome woman hero. Not to mention Tessa Thompson's confirmation that Valkyrie is indeed bisexual.

To add onto the previous comment about Valkyrie being bisexual, we got a pretty LGBTQ+ movie here. I'm pretty sure the Grandmaster is sexually active, no matter the person or species. Loki is most definitely genderfuild\genderqueer. Even Korg is canonically gay (despite Tikita saying he doesn't play him gay).

Bruce is adorable throughout the whole movie, and I will fight you on this.

We got to see Fenrir, the wolf, which I found was pretty cool, even if he wasn't Loki's son.

We got some wonderful Heimdall shots. I think he should have had more screen time, but we can see, even after Asgard has gone to chaos, Heimdall is loyal and reasonable, as he's always been. I'm really glad his character wasn't victim to any jokes or condescending comments.

Finally, the elevator speech. Before you freak out and start sending me hate mail, hear me out. This speech totally split Loki and Thor apart. The, "there is no Thor without Loki and no Loki without Thor," totally got demolished. But isn't that a good thing? Chris Hemsworth has said that he wouldn't bring Loki back, so Tom is on his own, which leaves Loki with so many plays. He doesn't have to be dependent on Thor, and he doesn't owe anything to Thor because Thor is ready to be on his own. Loki can build new, hopefully more stable relationships with other characters, and he can practically do anything. I don't know where the Loki tv show is going to go, but I really hope they use the elevator speech as a turning point for Loki.

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disneyadaptations · 5 years

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‘Lady and the Tramp’ Will Revamp Problematic Siamese Cat Song, Feature New Music From Janelle Monae

Grammy winner Janelle Monae will contribute new music to the Disney+ streaming title “Lady and the Tramp,” in addition to her voice role in the live-action reboot.

Monae will perform two original songs for the film, led by Tessa Thompson and Justin Theroux. Monae’s artist collective Wondaland is also “reinventing” a track from the original 1955 animated movie, individuals close to the project said.

That would be “The Siamese Cat Song,” originally recorded by Peggy Lee for the feline duo Si and Am in the animated version. Those characters and their famous refrain — “We are Siamese if you please / We are Siamese if you don’t please” — have long been considered a cringe-worthy depiction of Asian culture.

Wondaland contributors Nate “Rocket” Wonder and Roman GianArthur are working on a different take for the pair, who in the new film are not Siamese cats, the insiders added. Walt Disney Studios confirmed Monae’s musical involvement, as did a rep for the singer.

“We’re dealing with Wondaland, her team of incredibly creative writers and producers that she works with. So our director has engaged with her in terms of what the storytelling [of] the song needs to be,” Kaylin Frank, a vice president in Creative Music and Soundtracks at Disney, said at the recent MUSEXPO Creative Summit in Burbank, Calif.

Frank reassured the conference that while the film is set in 1910 and has a blues-ragtime vibe, Monae’s personal sound will be represented. There’s also a possibility Wondaland will do a pass on the film’s signature song “He’s A Tramp,” another individual added.

In a 2013 analysis of the cat song at culture blog Flavorwire, one author found the depiction of Si and Am a result of a post WWII anxiety America had about the foreign “other,” saying they came to represent a duplicitous and seductive team with shady motives.

The OTT service Disney Plus is expected to launch in mid-November, and “Lady” soon after.

Source

#disney #janelle monae #news #lady and the tramp 1955

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aion-rsa · 4 years

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The 20 Best Horror Movies on Netflix UK – Scary Films to Watch Right Now

https://ift.tt/2RE5emn

Netflix is an ever-changing, constantly growing treasure trove of hidden gems and secret delights (here’s everything new on Netflix UK this month). Sometimes, a teeny bit too secret though.

Who hasn’t sat down to watch a horror movie and found themselves scrolling endlessly, either not being able to find something they’re in the mood for, or not really knowing what half the titles are, or if they’re any good?

We’ve scoured the full current catalogue available to watch in the UK now and picked out the best scary movies. It’s a mix of classic and new, and a range of slashers, horror-coms, mumblegore, monster movies and more to hopefully scratch that itch with ease.

We’ll keep this updated as and when titles drop in and out of the service.

Hereditary (2018)

If you haven’t seen this slice of trauma, the feature debut of Ari Aster, you probably should. If you have seen it, you probably won’t want to again. Toni Collette stars as a woman whose controlling mother has just passed away setting of a series of horrible events. Aster says the film was partly inspired by his own sense of his family being cursed – this a movie absolutely drenched in grief and pain with astonishing performances all round. It’s tough going, but it’s a masterpiece. Read our review.

The Platform (2019)

This existential Spanish horror made a splash at the start of lockdown with it’s tale of prisoner trapped in an enormous vertical prison with a platform at it’s centre which delivers food to the inmate floor by floor starting at the top, so that each floor only gets what the floor above has left over. It’s political, allegorical, it’s clever and it’s very violent.

The Endless (2017)

Justin Benson and Aaron Moorhead’s gorgeous sci-fi horror stars the two as brother who escaped from a cult ten years ago and are drawn back in in search of answers when a strange videotape arrives. This is their third movie after Resolution and Spring and the two are only growing in strength as directors – The Endless is rammed with indelible imagery and deeply unsettling moments within a plot that is a joy to unpick.

What Keeps You Alive (2018)

Couple Jackie and Jules head to a remote woodland cabin to celebrate their first wedding anniversary but things go bad… Ok this sounds like the most generic slasher in the world but trust us it’s not. Twists hit early on (that we’d hate to spoil) and the tension ramps up fast in a very effective cat and mouse chase with a female bent. This comes from Colin Minihan who made Grave Encounters – this isn’t similar but both have a disorientating sense of place. Read our review.

Orphan (2009)

Released during the heyday of Dark Castle’s mid-budget horror splurge, Orphan is one of those genre films with an absolutely ludicrous (and therefore thoroughly enjoyable) twist, which we will not spoil for you. Peter Sarsgaard and Vera Farmiga star as a couple mourning the loss of their baby, who decided to adopt a little Russian girl called Esther from the local orphanage. Things quickly start to go very, very wrong as the pair start to suspect that wee Esther – who insists on dressing like a spooky doll – isn’t all she appears to be. Check out our review.

Insidious (2010)

The many sequels may have yielded diminishing returns but the first of this franchise, about a couple (Patrick Wilson and Rose Byrne) whose comatose son appeared to be trapped in another realm by a evil spirit, is a very effective chiller. Horror genius James Wan directs, and the first half of this movie at least is pretty much guaranteed to make you jump out of your skin.

