#the van scene is cinematic perfection

[bylrndgm]

4x01 (The Hellfire Club) // 4x08 (Papa) I think there is someone he likes...

[alexinyell0w]

the duffers: CUT! we have to reshoot. come on everyone- start over-

finn: again? are you kidding?

noah: we've been at this ALL DAY

the duffers: *sigh* finn you're not looking at his lips enough. Noah, cry harder.

finn: what are you talking about I've looked 5 times already-

the duffers: thats not enough

finn: WHAT- WHAT DO YOU MEAN NOT ENOU-

the real reason the van scene took all day but they just won't tell you

[ogradyfilm]

Recently Viewed: Perfect Days

Perfect Days is a film about cherishing small pleasures. It’s about ordinary people living ordinary lives. It’s about the soothing familiarity of a routine and the sudden disruption (either unwelcome or surprisingly refreshing) thereof. But most importantly, it’s about finding unexpected beauty in things that are overlooked and undervalued.

The protagonist, Hirayama, is a janitor, cleaning toilets around Tokyo’s various public parks. In many ways, he is painfully average, albeit a bit old-fashioned: he collects cassette tapes, used books, plants, and photographs of nature. His days are defined by mundane rituals: his alarm clock is the rhythmic scrape of broom bristles sweeping the sidewalk beneath his window; before driving to work, he always quietly enjoys a can of Boss Coffee while the engine of his van warms up; and the handful of restaurants that he frequents consistently have his usual order ready as soon as he enters.

His profession, of course, means that he is often unnoticed at best and disrespected at worst—in one particularly uncomfortable scene, for example, the mother of a lost child fussily scrubs the boy’s hand immediately after Hirayama reunites them. Still, if he resents his lowly status, he refuses to show it, greeting the sunrise with a bright smile that only occasionally falters. Indeed, his relative invisibility has caused him to develop an appreciation for the brief, fleeting moments of peace that society at large has learned to ignore—leaves swaying in a gentle breeze, shadows dancing on a weathered concrete wall, reflected light shimmering on the ceiling of a bathhouse.

The movie’s craftsmanship mirrors the meticulousness with which its central character approaches both his menial labor and his personal hygiene (that mustache is immaculately maintained). Wim Wenders’ direction is intentionally unspectacular and unobtrusive; with very few exceptions, he merely observes the action, allowing the story to unfold at its own pace—at seventy-eight, the esteemed auteur (whose credits include Paris, Texas and Wings of Desire) obviously has nothing left to prove, and can therefore afford to be patient and minimalistic in his style. The editing is equally accomplished; each cut is delicate and sublime, making even seemingly inconsequential frames feel essential and impactful, especially during the surreal dream sequences—hypnotic, abstract montages in which black-and-white images dissolve and cross-fade and otherwise overlap, delighting and dazzling the senses.

But it is Koji Yakusho’s phenomenal performance that truly anchors the narrative. Because the role is predominantly nonverbal, the actor must rely on his eyes alone to convey emotion; the result is absolutely devastating in its subtlety—a compelling portrait of a wounded man desperately struggling against the inherent loneliness of self-imposed solitude, hiding his private suffering behind a friendly grin and an optimistic attitude.

Perfect Days is, in conclusion, a perfect cinematic experience. Hopefully, its recent Oscar nomination will attract a wider audience; this is the type of production that deserves commercial success as well as critical acclaim.

[dykeinthedark]

hello!! here is my old notes app ramble abt mopi’s ending from a few years ago!!

gus van sant revealed that there was a final scene that was cut from the movie. it wasn’t scott, picking mikey up off the highway. it was his brother.

van sant cut the ending for several reasons though.

firstly, he said the theme wasn’t going back to your blood family; it was making your own family. mikey’s family were assholes (paraphrased, but van sant’s words nonetheless). so it wouldn’t have made sense for mikey to go back to them.

secondly, gus van sant said it seemed too clean-cut and perfect for the movie’s vibes. it didn’t fit the movie or feel right for the plot lines that occurred.

thirdly, river phoenix had completely changed the vibe of the movie. originally, van sant had not portrayed mikey as being in love with scott. but river phoenix had acted that way, and he had rewritten the campfire scene completely to reflect mikey’s true character and feelings.

van sant had said himself that river had completely changed the tone of the movie, and it wouldn’t be the same without his portrayal of mikey. it breathed life into my own private idaho.

it could be argued that river is the one who determined the final ending, if you choose to ignore van sant’s original (which would be what van sant desired, as he said it needed to be cut. it wasn’t accurate to the story being told.). he had chose to experience a tragic love story. one with unbridled hope in his character. he had tried to find his mom. he believed he would find her, and she would welcome him into his life or provide closure in his abrupt absence of her.

and for my final note on the cinematic masterpiece, gus van sant had cheekily added on in his commentary in reference to the ultimately cut ending-

“who knows who's in that car? it could be the love of his life, who takes him to italy. i don’t know.”

