#the festival review

[benoits-neckerchieves]

Have not read any reviews yet but that’s a hell of a good start lmao

Peter Bradshaw - The Guardian

[commodorez]

Clint / LGR and his exhibit, featuring the Bear-A-Byte PC - VCF Midwest 18

[thecluelessdoctor]

CHRISTMAS MOVIES

Now as much as I rip and hate on chrismas at times, I need to admit there is not a better feeling than experiencing a childlike wonder again. Seeing beautiful hand crafted clock work decor and extraordinary snow globes, or seeing those mechanical trains youd see in the movies, nothing beats the feeling like that.

I'ma talk about the movie Klaus. A personal favorite of mine, not just for chrismas.

Klaus was released on Netflix about four years ago (I feel old)

I love this movie. It breaks the Christmas movie stereotype and it does it well. I love it from animation, to story, to duologue to characters, it's amazing.

So to start off, let's start with animation and style.

Uhm.

I can't explain it just look

Stupid thumbnail. But yeah. Watch it. Beautiful.

Story!

The story is beautiful.

It starts, with a letter. Just a letter.

And a man.

The plot starts with Jesper, the snotty son of the owner of a huge postal company. Jesper is failing postal school, before being told to be a post man in a town in a island called Smeerinsberg, and have 6000 letters done in one year.

Smeerinsberg is a violent town, a large feud between two family's that go back generations living there.

Jesper has a hard time getting letters at all. Until that is a small child drops his drawing out the window and towards Jesper. Remember this. Jesper tries to get the child to mail the letter, before he is attacked by the child's father's dogs. Before this he meets a character named Ava, who was a attempted teacher

Weeks pass by, and he finds out about the old woodsman cabin, and desides to go there, finding many hand crafted toys.

The woodsman comes home, holding his large axe, and scaring jesper. Jesper flees, dropping the drawing from the child.

Things happen, and the woodsman, Klaus, tells jesper to bring him to the home of that child to deliver a present. Jesper does so (unwillingly) and nearly dying.

The next day, jesper wakes up to a few children saying they have letters for Klaus. Montage of Jesper bribing kids for toys lmao.

Jesper then goes back to klaus's home, pleadunf to be able to take the toys to the kids and shiz. Klaus agrees, and they'll do it at the dead of night.

Word gets around about Klaus, no one knowing it's actually jesper that's going into the homes lol.

One day he's getting letters, and meets a little girl named Márgu, who is Sámi, and Jesper cant understand her. He also learns some of the children can't write and read, so he sends them to Ava's school.

He also remeets a kid who told him to go home earlier in the movie, who he gave coal, and ends up making a thing called the Naughty list, sorta as a explanation.

Children all over town start doing good deeds, and soon after, the adults follow after. The two family's have dwinled, the large fued basically being ignored. The two leaders of the families make a truce to put a end to this peace.

Jesper is then at Klaus's cabin, rambling about his idea called 'Christmas'

After this, Jesper and Klaus get into a argument, and jesper goes home to find Márgu there. Jesper sorta vents, before deciding to try and figure out what Márgu wants. He goes to Ava's school, who helps translate a letter basically

Jesper goes home, and attempts to make what Márgu wanted, even though he doesn't know how to work wood

Klaus comes back, and helps him make Márgu's gift, and they go to deliver it, seeing her excited. They are later back at Klaus's cabin feeding the reindeer, and jesper is obviously happy that he made Márgu happy.

More stuff happens, and after a bit, Márgu's people have come to Klaus's cabin to help. They make him a sleigh, and a outfit similar to theirs, as well as help with toy making.

Though during this, what's left of the two family's finds out about jesper's goal of 6000 letters, and end up 'helping' him.

It's December 24th now, daylight, and suddenly jesper's dad comes to collect him, saying he's done 14000 letters. Klaus, Ava, and the Sámi people feel betrayed, and are mad at him

He goes to leave, but looks extremely sad, sadder than when he came to Smeerinsberg. His dad gives him the look, and he ends up staying.

Márgu went to go find him, trying to stop him. But looks like he missed his ride.

He ends up seeing the mob planning to get rid of the gifts, and trys to intervene, que drama scene with lots of tension, before it was revealed it was all a decoy, and jesper ends up regaining everyone's trust, and they go to deliver the gifts.

Years pass, and word spread, and they had to expand, just as they had hoped. Ava and jesper are in love, and jesper gets a mustache at one point (in which Klaus remarks 'what is on your face')

But suddenly, by the 12th year, Klaus's time has finally come, and he goes to join his wife. To anyone other than the viewer though, he seems to have just.m disappeared.