Annihilation (2018)

An all star cast including Natalie Portman, Jennifer Jason Leigh and Tessa Thompson, plus the quality direction of Alex Garland wasn’t enough to secure this horror sci-fi based on Jeff Vandermeer’s novel a theatrical release in the UK. Nevermind, that just means you can watch it for free on Netflix. Portman joins a crew of women exploring the mysterious Area X where he husband ventured some time before and came back changed. It’s a weird, unfamiliar landscape of beautiful flora and terrifying fauna defying explanation until the strange, indelible finale (not sure what it means? Have a read of this explainer). And you can check out our review, too if you like.

Daybreakers (2009)

You’ll get a little bit of everything with this Spierig Brothers curio. It was the film that really got the directing team noticed and it’s not hard to see why. Set in a dystopian world where basically everyone has been turned into a vampire, one corporation thinks it’d be a bloody (sorry) good idea to track down all the surviving humans and…well, basically milk them. Ethan Hawke stars as a vampire haematologist who starts to think there might be another way for this story to go after he’s collared by a former vampire (Willem Dafoe), who can cure everyone. (Living) dead good. Check out our review.

The Bar (2017)

Slightly bonkers Spanish horror thriller which sees a bunch of strangers stuck in a busy Madrid cafe when snipers begin shooting anyone who tries to leave. Confusion and personality clashes abound in this economical single location chiller with a dark sense of human as the inhabitants slowly discover what’s going on, who’s responsible and try to work out if and how they will survive.

Netflix UK: What’s New in April 2020?

By Kirsten Howard

21 underappreciated films to watch on Netflix UK

By Paul Bradshaw and 2 others

The Cabin in the Woods (2012)

Drew Goddard and Joss Whedon’s love/hate letter to the horror genre felt like something of a game changer when it finally arrived (it was shelved for several years because of financial issue with original distributor MGM). Chris Hemsworth and Haley Bennett star in a double layer story about ordinary kids vacationing in a woodland cabin, with Bradley Whitford and Richard Jenkins as very particular kinds of bureaucrats up to something in the background. No spoilers, just watch. Here’s our review.

Cargo (2017)

Martin Freeman stars in this Netflix original developed from a short directed by Ben Howling and Yolanda Ramke. Set in the Australian outback, Freeman is a father trying to find someone to protect his child in the middle of a zombie apocalypse. More wistful and emotional than that sounds on paper, there’s a fascinating subplot about an Aboriginal girl mourning her father and the final set piece is unforgettable. Check out our review.

Lifeforce (1985)

A Cannon Films classic directed by late Texas Chain Saw legend Tobe Hooper, people are still discovering the ’80s madness that is Lifeforce. Originally entitled Space Vampires, it’s exactly what you’d expect, and so much more. Nude, energy sucking bat creatures are brought back to Earth after an interstellar mission finds a gaggle of them lying dormant in Halley’s Comet, and it all goes very badly for the planet. You can expect a scenery-chewing Patrick Stewart to pop up in between the tits and gore. Not literally! Although, sometimes literally.

Creep (2014)

No, not the one set on the tube, this ‘mumblegore’ horror is far weirder than that. Director Patrice Brice plays Aaron, a videographer hired by Mark Duplass’s Josef to make a video for his kid to watch after he’s died of a terminal illness. Or does he? Playing on the power of politeness and the awkwardness of male relationships this is a highly original, itchily uncomfortable watch. Creep 2 is also on Netflix, and also good!

17 of the best TV series on Netflix UK

By Louisa Mellor

Underappreciated comedy movies on Netflix UK to watch now

By Mark Harrison and 1 other

Hush (2016)

Another smart sensory-based horror, this time from Oculus and Doctor Sleep man Mike Flanagan. This home invasioner sees deaf writer Maddie (Kate Siegel) attacked in her woodland retreat by a masked stranger. He uses her inability to hear to sneak around and terrorise her, but she has tricks of her own up her sleeve. Check out our review.

The Invitation (2015)

Karyn Kusama (Jennifer’s Body, Destroyer) just keeps knocking it out of the park (and she’s recently been attached to a Dracula movie from Blumhouse Productions), and with The Invitation she continued to secure her place as one of the best directors around. Here, Will (Logan Marshall-Green) and his girlfriend go to a party held by his formerly suicidal ex-wife, and discover that she seems to be happier than she ever was, but Will starts to suspect that rather than healthily coping with her mental illness, she may well have joined a doomsday cult instead, and be planning to kill them all. Paranoia and tension are at the max in this bad boy. Here’s our review.

Little Evil (2017)

Comedy horror from Eli Craig who made the wonderful Tucker and Dale Vs Evil. This time he’s playing on creepy kid tropes, particular those from The Omen movies. Adam Scott plays a man who discovers his new wife’s (Evangeline Lilly) son might actually be the anti-christ. And because it’s Eli Craig, of course it’s funny and very good natured as well as playing with the genre.

Gerald’s Game (2017)

Another Mike Flanagan offering here – what can we say? he’s damn good! – as Jessie (a spectacular Carla Guigino) and her husband Gerald drive to a remote house to try and spice up their marriage with a bit of gentle BDSM. One problem: Jessie is not into it. At all. Two problems: Gerald carks it, leaving her tied up with only her cunning to help her free herself from her prone, handcuffed predicament. Three problems: a mythical, supernatural killer may be in the house. Stephen King, you’ve done it again. Read our review.

Ravenous (2017)

Unusual Canadian zombie movie (in French) which sees remaining stragglers after an outbreak of the infected band together in disparate groups travelling to find other survivors. Ravenous sets up its infected as worshipping a sort of new religion of found items (chairs, TVs etc.) making comment on the zombification of society. It’s also funny and quite scary, so there’s that.

Veronica (2017)

Loosely based on a true story, Veronica is set in Madrid in 1991 and follows a young woman who messes with a Ouija board who thinks she’s accidentally summoned an evil spirit. Director by Paco Plaza, one of the two directors behind [REC], the movie gained minor notoriety when it first landed on Netflix because of a few viewers finding it overly scary. It’s true there are some seriously creepy bits (but you’ll be fine!).

The Perfection (2018)

Get Out‘s Allison Williams and Dear White People‘s Logan Browning star in this twisty, trashy but nonetheless enjoyable tale of two musical prodigies hothoused at a mysterious academy. It’s lurid and lavish (and it’s got some fairly dodgy sexual politics, we’d warn you) but great lead performances and a tricksy three act structure that keeps you guessing, make this an entertaining and unusual Friday night pick. Read our review.