AHHH HELLO!!!! TYSM FOR THIS!!!! i loved reading this and wanted to share it for everyone :)

i actually have been meaning to make a post abt the ways river phoenix completely changed mike's character.... he was originally supposed to be a whole lot edgier, of course given the nature of his whole character, but its so interesting how river played him with such grace and tenderness and u can feel his love for scott compared with like, the normal conceptions of a character like this? like river was originally supposed to play scott, but keanu accepted the role instead so river played the edgier role and idk where i'm going with this but yeah !

and also like changing the character to the point where he redefined the story to be a queer story??? like it 100% would not be remembered as the landmark film of new queer cinema without that. bro changed all of the themes and motifs

in any case yeah i really appreciated this ask !!!

[laserdiscnvhs]

Double Impact remains amongst the seminal works of action films that can be credited to the sterling prowess of Jean-Claude Van Damme. Inarguably, the film is a tour-de-force that sets a high bar for an extensive sequence of action-packed content. It successfully integrates critical elements such as choreographed combat and an orchestrated narrative to invariably result in a visual feast for action enthusiasts.

The visiting card for Van Damme’s marquee talent has always been his unparalleled martial arts skills. The film, Double Impact, is no exception to this, providing an outlet for Van Damme to truly showcase his articulate control over martial arts sequences. His performance as the twin brothers, Chad and Alex Wagner, is a remarkable specimen of his capacity to deliver comprehensively. These two character roles illustrate the wide range an actor can play within the confines of a single movie, demonstrating impressive versatility.

Chad is portrayed as a light-hearted, jovial character, while Alex, his twin brother, has a darker, sterner aura about him. Van Damme manages to give each twin a distinct personality, proving his acting mettle beyond just his physical exploits. His brilliant execution of the two disparate roles significantly enhances the film's plot and makes it a gripping journey from the start to finish.

The narrative, presented in Double Impact, is marked by an intriguing set of plot developments. Built on the classic story of revenge, it takes an interesting turn as it uses the most vintage formula of the 'long-lost twin' trope. However, the trope is employed innovatively, not allowing the narrative to be hampered by any possible accusations of cliché or triteness.

As the twins accidentally stumble upon each other and subsequently, discover their shared past, the narrative escalates into a thrilling tale of action and adventure. The clever weaving of familial relationships into the tale, ties extremely well with the mechanics of action sequences. It enables the audience to invest more deeply into the violent pursuits unfolding on the screen.

As remarkable as Van Damme's performance, the film equally capitalises on its keen vision for choreography and cinematography. The fight sequences are crafted to perfection, with a striking balance of finesse and raw power, making each moment a fascinating spectacle. The iconic scene where the two twins take on the mafia is intensely breathtaking and stands as a testament to the choreographer’s prowess.

The film’s landscape is as dynamic as its characters, marching to the exciting rhythm of an international chase. From Los Angeles to inventively replicated streets of Hong Kong, the film offers a vibrant canvas for its action-filled spectacle. This constant change of scene injects a fresh breath of vitality into every shot, keeping the viewers hooked at every turn.

The director, Sheldon Lettich, who co-wrote the film with Van Damme, plays a pivotal role in realising the visions conceived. His mastery over staging action scenes and his acute style of direction brings to life the vital elements of an action film. The narrative and the action are seamlessly blended through his proficient sense of storytelling.

On the flip side, critics could argue some scenes are over-extended and some dialogues saturated with cinematic clichés. However, even these elements contribute towards knitting the film into its chosen genre, providing an authentic action movie experience to the viewers.

Double Impact delivers on the promise of an engaging, thrilling experience, driven by the compelling storyline, unique characterisation, and superbly choreographed action sequences. These combined with Van Damme's incredible performance as the twins, Chad and Alex, make the movie a turning point in the action film genre.

Jean-Claude Van Damme, with Double Impact, has indubitably etched his standing in the timeline of action films. The movie does not merely entertain but also impresses its audience with the craft involved in making such high-octane action films. It showcases an amalgamation of bold storytelling, powerful acting, meticulous choreography and an engrossing narrative setup. This combination of skilled execution and an action-packed storyboard ensures that Double Impact leaves an imprint in the minds of the audience, even long after its credits roll.