We cut to later, in a Christmas eve with jesper's kids. Him and Ava tuck them into bed, and Jesper goes down, to stay up for the night, the movie ending with the line 'but once a year, I get to see my friend'

Truly a beautiful movie.

I can't express how much I love this movie, and I can't even explain how good it is.

It's a 20/10, go check it out

[datshitrandom]

Darren Criss | 2023 | ON TOUR

Los Angeles • México • Australia • London

[doll-elvis]

PRISCILLA 2023: the press conference and incoming reviews

today was my day off of work so naturally I stayed up until 5:15 am (pacific standard time thingz) to watch the press conference, and to read some of the incoming reviews for the film 😩

here are the most interesting notes from the press conference (it was extremely brief) and the reviews that I found the most interesting ⬇️

✭ the key moment in the press conference was most definitely Priscilla getting asked a question despite her not being on the panel but in the audience. She was asked how she felt about her life being represented on film and what touched her most about the movie… she gave the best answer of the conference imo

- she became emotional nearly right away and had to take a moment to wipe her tears for which she apologized

- at first she simply said “the ending”, referring to what touched her most about the film. Based on that, and another question, I’m assuming the film ends with Priscilla leaving Elvis

-there were a few questions which shed Elvis in a bad light and so Priscilla referenced one of the journalists and began defending Elvis: she said that her parents had no idea why Elvis was so drawn to her and wanted to be with her, but she states that she was someone that Elvis could completely pour his heart out into (she references the loss of Gladys, his fears, and his frustration with his career)

-As she says it, she was there to listen and to comfort him, she said that is what drew Elvis to her. She states she was mature for her age “older in life but not in numbers”. She also says that in the beginning of the relationship, when she was 14, the relationship was not about sex and that he always respected her

“People think, ‘Oh, it was sex.’ No, it wasn’t. I never had sex with him. He was very kind, very soft, very loving, but he also respected the fact I was only 14 years old”

-she talked about how she didn’t know why Elvis had put so much trust into her but she realized it was because she never gave him up. She never told anyone at school she was seeing him etc. etc

-to end her statement she says that Elvis was the love of her life, and that she didn’t leave him because she didn’t love him, she left because she couldn’t handle the lifestyle

some other key notes-

- the very first question by a journalist referenced physical and mental abuse that is shown in the film

-Jacob Elordi seriously surprised me (in the best way) with his very first answer: he was asked about Elvis telling Priscilla “maybe another time, maybe another place” and how he related to that. He first talked about how Priscilla’s book was the main source for him, and how he came to understand the scale of their love (between Elvis and Priscilla) and the power of it. He said it’s “true”, “undying”, and “it’s beautiful”. He finished by saying that Elvis and Priscilla will be tethered for eternity because of their love

(I honestly didn’t expect such an insightful answer from him lmaoo 🤧)

- Sofia talked about how it was really important for this film to only be the from the perspective of Priscilla, and she says that one of the reasons she loves film is because you can experience someone else’s story

- One journalist asked Sofia if she learned anything new about Elvis from talking with Priscilla and she says that Priscilla told her about how when they would go to movies together in Germany, Elvis would always mouth the words to film… that is how badly he wanted to be a serious actor

- Jacob was asked if he drew any inspiration from the 2022 “Elvis” and he said “no.”, and that Sofia helped him tackle his fears in portraying someone as big as Elvis

- When asked about why Jacob was casted as Elvis, Sofia said that she felt that he had the same charisma as Elvis but most importantly he could play the sensitive and vulnerable side to Elvis

There were a few other technical questions about the film’s palette and music but the press conference ended super quickly, it was a bit awkward to watch and the lead actress, Cailee Spaeny, was naturally very nervous 😭

Overall, reviews have been mixed. Some are saying it’s Coppola’s best work. Some are saying it lacks any depth. And many have had not good things to say about Elvis which makes me anxious for what kind of content is shown in the movie

Here are some of the newest reviews for the film, courtesy of letterboxd ⬇️:

“it avoids giving any sort of context to why Elvis was acting the way he was” is the most worrisome line out of all of these to me… elvis is quite possibly the most context needing person ever

it’s a lot to digest at once, what do y’all think about everything?