Want more horror? Here’s our list of 81 genuinely creepy horror movies. Here are some horror movies it’s safe to watch with your kids. And here are some underappreciated Scream-inspired horror movies of the 90s.

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umbraastaff · 5 years

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I’ve just been thinking--it’s about time I make a proper index for my TAZ fics, huh? Also contains: mini-series, ficlets, goof posts, and lyric comics.

(All of the fics are rated G, or T at most for McElroy-appropriate language.)

FICS

I Saw Seven Bounties | Canon Compliant, Enemies to Friends, Complete | Mostly lighthearted, episodic recounting of Kravitz and Barry’s rivalry throughout those first twelve years on Faerun. 24K. -->Extras: Lich Eyes, Fantasy Starbucks, Alt POV for Chapter 1 & Chapter 5, Sorry

They Say Fire Took Phandalin | Small-town supernatural/sorta-haunted-house AU | Fresh out of grad school, Barry Bluejeans takes a job and a house in the rural nowhere-town of Phandalin. And it’s not like he thought fitting in would be a walk in the park, but the people there all act really weird, and it’s almost like they’re expecting something of him, too. 11K/~20K.

What Can’t Be Done Alone (Detective Squad) | Canon Divergent, Found Family, Fluff | AU where the voidfish works a little better, and Angus never finds the Bureau. Instead, he finds a strange lich in a cave, and he most certainly continues to work this case and not gradually get adopted instead. 18K/~22K. -->Extras: Drangus AU Oneshot

If I Wanted to be Funny I’d Name This Fic “The Time Belt” | Futuristic sci-fi AU feat. time travel | Taako meets the only people in years who recognize the Institute’s name. Known time criminal Barry Bluejeans continues to evade law enforcement. 2K/??.

Overgrowth / Undercurrent | Roleswap AU, Johnchurch, Pining, Twoshot, Happy ending optional | Overgrowth is a oneshot that follows John, the Starblaster’s chief diplomat, through a series of parleys with Merle, the center of the plane-consuming mass of plants that’s been chasing his crew. Undercurrent is a sequel about their post-canon reunion. 4K + 6K. --> Extras: PLAYLIST by @merle-casts-zone-of-truth

Davenport Remembers | Post-canon, Oneshot | Davenport meets with his crew members to try to reconcile his anger with Lucretia, or to decide whether he should. 1.5K.

MINI-SERIES

AU Where Taako is a Lich - Pretty much what it says on the tin here, folks!

Baritz (ask series) - A fusion of Barry and Kravitz, who took over my blog and answered asks for a while. (He originated in the Gallows/S&S lyric comic.)

Good Adventures (Good Omens crossover) - The Antichrist’s wishes summon the wrong boatful of aliens. Thankfully, it seems they’re apocalypse experts. [with plot-ideas help from @avijohann.]

Omen Zone (Good Omens crossover 2) - Barry is a demon. Kravitz is an angel. Kravitz probably won’t ever admit that they’re friends.

Pokémon: Century Version (Pokémon crossover) - Stolen Century AU where they’re all pokémon trainers. Faerun spin-off: Double Trouble

Till Death, Don’t Let’s Start - Barry fucks up. Kravitz is present.

Very Normal Blog Posts (ask series) - In which Garfield is not at all dangerous, and I am perfectly fine. <alt: chronological link - desktop only>

COMICS & ART

Gallows/Steady and Stronger (Double lyric comic) - Canon-divergent AU where, as the world is ending, Barry gives up to Kravitz. [Image description version]

[Lyric Comics] - Other, shorter lyric comics based on single verses of songs.

Dear Scientist’s Log (series) - Illustrated ship logs from Barry J. Bluejeans.

Movie Madness (Comic) - Barry obsesses over the unforgivable.

Palette Prompts (Arts) - Art from art meme prompts.

Pregananant (goof comic) - You know the one.

REAPER (Comic) - Baritz fuses with Lup.

These Jeans? (Animatic) - Barry advertises jeans.

They’re Both Tessa Thompson (Comic) - Lucretia has a nightmare. Barry reassures her.

War (Goof comic) - prompt: "taakitz with CAT”

What’s bigger than this? - The Red Robe.

FICLETS

Back Soon - Kravitz leaves a note with unfortunate wording.

Bodyswap: Barry & Davenport - During Wonderland.

Casual - AU where the red robe talks like a normal person.

Command - Barry misuses his magic.

Davenport - There’s something unsettling about that butler.

Hangin’ Out - Lup and Magnus.

Harvest - Roleswap AU: Barry is the Hunger.

Healing Necromancy - Merle tries to teach Barry some tricks.

Hope - Barry knows she’s still out there.

How Long? - Taako is frustrated.

In Pieces - The staff.

Liches Forget Too - AU.

Lucretia Forgets - In which there was a mistake with the voidfish ichor.

Lup’s Robe - Gifts from Taako.

Mourning Glories - The flowers in Merle’s beard.

New Years - Celebrations and fears.

Parole - Barry and Kravitz bonding hours.

Phone a Friend - Baritz (the fusion from Gallows/S&S) meets Angus.

Raising the Dead - Barry has to use his crew members’ corpses. [sequel]

Robbie...? - Magnus breaks into the brig immediately after Petals to the Metal.

Second Apocalypse - Based on that one party liveshow. What was the rest of the crew doing, again?

3 Sentence Fics - Pairing + AU prompts.

Smartstone - Lup gets stuck in a Stone of Far Speech, instead.

Stir Crazy - Barry waiting for a new body to grow. Thoughts of Lucretia.

Writing Things Down - In case you forget (again).

You Remember - Taako remembers.

PROMINENT GOOFS

Barry’s Dead - But he’s fine! Calm down!

Character Development - Joke’s on you, DM!

Crystal Kingdom - An absolutely bonkers arc.

Dealer - Merle pun.

Decapitate Me - for making this post

Don’t Care - Taako during the finale. [bonus]

Epilogue - Bracer struggles. [bonus: 1, 2]

Explain the Hunger (Good Omens crossover) - Magnus explains the hunger to Aziraphale and Crowley. They react in varying ways. [with cursed art contributions from @avijohann and @mspainttaz]

Fifteen Dollars - Plus interest. [Bonus]

Fullmetal Kingdom - They’re the same, right?

Gender - And lack of roles.