[droughtofapathy]

The Gilded Age's Broadway Divas: Agnes van Rhijn (Christine Baranski)

Christine Baranski plays the curmudgeonly head of the van Rhijn household who always has a sharp word for everything. A bastion of Old New York, Agnes detests change and challenges to tradition.

In contrast, Christine Baranski has had a long and illustrious career in the theatre, even before earning mainstream recognition in movie musicals such as Chicago (2002 - a delight), Mamma Mia (2008 - an icon), and Into the Woods (2014 - the highlight in a dismal movie). In the theatre, she has taken on seven of Sondheim's finest works to much better success, including the original pre-Broadway workshop of Sunday in the Park with George (Clarisse, later named Yvonne), regional productions of Sweeney Todd (Mrs. Lovett), and the exquisite Encores! production of Follies (Carlotta) alongside Donna Murphy, our Mrs. Astor at large.

Christine is a two-time Tony winner for Best Featured Actress in a Play for The Real Thing and Rumors. We all know her iconic Tanya Chesham-Leigh of the Mamma Mia cinematic universe, so you'll forgive me if I neglect those performances in this list.

#1: "A Little Priest," Sweeney Todd (1999)

With Sweeney Todd raking in over $1.7 million weekly, let's start with one of many Sweeney Todd productions that's just so much better than what they've got going on at the Lunt-Fontanne Theatre these days.

The act one closer is considered by many as Sondheim at his lyrical best. A comedic killer of a number, nailing the intricate lyrics would give even the strongest theatre veteran anxiety (I have seen many a delightful disaster and brutal butchery of this number), but Christine does so with aplomb.

This performance alongside Kelsey Grammar as Sweeney is from the 1999 Reprise! L.A. 20th anniversary concert production at the Ahmanson Theatre. Three years later, Christine would go on to reprise her role as Mrs. Lovett at The Kennedy Center opposite Broadway's leading man Brian Stokes Mitchell. Also featured in this production is another Gilded Age actress, but more on that later.

#2: "Everybody Wants to Do a Musical," Nick & Nora (1991)

Based on the book/film/tv Nick and Nora Charles, this musical is infamous for being one of the most notorious flops in Broadway history. It had a then-record breaking preview period of 71 shows, and closed after just nine performances, proving not even an all-star cast (including Joanna Gleason, Chris Sarandon, Debra Monk, and Faith Prince) and creative team can make a hit.

Here, Christine plays Tracy Gardner, a fading starlet whose comeback is threatened by an untimely murder. There's really not much that can be said about the plot, but if anyone wants me to recite an oral history of everything I know about this flop, DM me.

It's a miracle we even have a cast album to commemorate this...special show. A full bootleg can be found HERE on youtube, if you want to see this masterpiece for yourself. I can't imagine why you'd want to though.

#3: "A Fact Can Be a Beautiful Thing," Promises, Promises (1997)

Once again proving her comedic chops, here Christine plays a one-scene wonder barfly named Marge MacDougall in the 1997 Encores! production of Promises, Promises opposite Martin Short. The height difference really elevates the comedy. Her character shows up for one scene (and a half) and in every production, has stolen the show. You can see why. The number really has no plot value, but it's perfect in every way.

A note: Encores! for those unfamiliar, is a series of limited run concert-style productions put on by New York City Center. It was originally conceived 30 years ago to highlight hidden gems and forgotten pieces, but has included more mainstream shows in recent years (y'know, to keep the lights on).

Incidentally, Christine is not the only Gilded Age actress to take on this role to great success. The other actress has a...wildly different approach to the role. But more on that later...

#4: "I'm Still Here," Follies (2007)

I love Follies. I would commit atrocities you cannot fathom to have seen the 2007 Encores! production of Follies, starring fellow Gilded Ager Donna Murphy as Phyllis, Victoria Clark as Sally, and featuring Christine Baranski as Carlotta. Here, singing one of Sondheim's greatest hits, Christine plays an aged former Follies girl whose big number was cut, but is happy to serenade her audience with it now. My kingdom for a high quality bootleg of this show, please someone must have it.

Full disclosure: this is not my favorite rendition. That honor goes to Elaine Stritch in the Sondheim 80th Birthday Concert. But this one is damn good, now that I'm reviewing it. It showcases Christine's fantastic vocal and acting abilities, and that's Sondheim for you.

In 2015, Christine would go on to play Phyllis in the Royal Albert Hall production of Follies. And I love you, Christine, but you are a Carlotta through and through.