[andoutofharm]

honestly so much about this festival has turned out so much better than we were all fearing, and none of it has anything to do with the festival itself.

last minute cancellation due to weather conditions that the festival SHOULD have accounted for and communicated much earlier? fuck it, here are free concerts put together by numerous bands solely because they didn’t want their fans to leave disappointed.

the festival attempting to shoehorn MCR back into a commodified version of them from years back because it’s what was popular and brought in crowds and what sold tickets? fuck it, they’re going on stage as elderly caricatures of their revenge-era selves, acting up their own stereotypes yet playing only the hits or the songs that explicitly call out the fuckery of this industry.

not to mention on top of all of this that the concerns many of us had about crowd safety were largely a non-issue because the crowd was so full of rich-kid clout chasers who barely even cared about the set being played once they realized they weren’t getting “pretty, compliant, nostalgic mcr who loves you and plays your favorite song and then does what they’re told and fits their role from the past as if 20 years haven’t passed”.

honestly this has been a wild ride in the best possible way.

[the-celluloid-correspondent]

Shōgun: A Historical Masterpiece.

Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.

Based upon the acclaimed novel, Shōgun is a historical retelling of Lord Tokugawa Ieyasu's (Yoshi Toranaga) establishing the Tokugawa Shōgunate in early 17th Century Japan from the point of view of an English Pilot named, William Adams (John Blackthorn)Premiering on the small screen in 1980, the series received mass critical acclaim and earned an Emmy for Outstanding Limited Series. Four decades later, it returns, breathing new life into the television with its unparalleled storytelling. Breaking away from the mediocrity that often plagues the streaming industry, Shōgun stands as a monumental historical epic of a real-life struggle over the throne for Japan. 

Shōgun unfolds like a meticulously played game of Shogi, where every move, character, and line of dialogue is infused with purpose and significance. This captivating narrative takes viewers on a journey through a power struggle that shapes feudal Japan, weaving together political intrigue and human drama in a rich tapestry of storytelling. From the intricacies of Japanese society to the cunning maneuvers of rival warlords, Shōgun immerses audiences in a world where every scene serves a distinct purpose. Each twist and turn of the plot is carefully crafted, drawing viewers deeper into the heart of the conflict and revealing the complex web of alliances and betrayals that define the era. The dialogue and monologues in Shōgun are masterfully written, brimming with both context and subtext that add layers of depth to the narrative. Like beautiful lines of poetry, they flow seamlessly together, driving the story forward with precision and purpose. At its core, Shōgun captures the essence of one of the most pivotal moments in Japanese history, offering a compelling exploration of power, ambition, and the human spirit. As viewers are drawn into this world of political conspiracy and personal sacrifice, they are treated to a mesmerizing blend of drama, suspense, and historical authenticity that commands the screen from start to finish. 

Shōgun derives its true essence from its characters, each intricately woven with layers of complexity and depth, enriching the overarching drama. Among them, Cosmo Jarvis's portrayal of John Blackthorn emerges as a standout performance, deftly navigating the challenges of embodying a character whose natural loudness and clumsiness contrast sharply with the subtleties of his Japanese counterparts. While some may initially interpret Blackthorn's demeanor as a flaw in the performance, Jarvis's deliberate portrayal serves a greater purpose—to underscore the cultural abyss between him and the people of Japan. Through his portrayal, Jarvis adeptly captures the profound culture shock experienced by his character, allowing viewers to witness a compelling transformation from a brash and ambitious Englishman to a man deeply immersed in Japanese customs. It is in these quieter moments that Jarvis truly shines, infusing his character with depth and nuance.

Similarly, Anna Sawai's portrayal of Toda Mariko exemplifies the art of subtle acting. With a mere glance, Sawai effortlessly conveys a myriad of emotions, her thousand-yard stare speaking volumes about her character's inner turmoil and quiet resilience. Her performance is a testament to the power of restraint, as she deftly navigates Mariko's journey of suffering and hope, her emotions simmering beneath the surface until they erupt with raw intensity. Even in moments of despair, Sawai's portrayal radiates a glimmer of hope, underscoring the resilience of the human spirit.

The ensemble cast of "Shōgun" shines brilliantly, each member delivering performances that leave a lasting impact. From the charismatically charming yet brutal portrayal of Tadanobu Asano as Yabushige to the scheming and cunning rendition of Fumi Nikaido as Ruri, every actor breathes life into their character with skill and precision. Moeka Hoshi's portrayal of the broken yet resilient Fuji, and Takehiro Hira's power-hungry depiction of Ishido, further solidify the ensemble's strength, while Tokuma Nishioka's powerful and wise portrayal of Hiromatsu adds depth to the narrative.