Gnomes Don’t Exist - They’re all aliens, actually.

Hot Diggity Shit - Been a while.

Icon Confusion - The saga of people thinking my icon is a carrot. [chrono link - desktop only]

Incomprehensible Denim - Jeff Angel’s illegal pants.

In Case it Changes Anything - Taako, Kravitz, and lies.

Irresponsible Teens - Magnus and Lucretia get into trouble.

I Saw Seven Nerds - That’s the post.

Gogurt - Taako’s crimes.

Learning to Drive - i.e. Barry & Davenport Bonding(?) Hours.

Live Shows - The general mood.

Lucretia’s Efforts - A proper meme? On my TAZ blog?

Lup Said No Thanks - That time Magnus was in a tree.

Magnus’ Death - So many close calls.

Nearest Middle-Aged Woman - Clint’s characters’ friends.

Necromancy? - You must be mistaken!

Ned’s Aliases - The Truth.

Pirate Debt - Davenport during that one liveshow.

Punch Squad - SQUAD!

Reaper Cloak - Thoughts.

Relic Names - She probably changed them.

Responsible Necromancy - Good and bad ideas.

Resume - It’s not like they thought it would be relevant.

Schools of Magic - And the Sash was what, again?

Self Care - Respect the dead, please.

Server Shenaniganry (art) - TAAKO THE CAT, NO!

Soulmate AU - Where your soulmate’s greatest enemy is on your wrist. [alt]

Stern’s Truth - You Know.

Taako’s Last Name - Taako’s last name.

Team Composition - The post where everyone wants to argue with me about what qualifies as a wizard.

Third Option - Taako saves the day.

You’re Laughing - End of Suffering Game.

THEORIES/MECHANICS/THOUGHTS

Aloof - Holes Taako refuses to fill.

Barry’s Lucky Possessee - Graphic novel theory hopes & dreams.

Catpiling - Stolen Century thought.

Davenport’s Deaths - Sucks when you always wake up driving.

Death Leaves a Mark - Stolen Century AU concept.

Everyone Else - Some people didn’t get perfect endings.

Fantasy Nonsense - lore about the word “fantasy,” as in “Jesus Fantasy Christ.”

Fragments - Magnus’ memory.

Forgiveness - Old post about the crew’s thoughts on Lucretia’s actions.

Forgot to Erase - Lucretia’s errors.

FULL TIMELINE POST - the Balance timeline.

Gauntlet - (disproven!) Theory about the final relic, from before it was confirmed in the show.

Gnome Nicknames - Thoughts on Cap’nport.

High School AU - Some old headcanons.

Home World Names - The pattern in surnames (or lack thereof) on the IPRE’s homeworld.

Hour - This isn’t a thought so much as an Actual Thing That Magnus Said before the time loops had started, which is absurd.

Idiots in Love - The IPRE’s collective braincell was lost for all of Legato. [2]

Liches, Alone - Being stuck as raw emotion for an awfully long time.

Losing Julia - And subsequent developments.

Love - What was remembered and forgotten.

Love Without Fear - Thoughts on bonds during the Stolen Century.

Memory - Barry actually shouldn’t have remembered anything.

Nickname - Memory of Lup.

Paladin Barry Theory - Converging evidence on Barry’s multiclassing.

Paradox AU - blueprint for 8th, 9th, 10th, etc. Bird AU of your choice(s). (Extra)

Phylactery Mechanics - How liches differ.

Produce Flame - Mechanics of John killing Merle.

Recklessness - THB’s actions recontextualized.

Relic Schools of Magic - They don’t have them!!!

Relicswap AU - Where all the birds get swapped out.

Seven Birds as Gods - Ask-prompt thoughts.

Staring at the Sun - The birds and their light sensitivity.

Story, Song, & Sorcery - Effects on the young population.

Sword Tornado - Magnus Mechanics. [bonus: Time Warlock]

The Good Place AU - A series of crossover thoughts.

Tree Climbing - Davenport shenanigans.

Unique Magic Types - [and combo styles]

What Killed Maureen - hint: it wasn’t Fisher.

#the adventure zone #taz balance #mine #index #there were a fair few in here that id forgotten about too!#god i hope i didnt mess up any of these links

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libertasrpg · 4 years

Photo

We welcome Delilah Drago to the city. She’s 28 years old and is a Sommelier & Farm Winery Owner. Delilah is often mistaken for Tessa Thompson. She’s open.

→ Background Information

A cute little farmhouse and a couple of grape vines was all it took to get little miss Delilah Drago on the map. Her parents began making wine at home on their own when the young woman was in high school. Delilah quickly learned how to harvest and press the grapes and was also quick to take an interest in learning how things worked around the farm and in her parents sales room. In college she majored in business and graduated top of her class, having interned with a winery it was no question as to what she was going to pursue after school.

→ Relocation Explanation

When Fiona brought up her desire to move and make a bit of a brand new start in a new city Delilah immediately jumped at the opportunity, eager to explore something new with her best friend, plus Delilah would be lying if she said she wasn’t a bit of a mom friend, and with not much holding her back she was ready to go, hoping to also expand her clientele for her winery and maybe even book a few weddings in the process.

→ Living Situation

If you want to keep up with all of the latest interior design trends, Delilah would absolutely be your go-to gal. Though she’s a vineyard girl at heart she loves reading through the latest magazine and online articles about home trends and just like her winery tasting room, her little apartment is only the best of the best.

→ Her Personality

Body language has always been Delilah’s forte, she’s always been able to read a person based on how they’re standing, leaning, facial expressions, hand motions, etc. and she loves and hates it. Along with that she’s always been the first to speak her mind, but has always been known as one who’s able to hold her temper. She’s patient and also willing to help at a moment’s notice.

→ Her Qualities

Faithful, Quick-Witted, Confident

Self-indulgent, Stubborn, Cunning

→ Her Relationships

Fiona Prentice (Best Friend & Co-Worker): Delilah and Fiona met on a whim at a show and became fast friends, musing over a glass of wine before the show. Delilah was able to help her friend through her divorce and once her friend decided it was time for a change of scenery Delilah agreed, thankful to have her parents to help her keep her winery up and running.

Paxton Bernard (Friend): Paxton met Delilah and Fiona while Paxton was teaching a spin class, after class they couldn’t help but point out how the pair of ladies seemed to be dying in the back of the room - Delilah was first to admit she was but Fiona tried to front. Paxton had none of it though, and was quick to call them out but to invite the two back to their class and from there it’s been history. Delilah will often meet up with Paxton for coffee or a quick meet up, and Fiona will join as she’s able.