#5: "Welcome to the Theatre," Applause - Kennedy Center Honors (1997)

This past week, Christine Baranski honored opera diva Renee Fleming at the Kennedy Center Honors, but that was not only time. In 1997, she was one of three mega talents honoring the gorgeous, the glamorous, the golden girl from the Golden Age of Hollywood, Lauren Bacall.

She opened the tribute with a song from Bacall's Tony-winning Applause, a musical based on All About Eve. Side note: people have divisive opinions on Lauren Bacall's singing voice. I love it.

While Christine's isolated performance can be found, I elected to link to the full tribute so you can all enjoy this delight. Following Christine is my beloved Bebe Neuwirth, and the late Ann Reinking (singing songs unrelated to Lauren Bacall, but fuck it). The final trio of all three women is the stuff of my dreams. I need you to witness it too.

Bonus: "Hot for Howie"

Nothing I can say will add to this. I'll just let the song speak for itself.

LINK TO MASTERPOST

[legionofpotatoes]

God, that post about movies being so dark that you literally can't see what's happening just reminds me of all those "realism" reshade mods that people make for every game where the saturation is gutted and contrast is cranked so hard that you can't even see your character's hand, let alone something that's 5 feet in front of you

Like, guys, nighttime doesn't need to be darker than satan's anus, horror and tension can exist without relying on sensory deprivation, skittish camerawork, and jump scares, and there's this magical celestial body called the fucking moon which literally reflects sunlight back at the planet to indirectly light up most nights (and I guarantee, like, 99% of fictional planets also have moons)

Need to give these people some 30-grit sandpaper and call it toilet paper, I swear they wouldn't know the difference

If we're talking games, the arrival of HDR did that more than anything. Devs got seduced by those high highs and low lows in light and shadow and started hurriedly implementing them, sometimes at the cost of legibility, and sometimes not. There's lots of good and bad examples but at the end of the day it's up to your goals on how it will affect both sides of the diegesis (is it important to see the face of this cliff in nighttime? if it is, is it also important to see the parts of it that you can climb?), and you will certainly get modders who will push things to even more naturalistic extremes without rhyme or reason. Them's the breaks I guess! But I think it's fine to use sensory deprivation and painting with light and shadow as essential building blocks if your game is something that relies on mood and tension a lot; it may feel played out, but cinematic language is both an important tool and a good shorthand in establishing a connection with viewers/players. It's always about deftness of execution, and being intentional with your lack of legibility whenever you do have it. It gets much harder when you're talking open world games with that slippery slope of art direction and global illumination constantly playing tug-of-war, but I think we're slowly building necessary tools to mitigate that as well. I keep bringing up the witcher 3 as a great example of that.

And if we're talking movies as I was then it's a whole different ballgame. Photography at nighttime is tricky as hell and the reason I mentioned Peele was specifically because him and his cinematographer (looked up just now; Hoyte van Hoytema) literally developed a new way to shoot night scenes in broad daylight by processing and using infrared data to retain visual fidelity after color grading, and that is why his night scenes are so legible at long distances yet tangibly dark and moody. It is a great way to retain naturalistic flavor while sacrificing minimal wiggle room for art direction. Miller's Fury Road, on the other hand, shot at noon and did very little to minimize the soft lightboxing effect from the sun; it is a highly stylized film with an even more heightened visual flair and it felt like a perfect way to depict it during the night, with an almost monochromatic edge. Again; intentionality wins in all of these cases. You light for the story you're telling.

Thank god we don't have people modding films. Actually, you know what, don't even tell me. I'm sure there's a rabbit hole here entirely not worth exploring.

[the-matrix-network-news]