However, it is Hiroyuki Sanada's performance as Yoshii Toranaga that truly stands out, marking a triumphant moment in his career. Despite being typecast and overlooked by Hollywood for years, Sanada seizes the opportunity to showcase his talents as both an actor and a producer in Shōgun. In his portrayal of the powerful and intimidating Toranaga, Sanada commands the screen with a commanding presence, embodying his character's intellect, ambition, and prowess with aplomb. What sets Sanada's performance apart is his ability to infuse Toranaga with an unpredictable nature, keeping viewers on the edge of their seats as they anticipate his next move. With each moment on screen, Sanada captivates audiences with his depth and nuance, delivering what can only be described as his finest performance to date. Finally given a role where he can truly shine, Sanada proves himself to be a force to be reckoned with, cementing his status as one of the industry's most talented actors.

Every aspect of this series is a visual feast. The cinematography is nothing short of breathtaking, capturing the stunning landscapes and rich cultural tapestry of Feudal Japan with remarkable skill. From the intricate costumes to the meticulously crafted production design, every detail is thoughtfully considered, drawing viewers deeper into the immersive world of Shōgun.

But Shōgun is more than just television—it's an immersive journey into one of the most pivotal moments in Japanese history. With its masterful storytelling and captivating characters, the series transcends the screen, offering viewers a profound exploration of the human experience against the backdrop of historical upheaval. In a landscape dominated by formulaic narratives, Shōgun stands as a shining example of the power of the historical epic, reminding us of the importance of stories that not only entertain but also enlighten and inspire.

My Rating: A

[richardarmitagefanpage]

5 ⭐review by Aced Magazine

Audience Choice Award at the Manchester Film Festival

📷: boyinthewoodsfilm

[chalamet-chalamet]

✨ TIMOTHÉE CHALAMET-2022 FITS ✨

[tentavite]

hi what the FUCK. the taste of things. absolutely incredible film i’m copy/pasting my letterbox review here because this movie was cathartic and beautiful and has me drawn and quartered:

unleashed a millennia old torrent of raw emotion so deep in me that i couldn’t even identify what the emotion was. cried so hard for reasons beyond my understanding. oui oui baguette etc
one of the most beautiful films i’ve ever seen
so intimate that looking back up into the characters’ faces after reading the subtitles felt almost like an invasion

in other news saw the film in a cinema rented out entirely by elderly folk and the whole room was filled with the most salacious sounds every time a pot was on screen

in other other news the moment in which dodin moved his apprentice’s tiny bird after she placed it on top of the cloth instead of in the broth made me openly sob. no words no discipline simply silently moved the bird while she watched. and then she mimicked him. by jove i was in hysterics

tran anh hung my boy……….thank you

[paracunt]

Paramore at Austin City Limits by Waytao Shang for The AU Review (2022)

[fictionalred]

2dehands folks are already so much more understanding than vinted people.

they see i'm from Ghent when I'm saying I'm having a busy week(end) and they'll be like "oh yeah I understand, Gentse Feesten right? *wink wink*. Have fun!"

Vinted would've scalped alive me for having some free time

[rickchung]

Cuckoo (dir. Tilman Singer) x Fantasia 2024.

Singer is slow to reveal its actual sketchy premise for the better as it grounds the unclear reproductive experiment lurking in the background. Cuckoo proves its nightmarish genre chops for another strange but intriguing little midnight horror romp that foregrounds Schafer's magnetic talent for reactionary character performances.

[cityofgeek]

THELMA is a joyous adventure! [SIFF '24]

THELMA is a hilarious heist-comedy and star turn for 93-year-old June Squibb.

Thelma; 2024; Written & Directed by Josh Margolin; Starring June Squibb, Richard Roundtree, Fred Hechinger, Parker Posey, Clark Gregg; Magnolia; 1h38m; PG-13; theatrical release June 21st, 2024 Like last week’s The Bikeriders, Thelma is not the type of movie I normally write about. Also like last week’s The Bikeriders, Thelma heavily features motorized transport. But in a very different way, and…

[filmbrainbmb]

New Film Brain Podcast! I went to the absolute extreme to see as many films at London Film Festival as possible - and now, joined by Jack Martin of FilmFeeder, I try to talk about them all, in a massive 86-minute podcast months in the making!

[ilikethisacompletelynormalamount]

Andrew Haigh's much anticipated new film All of Us Strangers starring Andrew Scott and Paul Mescal had its World Premier yesterday at the Telluride Film Festival. Official reviews, and personal impressions have started pouring in, and so far seem to be overwhelmingly positive (glowing even) !

Peter Bradshaw - The Guardian

David Rooney - The Hollywood Reporter

Tomris Laffly - The Wrap

David Ehrlich-Indie Wire

Peter Debruge - Variety

Gregory Ellwood - The Playlist

Wendy Ide - Screen Daily