Donovan Drake (Potential Love Interest): One good thing though, to come from Shane, has been meeting Don, even though Shane had nothing of their meeting. They met briefly, once, in a coffee shop in the city, and Delilah was intrigued. Of course they hadn’t spoken for long but there was an exchanging of numbers.

Lucas Farquaad (Annoyance): Delilah hasn’t met Lucas in person, but based on the stories she’s heard from Fiona she feels as though she’s known him her whole life as every awful guy she’s ever dated herself - though she’ll always say thank god she still hasn’t married herself. Guys like Lucas are on Delilah’s list, and not the good one.

→ Possible Connections

Shane ‘Shrek’ Shermann (Friend): Though he’s considered a friend, Delilah is still incredibly skeptical of Shane, just as she’d be of any man trying to work his way into Fiona’s life, especially following that quick but messy divorce. Delilah does appreciate Shrek’s way of life and his work ethic, working on his own farm and whatnot but his somewhat standoffish personality is a huge turn off for her.

Preston Prince (One Night Stand & Possible Friend): It wasn’t her proudest moment, but shortly before Preston made the acquaintance of Fiona, Delilah and this night in shining honor of a model shared one very drunken night together. It wasn’t until they met again on a night Fiona invited Delilah out to dinner with the couple while they dated and needless to say things got a little awkward. Though there isn’t any bad blood and it’s possible the two could even become friends after all is said and done.

→ Faceclaim Change:

Allowed | Not allowed | POC must | Discuss with admin

Suggestions: TBA

Delilah Drago is based on Dragon from Shrek.

#dreamworks rp #shrek #shrek rp #shrek dragon #Tessa Thompson #dragon #26 to 30 #female #open #open female

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thormovies · 4 years

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"Thor: Love and Thunder": This is all that is known of the next Marvel movie

"Thor: Love and Thunder" will be the next Marvel movie and will consist of the fourth installment starring Chris Hemsworth. In recent days, director Taika Waititi took advantage of the quarantine to chat with actors Mark Ruffalo and Tessa Thompson through a live Instagram feed.

How much do we know about the Thunder God tape? Since her announcement at San Diego Comic-Con in 2019, it was revealed that Natalie Portman will return to play Jane Foster. However, now she would be a carrier of the Mjolnir hammer under the title of the female Thor.

In that regard, fans began to speculate on the " Thor: Love and Thunder " plot, as this alternate superhero character has his own story in the comics.

On the other hand, actress Tessa Thompson has clarified on several occasions that her character Valkyrie is bisexual and would set the tone in the journey of LGTB + characters - counted with one hand - by Marvel Studios. "She will need to find her queen," she said at Comic-Con about her new role as queen of Asgard.

WHO WILL HAVE THE PROTAGONISM?

Almost a year later, the news has come from Taika Waititi himself. Through a video, the filmmaker behind " Thor: Ragnarok " shared some details in a conversation with Thompson and Mark Ruffalo for Marvel fans.

The director of " Thor: Love and Thunder " assured that Valkyrie will have a role "10 times bigger" than in the previous movie. This statement draws attention to the return of Natalie Portman, who would be one of the protagonists with Chris Hemsworth.

In that sense, Waititi revealed that the script is "excessive, but in a good sense of the word", since it makes "Thor: Ragnarok" look like "a very safe movie. This new tape feels like we asked a group of 10-year-olds what they wanted to see and said yes to all their requests. ”

To the surprise of his followers, the Oscar winner also pointed out other important points for fans of " Thor ": he is not sure if the God of Thunder will keep the aspect of " Avengers: Endgame ", he did not confirm the return of Loki, they will appear the SpaceSharks and a little more will be known about Korg's race.

IS IRON MAN RETURNING?

On the other hand, he included the artistic concept of "Thor: Love and Thunder" and showed part of the script he is writing ... Is Iron Man alive? Despite the fact that the director wants to play with the minds of the fans, the dialogues read on these sheets seem more like work than his actual work. Also, Marvel Studios would not allow too much detail to leak.

The filmmaker's script reads a reunion scene between Thor and Tony Stark, where these dialogues are rescued:

Tony: How are you?

Thor: You're back!

Tony: I'm back, baby!

"Thor: How? I saw you die

Tony: Science, plus Thanos came back.

Thor: Mother Frigga ... then shall we meet again?

" For Tony, for Earth, for Asgard, " reads the finale. This script is most likely a hoax to draw fans' attention to what's really going to happen in " Thor: Love and Thunder, " a Phase 4 movie of the Marvel Cinematic Universe (UCM).

RECURRENT AND NEW CHARACTERS

In an interview for Comicbook, actor Vin Diesel confirmed that some characters from "Guardians of the Galaxy Vol. 2" will appear in the fourth installment of "Thor. " At the moment, it is not known who exactly will be part of the Marvel movie, but this statement increases the excitement among fans.

On the other hand, it was confirmed that Christian Bale will play a role in "Thor: Love and Thunder", as the villain who will face Chris Hemsworth. In an interview, actress Tessa Thompson revealed the new signing for Marvel Studios.

“ Christian Bale is going to play our villain, which is going to be fantastic. I have read the script but I can't tell you much. I have a lot of exciting messages with Natalie (Portman). We are going to have a great time. Taika is writing and directing. Some familiar faces. New people coming to join, "he said for an interview with ET, on March 6.

In the face of the coronavirus pandemic, Disney announced new release dates for all its movies, including those for Marvel. " Thor: Love and Thunder " will arrive on February 18, 2022.