The Best Christmas Movies To Watch

It's that time of the year when the air is filled with festive cheer, and what better way to embrace the holiday season than by cozying up with some classic Christmas movies? Whether you're a fan of heartwarming tales or comedic escapades, these films are sure to get you in the spirit of the season. 1. "It's a Wonderful Life" (1946) Directed by Frank Capra, this timeless classic takes us on a journey with George Bailey, played by James Stewart, as he contemplates the value of his life on Christmas Eve. A true masterpiece, "It's a Wonderful Life" reminds us of the profound impact one person can have on the lives of others. 2. "Home Alone" (1990) This John Hughes-directed film is a perfect blend of comedy and holiday charm. Starring Macaulay Culkin as Kevin McCallister, who finds himself accidentally left behind when his family goes on vacation for Christmas. "Home Alone" has become a beloved tradition for many families, offering laughs and a heartwarming message about the importance of family. 3. "Elf" (2003) Directed by Jon Favreau, "Elf" is a modern Christmas classic starring Will Ferrell as Buddy, a human who was raised by elves at the North Pole. This lighthearted comedy follows Buddy as he embarks on a journey to New York City to find his real father and spread holiday cheer. 4. "The Polar Express" (2004) Based on the children's book by Chris Van Allsburg, "The Polar Express" is a visually stunning animated film directed by Robert Zemeckis. Tom Hanks leads the cast, playing multiple roles, as the story unfolds on Christmas Eve when a young boy embarks on a magical train journey to the North Pole. 5. "A Christmas Carol" (1984) This adaptation of Charles Dickens' timeless tale is a holiday classic directed by Clive Donner. George C. Scott delivers a memorable performance as Ebenezer Scrooge, a miserly old man visited by ghosts on Christmas Eve, leading to a transformative journey of self-discovery and redemption. As you settle in for your Christmas movie marathon, let these films transport you to worlds of joy, laughter, and reflection. Don't forget to check out The Matrix Network News for more articles and follow us on Instagram for updates and behind-the-scenes festive fun. Wishing you a joyful and cinematic holiday season! Read the full article

[worldrankmusic]

Orchestral epic music has been gaining popularity in recent years, with its powerful melodies and grandiose soundscapes captivating listeners around the world. This genre has a long and fascinating history, blending classical music with elements of rock, jazz, and film scores to create a unique sonic experience. The roots of orchestral music can be traced back to the 18th century, when composers such as Wolfgang Amadeus Mozart and Ludwig van Beethoven pioneered the traditional symphony format. These orchestral works often featured grandiose instrumentation and dramatic motifs, which set the stage for the epic music of today. In the early 20th century, composers such as Gustav Mahler and Richard Strauss pushed the boundaries of traditional orchestral music, experimenting with new forms and textures. These developments paved the way for the emergence of film scores, which often rely heavily on orchestral instrumentation to evoke emotions and tell stories. In the 1970s, progressive rock bands such as Yes and Genesis began incorporating orchestral elements into their music, further blurring the lines between rock and classical genres. This era also saw the rise of artists such as Pink Floyd and David Bowie, who incorporated cinematic elements into their music to create epic soundscapes. In the 1980s and 90s, film scores continued to evolve, with composers such as John Williams and Hans Zimmer using orchestra and choir to create unforgettable movie soundtracks. These iconic scores introduced audiences to the sweeping, emotional sound of orchestral music, paving the way for the popularity of contemporary epic music today. In recent years, orchestral epic music has seen a surge in popularity, with artists like Two Steps from Hell, Audiomachine, and Thomas Bergersen attracting a global following with their powerful compositions. These artists often combine classical instrumentation with contemporary production techniques, creating a unique, immersive experience that appeals to a wide variety of listeners. One of the key factors driving the popularity of orchestral epic music is its ability to evoke powerful emotional responses in listeners. From epic battle scenes to emotional love stories, orchestral music has the power to transport us to new worlds and evoke powerful feelings that linger long after the music has ended. Another key element of the genre's success is its ability to adapt to new mediums and technologies. Orchestral epic music has become a popular background for video games, commercials, and movie trailers, providing the perfect soundtrack for storytelling in a variety of mediums. As the genre continues to evolve and adapt, it's clear that orchestral epic music will continue to captivate listeners for years to come. Its sweeping soundscapes and emotional power make it a timeless genre that will undoubtedly continue to inspire and uplift audiences for generations. The Rise of Orchestral Epic Music: A Journey Through the Genre's History

[hdfdfghghg]

Marvel Movies In Order: What Is The Best One To Watch?

When it comes to Marvel movies, there’s always something to enjoy. Even if one person’s favorite movie is significantly different from another person’s, they can all still enjoy watching a Marvel movie. So which Marvel movie should you watch first? Here is an ordered list of all the Marvel movies, starting with the best one and working your way down. 