#THOR 4

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tabloidtoc · 5 years

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Us, March 30

Cover: Prince Harry breaks his silence -- his side of the story

Page 2: Red Carpet -- Billy Porter

Page 6: Loose Talk -- Aidy Bryant, Emily Blunt on Judy Dench, Alex Rodriguez, Selena Gomez on kissing Dylan Sprouse, Cole Sprouse

Page 8: Contents

Page 10: Hot Pics -- David Beckham plays soccer with his son Romeo, Victoria Beckham with husband David and Brooklyn Beckham with girlfriend Nicola Peltz in Miami

Page 11: Divorce Court judge Faith Jenkins married Kenny Lattimore in LA, Gerard Butler at the last Olympic torch ceremony for a while in Sparta, Justin Bieber waiting to get his car washed

Page 14: Rebecca Gayheart with Rachel Zoe at her Box of Style event, Dascha Polanco at Montblanc’s MB 01 headphones and Summit 2 Plus smartwatch launch party in NYC, Alya has succeeded in getting the sale of exotic skins and furs banned in California

Page 16: Christina Aguilera at a Hollywood premiere, DWTS couple Maks Chmerkovskiy and Peta Murgatroyd mimic the famous V-J Day in Times Square kiss, Gugu Mbatha-Raw and Keira Knightley at the London premiere of Misbehavior

Page 18: Stars They’re Just Like Us -- Zendaya and Jacob Elordi shop local, Ewan McGregor and Mary Elizabeth Winstead take the subway, Gwen Stefani cheers on son Kingston at a football game

Page 19: Emily Ratajkowski walks her dog Colombo, Cillian Murphy tosses his trash, Donnie Wahlberg and Jenny McCarthy play cards, Jessica Alba Facetimes on the go

Page 20: Take a Hike -- celebs enjoy the great outdoors -- Nicole Kidman in LA, Richard Madden in LA, Reese Witherspoon and Mindy Kaling in New Zealand in a throwback shot while filming A Wrinkle in Time, Nina Dobrev in Cape Town

Page 22: Love Lives -- Ryan Michelle Bathe loves how often husband Sterling K. Brown calls to check in

Page 23: Busy Philipps says that her marriage to Marc Silverstein has a really solid base, Meghan Trainor says that the best part of marriage to Daryl Sabara is having your No. 1 fan be your best friend, Kaley Cuoco and Karl Cook are taking a big step in their marriage -- they’re moving in together

Page 28: Hot Hollywood -- Katie Holmes finally opens up about the hardships she endured during her marriage to Tom Cruise

Page 29: Coronavirus Crisis -- Hollywood on Pause, Jennifer Garner is happy for ex Ben Affleck in his new relationship with Ana de Armas

Page 30: What’s in My Bag? Judy Joo

Page 31: Who should Ariana Grande date next -- Michael B. Jordan or Fahim Anwar, VIP Scene -- Jamie Dornan (pictured), Amanda Bynes, Liev Schreiber, Jimmy Fallon and wife Nancy Juvonen, Zachary Levi, Jane Lynch, Ne-Yo, Noah Centineo and girlfriend Alexis Ren

Page 32: Harry speaks -- Why I Really Left -- the rebellious royal sets the record straight on who made the decision to leave the kingdom and what comes next

Page 36: Babies On Board -- Sophie Turner, Brie Bella and Nikki Bella, Jodie Turner-Smith

Page 37: Ciara, America Ferrera, Katy Perry, Malika Haqq

Page 44: Beauty -- Jessica Alba’s makeup artist Daniel Martin on how to get glowing

Page 48: Ahead of One Day at a Time’s move to Pop TV Rita Moreno and Justina Machado give a glimpse of what’s to come

Page 50: Sarah Wayne Callies on Council of Dads

Page 58: Fashion Police -- Alyson Stoner, Tessa Thompson, Ben Platt

Page 59: Camila Cabello, Eiza Gonzalez, Ellie Goulding

Page 60: 25 Things You Don’t Know About Me -- Kristin Scott Thomas

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wknc881 · 4 years

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Podcast Recommendations

We find ourselves in unprecedented times so I curated this list of podcast recommendations of shows that will inspire you, provoke you, or make you laugh (or cry). With more of us (shout out essential workers) staying at home amid these anxious times there is need and yearning for connection. Let’s connect through the most fundamental human art form storytelling, stories provide us with a means to connect, inspire, and many more wonderful things. This list was curated with my personal favorite podcasts that I believe everyone will find interesting featuring shows about big ideas, to shows about the small interpersonal stories that tug at your heartstrings. So, let’s find a new podcast to binge!

Ministry Of Ideas

A small podcast about big ideas “that shape our society” from spiritual machines and transhumanism to the need to have an economy based on grace, this podcast tackles the big questions of society and definitely will engage you intellectually and broaden your perspective on various interesting topics.

Lore

A thrilling podcast about the dark side of history every two weeks host Aaron Mahnke explores true life scary stories. Well produced and well narrated this podcast is a very entertaining podcast that will keep you on the edge of your seat.

Myths and Legends

Jason Weiser brings humor to classic myths and legends that we may or may not be familiar with. Jason Weiser narrates myths from different cultures from classical Greek to India and everything in between, think you know these classic stories? Well, listen to these classic stories with a witty spin.

Serial/This American Life

This American Life is a podcast about stories specifically American stories with content so diverse it’s hard to put into a few sentences. Check this podcast out for great stories that can inspire you, make you laugh and can definitely make you cry.

Serial is a podcast from the creators of This American Life is another podcast about stories, Serial takes one story over a season exploring different angles and depths of the particular story making it an engaging podcast that millions of listeners have enjoyed.

Civics 101

A podcast about civics, civics is so important to our lives that a podcast refreshing us about how our government works is so important. Even if you do not consider yourself a political person you should at least have fundamental knowledge of how government works and this podcast is a great resource.

This Land

An assassination in 1889 and 1999 murder case crimes decades apart play into an important supreme court case in 2019 that involves half of Oklahoma and five tribes. This Land is a limited series podcast that explores the background of a supreme court case that could be the biggest tribal land restoration.

5-4

The supreme court sucks! According to this podcast anyway, From the people who brought you Slow Burn this podcast explores different landmark court cases that involve hot topic issues like affirmative action, gun rights, and campaign finance hosts Peter, Michael, and Rhiannon breakdown the ideological battles in the courtroom through a progressive lens.

Wolverine Podcast

A scripted podcast from Marvel featuring one of its cornerstone heroes Wolverine, for my comic book fans and non comic book fans Wolverine the Long Night is a great gateway into the world of scripted podcasts.

The Left Right Game

A scripted podcast starring and co-produced by Tessa Thompson, the engaging story is worth a listen but it is backed up by amazing production with immersive audio; this story offers not just an suspenseful mystery story but an experience.

Jemele Hill Is Unbothered

An Original Podcast on Spotify featuring award winning journalist Jemele Hill. Jemele Hill interviews a who’s who in the entertainment industry but also politicians and activists to have interesting conversations.

Becoming Wise

In short episodes, most are less than 10 minutes, host Krista Tippett explores various topics that will make you wiser through the many interesting conversations she has with interesting people from Brene’ Brown to John Lewis become more wise with this podcast.

Optimal Relationships Advice

Optimal Living Daily is an audioblog where they narrate content to you and this particular audioblog is about relationships. And not just romantic relationships, although those are covered too, but other relationships everything from friendships and parenting. Get the best relationships content read to you for free, best deal ever.

How’s Work With Esther Perel

Couples therapist Esther Perel explores relationships at the workplace, from startups to family business and everything in between. In one time therapy sessions between co workers, co founders, and colleagues Perel unpacks the invisible forces that impact our relationships at work.

Good For You

Comedian Whitney Cummings interviews guests (friends, comics, celebs etc) every week. These interviews are never boring as Cummings comedic background is in full effect with every interview, listen for laughs….and more laughs.

Good One A Podcast About Jokes

A podcast about jokes sounds funny right but it is funny and informative. What makes a good joke? That is what this podcast is all about as comics break down their best jokes and find out what makes a good joke, you might see your comedic skills improve too.

Zig Zag

A business podcast about the changing course of capitalism? Sign me up, this podcast hosted by Manoush Zomorodi and Jen Poyant this podcast will help you understand a multitude of things from cryptocurrency to identity at work and how work is changing plus many more pertinent topics to the modern workplace and modern life.

-Shawn

#WKNC #WKNC 88.1 #Podcast Recommendations #COVID-19

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bereft-of-frogs · 5 years

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If you are ever so inclined - I'd be very interested in your horror recommendations.

This got…probably more involved than you intended. :D It was a good procrastination tool/distraction from A Thing I didn’t want to do though, and I had fun revisiting some of these old trailers.

This ended up really long. I’m sorry. I don’t know why I’m like this.

“The New Golden Age”

[These are what I’m talking about when I talk about us entering in a new golden age - really genre bending, specifically out to subvert tropes, make social statements, and empower people who have been shut out by horror in the past.]

Jordan Peele - Get Out (2017) and Us (2019)

Ah, Jordan Peele. The master of the comedy to horror turn. Get Out was the most fun I’ve had watching a horror movie in a long time. I love how it really fits itself to classic tropes but subverts them by flipping the genre and race dynamics. (Daniel Kaluuya’s character embodies the ‘Final Girl’ trope.)

Us fucked me up. Like, woke up at 3am thinking about it, couldn’t really look at Lupita Nyong’o for a while. The remix of the song that plays over the trailer literally gives me goosebumps. It freaked me out, so much. That one is a genre bender - you think you’re watching one thing (a classic home-invasion type trope with some weird mystery to it) and then the final scene basically upends everything you thought you were watching. Fucked. Me. Up.

Ari Aster - Hereditary (2018) and Midsommar (2019)

I’ve been talking a bunch about how much I loved Midsommar. It’s gorgeous visually, Ari Aster is so great at just letting things hang and letting tension build and build - and it was the first horror movie I think I’ve ever felt weirdly empowered by. Like, similar to when I saw Captain Marvel, I walked out of the theater like “is this how men feel all the time?” Hereditary is probably a better movie overall, not counting the fact that it was practically made for me. At its core it’s a grief drama, a phenomenal portrait of mourning…and it’s also really fucking scary. Those slow-tension building scenes are really used effectively in Hereditary.

I also think it’s interesting because Ari Aster is keeping pace with Jordan Peele, but did it in the opposite order. Hereditary is the genre-bender - you kind of think it’s a family drama/psychological horror for most of it, and then it takes a hard turn and makes you question everything you were watching. Midsommar is more on-genre norms - it’s essentially the classic ‘bunch of terrible people getting picked off one by one’ trope (I don’t know if there’s a better name for that), but by applying folk horror and really centering female characters as both pro- and an- tagonist, it does a lot of unexpected things.

Robin Aubert - Les Affamés (”The Ravenous”) (2017)

It’s a zombie movie, but it’s more than that. This movie is so layered. I saw it at a festival when it first came out and then we watched it again this year on St. Jean-Baptiste (Québec national holiday) because we wanted to be #OnTheme. (And to celebrate St. Jean-Baptiste without having to interact with crowds) and it kind of clicked what it was doing. It’s really about the absorbing of difference into the dominant, hegemonic culture and the struggle for marginalized individuals to survive. Robin Aubert has a couple others I haven’t seen yet, but have heard good things about and are on my list. I saw a critic call his main brand ‘pastoral terror’ (terreur pastorale) which I absolutely love as a concept.

Alex Garland - Annihilation (2018)

Some people might argue with me if this is horror or not, if it’s sci-fi, but I think it’s body horror. And it’s beautiful body horror! See this is what I’m here for. Body horror is not just gore - there’s not a lot of blood in this movie. Body horror is about distortion and the grotesque. There’s this one scene that still gives me chills when I think about it and Tessa Thompson’s final scene is beautiful body horror at its finest. (There was also a really similar scene in Midsommar, so I clearly know what I like.) The soundtrack is also phenomenal.

[I had a whole rant about the book series, which I hated, here, but it was getting long and derailing so I cut it out. the tldr is I hated the book.]

“Classics I actually Enjoy”

[I don’t always love what appears at the top of the like ‘essential horror’ lists, but these are the ones I think are worth it.]

Dario Argento - Deep Red (1975)

I really, really wanted to like Suspiria more, because the concept and Goblin’s score for Suspiria both appeal to me a lot more. But I had a lot more fun watching Deep Red. So far it’s my favorite of the giallos.

Richard Donner - The Omen (1976)

Classic. It’s so good. “It’s all for you, Damian!” Plus, I love any movie that comes with rumors of a curse.

Alfred Hitchcock - Psycho (1960)

I would classify most of Hitchcock as ‘thriller’ rather than horror, but Psycho is firmly psychological horror, and The Classic.

Stuart Gordon - Re-animator (1985)

I couldn’t really decide if I wanted to put this one. Especially because on a long drive my friend and we basically covered how this was really ripe for a remake because it’s flaws…did not age particularly well, especially re: gender and race. (But it could be so, so good. It could be an amazing commentary about consent and the use of marginalized bodies…but the original …is…not.) But I’m putting this on here because of body horror. They clearly hired dancers or choreographers to do the reanimated movements because they really lean into it and it’s great. It gets…heavily derailed at the end by an absolutely ridiculous gore climax and missing the opportunity to actually have a coherent storyline or a message of any kind…but they got the grotesque movements down.