Marvel Cinematic Universe (MCU)

The Marvel Cinematic Universe (MCU) is a series of movies released by Marvel Studios that are based on the company's fictional universe. The MCU began with Iron Man in 2008 and ended with Avengers: Infinity War in 2018. Here is a ranking of each movie in the MCU, from best to worst. 1. Iron Man (2008) 2. The Incredible Hulk (2008) 3. Iron Man 2 (2010) 4. Thor (2011) 5. Captain America: The First Avenger (2011) 6. Thor: The Dark World (2013) 7. Guardians of the Galaxy Vol. 2 (2017) 8. Doctor Strange (2016) 9. Avengers: Infinity War (2018)

Iron Man

The Marvel Cinematic Universe is one of the most popular cinematic universes in existence, and for good reason. The movies are all incredibly well-made and feature some of the best action sequences and superhero interactions that have ever been put on film. However, which movie is the best to watch? When it comes to ranking the Marvel Cinematic Universe films, there is no clear cut winner. All of them are great and offer something different for fans of the genre. However, if we were to narrow it down to just one movie, it would have to be Iron Man. Iron Man is without a doubt one of Marvel's most iconic characters and his story has been adapted perfectly into film. The action scenes are exhilarating and really bring out the superhero element in Tony Stark/Iron Man. Furthermore, the love story between Steve Rogers/Captain America and Iron Man is touching and really shows how strong their bond is. Ultimately, Iron Man is a great movie that any fan of superhero movies should watch. If you're not sure which MCU movie to start with, then definitely give this one a try!

Thor

Thor is the best Marvel movie to watch, according to fans. The story follows the adventures of Thor, a powerful god who returns to Earth after being imprisoned on Asgard. Along the way, he encounters dangerous villains and must use his powers to save the world from destruction.

Captain America: The First Avenger

Captain America: The First Avenger is the perfect introduction to Marvel’s cinematic universe. It features a strong cast led by Chris Evans and delivers a thrilling action movie experience. If you’re new to Marvel, this is the film to start with.

The Avengers

If you're a fan of Marvel movies, then you undoubtedly know that there are many different movies in the Marvel Cinematic Universe. However, which one is the best to watch? In order to help make your decision a little easier, we've put together a list of the best Marvel movies, in order from best to worst. First up is The Avengers, released in 2012. This movie features some of Marvel's most iconic characters, including Iron Man, Thor, Captain America, and The Hulk. It also has an incredible ensemble cast that includes Robert Downey Jr., Chris Evans, Mark Ruffalo, Scarlett Johansson, and Jeremy Renner. Next on our list is Guardians of the Galaxy, released in 2014. This movie follows Peter Quill (Chris Pratt), who becomes entangled with team of aliens led by Gamora (Zoe Saldana) after stealing their prized artifact – an item known as the Power Stone. The cast also includes Vin Diesel as Groot and Michael Rooker as Yondu Udonta. Finally we have Ant-Man and The Wasp, released in 2018. This movie stars Paul Rudd as Scott Lang aka Ant-Man and Evangeline Lilly as Hope Van Dyne/Wasp. In this film, Lang must team up with Van Dyne in order to stop her father – Dr Hank Pym (Michael Douglas) – from creating an evil suit called "The Yellowjacket."

Guardians of the Galaxy

Guardians of the Galaxy is without a doubt one of the most popular Marvel movies, and for good reason. It's an action-packed movie that will keep you entertained from beginning to end. If you're debating which Marvel movie to watch, Guardians of the Galaxy should definitely be at the top of your list.

Spider-Man: Homecoming

If you're looking for the perfect Marvel movie to watch, there's no one definitive answer – it all depends on what you're in the mood for! But if we were to narrow it down to just one, it would have to be Spider-Man: Homecoming. This newest installment in the MCU tells the story of Peter Parker (Tom Holland), a teenager who is bitten by a radioactive spider and gains super-powers, which he uses to fight crime as Spider-Man. The film is full of excitement, humor, and heart, and is sure to please fans of all ages.

Thor: Ragnarok

Thor: Ragnarok is the latest in the Marvel Cinematic Universe and follows the adventures of Thor, his brother Loki, and their allies on their quest to stop Hela and her apocalyptic plans. The film is a hilarious and exciting adventure with an intense battle at the end that will leave audiences on the edge of their seats. Thor: Ragnarok is the perfect film for fans of action movies and comic book movies alike. The humor in the movie makes it enjoyable for everyone, while the action ensures that no one will be bored. If you're new to Marvel movies or want to watch something different, Thor: Ragnarok is your best option.

Black Panther

"Black Panther" is the newest Marvel movie and it's definitely worth checking out! The story follows T'Challa, who after being removed from the throne of Wakanda is forced to team up with CIA agent Everett K. Ross and Helmut Zemo in order to get his rightful place back. The cast includes Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Angela Bassett, Forest Whitaker and Andy Serkis. This movie is definitely an exciting watch that is sure to leave you wanting more.