Honorable Mentions: The Amityville Horror, The Exorcist, Rosemary’s Baby, *sigh* Cannibal Holocaust (like…I don’t actually recommend anyone watch it. I’m glad I did, because it’s really important for how the ‘found footage’ genre developed, so it’s a piece of film history but like. Don’t actually watch it.), The House on Haunted Hill

“Random Others In Between”

Adrian Lyne - Jacob’s Ladder (1990)

You might recognize Jacob’s Ladder as the movie that more heavily inspired the first chapter of ‘dark underground//violent sky’ more than I had originally thought. I had originally been basing a lot of the tone and style on current trends in horror TV, but then I happened to watch Jacob’s Ladder while I was in the middle of writing the second half and was like…oh. Like, I knew I had been heavily influenced by Jacob’s Ladder and the ending, but I had forgotten about how the film differentiates between ‘reality’ and ‘dream’ - in that it doesn’t! And that was an effect I was specifically striving for when I was writing ‘dark underground’. It’s also just a really weird, trippy late-80s/early-90s movie set in New York when New York was still really dirty and that’s fun.

Hideo Nakata - Dark Water (2002)

This is my favorite Japanese horror film. I think it gets a little bit looked over in favor of some others (Ringu, Ju-on, Audition), but it’s my favorite. (Has a terrible American remake, so be sure to avoid that one. It comes up first when you google. -_-)

James Wan - The Conjuring (2013)

I did really like this first entry - the sequels are kind of aggressively meh.

Scott Derrickson - Sinister (2012)

THE DANGER IS IN THE VIEWING!

Honorable Mentions: Session 9, Se7en, The Ritual, It Follows, The Descent, The Hills Have Eyes (I just really like bright horror movies), The Exorcism of Emily Rose (for fun bonus pretension, you can also watch Requiem, and then when people ask you if you’ve seen The Exorcism of Emily Rose, you get to be like “Yeah, have you seen the German original?” though, technically, it’s that they’re both based off of the same true-story. it’s still fun to say), Hard Candy, Ils (Them), THE VVITCH (should only ever be pronounced ‘The Va-Vitch’ lol)

“The Parody Films”

[What is there to say? They’re great, so much fun.]

Joss Whedon - Cabin in the Woods (2012)

Remember back in 2012 when Avengers 1 came out, and then Cabin in the Woods came out, like, immediately afterwards, and we all loved Joss Whedon? We were so innocent back then.

Eli Craig - Tucker and Dale vs. Evil (2010)

This movie is so pure. I love how they both play into and subvert the rural hillbilly tropes with the two main characters. They just want a vacation home! These kids keep killing themselves on their property!

Honorable Mentions: Shaun of the Dead, I was googling to confirm the year of Tucker and Dale vs. Evil and I saw What We Do In The Shadows listed as horror paraody, but I would count that more as a Gothic mockumentary, but I listed it here because I love it so much.

“Documentaries”

Xavier Burgin - Horror Noire: A History of Black Horror (2019)

This movie was so interesting! Highly recommend. I think Shudder is planning on producing more of these documentaries, about marginalized groups in horror, and I am Here For It.

Honorable Mentions: Cropsey/Killer Legends, Best Worst Movie

I think I’ll stop here and maybe someday do a separate one for books. And maybe TV series, but I’m having a hard time teasing out the line between mystery and horror because of how popular and kind of unique Nordic Noir is right now. It’s just hard to draw the line for TV.

But I’ll end by summarizing reading thoughts (in a more disorganized manner):

-I have two separate ‘complete tales and poems’ editions of Edgar Allen Poe - one to look pretty and one to annotate.

-If you come for my girl Mary Shelley I will come @ you. Once a kind of asshole-y friend once was like ‘Frankenstein is terrible because it was written by a teenage girl’ and, I swear to God, I almost fought him right there in the bar. The Last Man is also great.

-I also almost forgot how much I loved Dracula. The Harkers especially. (I once tried to read League of Extraordinary Gentleman and gave up with a rage-headache 15 pages in because of what they did to Mina.) (Ah yes, let’s make her a “Strong Female Character ™” by having her divorce Jonathan and almost be raped in the first 15 pages.) (Couldn’t deal with it.) (I’m sure I would in general like that series but I just had too much attachment to Mina Harker to get over it.)

-I physically cannot get through Lovecraft. I can’t do it. I’ve tried so many times, I know how important it is but I just. Can’t. Don’t want to. Won’t. Sorry.

-A lot of adapted books I tend to prefer the books they were based on. Some are kind of obvious, like I Am Legend by Richard Matheson, which is a way, way better book than the movie. (They changed the ending which undercut the actual message.) But others are still decent movies, I just tend to prefer the book. Like, everyone always puts Let the Right One In on ‘essential horror’ lists, but I actually liked the book by John Ajvide Lindqvist a lot better.

-Similarly, you may have noticed I put no Stephen King movies on this list - there are a few I really like, but I think they work better as complements to the novels. Misery and the original Pet Sematary (haven’t seen the new one yet) are my two favorite movies-based-on-king. The Shining is visually stunning by character-wise, wildly disappointing, so point to the novel for this one. (King also hated the adaptation for what Kubrick did to Wendy.) My general King recommendations are: Carrie, Misery, The Shining, The Mist, Insomnia

I’m having a bit of an issue with how male-dominated this list is. It’s partially my problem that I’m working on correcting (I’m at the point where I’m actively trying not to read horror books by white men anymore) and partially a general problem in the industry. It’s hard to get into an industry that for a long time unquestioningly based itself on violence against women and other marginalized peoples’ bodies. -_- But yeah, I have a list of contemporary horror novels by women that I’m working my way through, and I’m trying to catch up on some older staples like Shirley Jackson, Angela Carter, and Octavia Butler.

UPDATE: After I finished compiling this list, I googled ‘Horror movies directed by women’ and there are a couple that I would recommend, I think they’re just not as visible. (Did not realize they’d been directed by women until this Google.):

Mary Lambert - Pet Sematary (1989)

Karen Kusama - Jennifer’s Body (2009)

Mary Harron - American Psycho (2000)

Lynne Ramsay - We Need To Talk About Kevin (2011) (though I liked the book better)

This list was probably incomplete and I’ve probably forgotten a bunch of things I really like! It’s also only made up of things I’ve already seen/read (though it’s not comprehensive). If something’s not on here and you think it should be, lmk! It may be that I haven’t seen it yet and I’ll add it to my to-watch list. Always taking suggestions, especially for more horror (films or books) from underrepresented groups.

#veliseraptor #horror movies #fright night #this took a long time i need to go eat lunch now #ha i meant to break this off at a normal point but #alas

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