Avengers: Infinity War

The Marvel Cinematic Universe has been one of the most popular movie franchises in history, and it’s only continued to grow since Thanos’ arrival in the MCU. As the films have gotten more and more complex, it can be tough to know which one is the best to watch. Lucky for you, we’re here to help! Before we get started, let's take a look at how this ranking was determined. Every movie in the MCU was ranked based on five factors: story, action/adventure, character development, visual effects, and soundtrack. Each category was given equal weightage and no film received an edge because of its importance to the franchise overall. Now that that's out of the way... Story: This category is based on how well each film tells its own unique story within the MCU. Action/Adventure: This category is based on how well each film delivers exciting action sequences and thrilling adventure moments. Character Development: This category looks at how well each film develops both its main and supporting characters. Visual Effects: These films were judged based on their ability to create realistic visuals within the context of the MCU. Soundtrack: Finally, this category looks at how well each soundtrack fits with the overall tone of each film. See More

[nitrateglow]

Favorite films discovered in 2020

Well, this year sucked. I did see some good movies though. Some even made after I was born!

Perfect Blue (dir. Satoshi Kon, 1997)

I watch a lot of thrillers and horror movies, but precious few actually unsettle me in any lasting way. This cannot be said of Perfect Blue, which gave me one of the most visceral cinematic experiences of my life. Beyond the brief flashes of bloodletting (you will never look at a screwdriver the same way again), the scariest thing about Perfect Blue might be how the protagonist has both her life and her sense of self threatened by the villains. The movie’s prescience regarding public persona is also incredibly eerie, especially in our age of social media. While anime is seen as a very niche interest (albeit one that has become more mainstream in recent years), I would highly recommend this movie to thriller fans, whether they typically watch anime or not. It’s right up there with the best of Hitchcock or De Palma.

The Good, the Bad, and the Ugly (dir. Sergio Leone, 1966)

Nothing is better than when an iconic movie lives up to the hype. Clint Eastwood, Eli Wallach, and Lee Van Cleef play off of one another perfectly. I was impressed by Wallach as Tuco in particular: his character initially seems like a one-dimensional greedy criminal, but the performance is packed with wonderful moments of humanity. Do I really need to say anything about the direction? Or about the wonderful storyline, which takes on an almost mythic feel in its grandeur? Or that soundtrack?

Die Niebelungen (both movies) (dir. Fritz Lang, 1924)

I did NOT expect to love these movies as much as I did. That they would be dazzlingly gorgeous I never doubted: the medieval world of the story is brought to vivid life through the geometrical mise en scene and detailed costuming. However, the plot itself is so, so riveting, never losing steam over the course of the four hours it takes to watch both movies. The first half is heroic fantasy; the second half involves a revenge plot of almost Shakespearean proportions. This might actually be my favorite silent Fritz Lang movie now.

Muppet Treasure Island (dir. Brian Henson, 1996)

I understand that people have different tastes and all, but how does this movie have such a mixed reception? It’s absolutely hilarious. How could anybody get through the scene with “THA BLACK SPOT AGGHHHHHHH” and not declare this a masterpiece of comedy? And I risk being excommunicated from the Muppet fandom for saying it, but I like this one more than The Great Muppet Caper. It’s probably now my second favorite Muppet movie.

Belle de Jour (dir. Luis Bunuel, 1967)

I confess I’m not terribly fond of “but was it real???” movies. They tend to feel gimmicky more often than not. Belle de Jour is an exception. This is about more than a repressed housewife getting her kicks working as a daytime prostitute. The film delves into victim blaming, trauma, class, and identity-- sure, this sounds academic and dry when I put it that way, but what I’m trying to say is that these are very complicated characters and the blurring of fantasy and reality becomes thought-provoking rather than trite due to that complexity.

Secondhand Lions (dir. Tim McCanlies, 2003)

The term “family movie” is often used as a synonym for “children’s movie.” However, there is an important distinction: children’s movies only appeal to kids, while family movies retain their appeal as one grows up. Secondhand Lions is perhaps a perfect family movie, with a great deal more nuance than one might expect regarding the need for storytelling and its purpose in creating meaning for one’s life. It’s also amazingly cast: Haley Joel Osment is excellent as the juvenile lead, and Michael Caine and Robert Duvall steal the show as Osment’s eccentric uncles.

The Pawnbroker (dir. Sidney Lumet, 1964)

Controversial in its day for depicting frontal nudity, The Pawnbroker shocks today for different reasons. As the top review of the film on IMDB says, we’re used to victims of great atrocities being presented as sympathetic, good people in fiction. Here, Rod Steiger’s Sol Nazerman subverts such a trope: his suffering at the hands of the Nazis has made him a hard, closed-off person, dismissive of his second wife (herself also a survivor of the Holocaust), cold to his friendly assistant, and bitter towards himself. The movie follows Nazerman’s postwar life, vividly presenting his inner pain in a way that is almost too much to bear. Gotta say, Steiger gives one of the best performances I have ever seen in a movie here: he’s so three-dimensional and complex. The emotions on his face are registered with Falconetti-level brilliance.

The Apartment (dir. Billy Wilder, 1960)

While not the most depressing Christmas movie ever, The Apartment certainly puts a good injection of cynicism into the season. I have rarely seen a movie so adept at blending comedy, romance, and satire without feeling tone-deaf. There are a lot of things to praise about The Apartment, but I want to give a special shoutout to the dialogue. “Witty” dialogue that sounds natural is hard to come by-- so often, it just feels smart-assy and strained. Not here.

Anatomy of a Murder (dir. Otto Preminger, 1959)

I’m not big into courtroom dramas, but Anatomy of a Murder is a big exception. Its morally ambiguous characters elevate it from being a mere “whodunit” (or I guess in the case of this movie, “whydunit”), because if there’s something you’re not going to get with this movie, it’s a clear answer as to what happened on the night of the crime. Jimmy Stewart gives one of his least characteristic performances as the cynical lawyer, and is absolutely brilliant. 

Oldboy (dir. Park Chan-Wook, 2003)

Oldboy reminded me a great deal of John Webster’s 17th century tragedy The Duchess of Malfi. Both are gruesome, frightening, and heartbreaking works of art, straddling the line between sensationalism and intelligence, proving the two are not mutually exclusive. It’s both entertaining and difficult to watch. The thought of revisiting it terrifies me but I feel there is so much more to appreciate about the sheer craft on display.

Family Plot (dir. Alfred Hitchcock, 1976)

Family Plot is an enjoyable comedy; you guys are just mean. I know in an ideal world, Hitchcock’s swan song would be a great thriller masterpiece in the vein of Vertigo or Psycho. Family Plot is instead a silly send-up of Hitchcock’s favorite tropes, lampooning everything from the dangerous blonde archetype (with not one but two characters) to complicated MacGuffin plots. You’ll probably demand my film buff card be revoked for my opinion, but to hell with it-- this is my favorite of Hitchcock’s post-Psycho movies.

My Best Girl (dir. Sam Taylor, 1927)

Mary Pickford’s farewell to silent film also happens to be among her best movies. It’s a simple, charming romantic comedy starring her future husband, Charles “Buddy” Rogers. Pickford also gets to play an adult character here, rather than the little girl parts her public demanded she essay even well into her thirties. She and Rogers are sweet together without being diabetes-inducing, and the comedy is often laugh out loud funny. It even mocks a few tropes that anyone who watches enough old movies will recognize and probably dislike-- such as “break his heart to save him!!” (my personal most loathed 1920s/1930s trope).

Parasite (dir. Bong Joon-ho, 2019)

This feels like such a zeitgeist movie. It’s about the gap between the rich and the poor, it’s ironic,  it’s depressing, it’s unpredictable as hell. I don’t like terms like “modern classic,” because by its very definition, a classic can only be deemed as such after a long passage of time, but I have a good feeling Parasite will be considered one of the definitive films of the 2010s in the years to come.

Indiscreet (dir. Stanley Donen, 1958)

Indiscreet often gets criticized for not being Notorious more or less, which is a shame. It’s not SUPPOSED to be-- it’s cinematic souffle and both Ingrid Bergman and Cary Grant elevate that light material with their perfect chemistry and comedic timing. It’s also refreshing to see a rom-com with characters over 40 as the leads-- and the movie does not try to make them seem younger or less mature, making the zany moments all the more hilarious. It’s worth seeing for Cary Grant’s jig (picture above) alone.

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

This movie embodies so much of what I love about 70s cinema: it’s gritty, irreverent, and hard-hitting. It’s both hilarious and suspenseful-- I was tense all throughout the run time. I heard there was a remake and it just seems... so, so pointless when you already have this gem perfect as it is.

They All Laughed (dir. Peter Bogdonavich, 1981)

Bogdonavich’s lesser known homage to 1930s screwball comedy is also a weirdly autumnal movie. Among the last gasps of the New Hollywood movement, it is also marks the final time Audrey Hepburn would star in a theatrical release. The gentle comedy, excellent ensemble cast (John Ritter is the standout), and the mature but short-lived romance between Hepburn and Ben Gazarra’s characters make this a memorably bittersweet gem.

The Palm Beach Story (dir. Preston Sturges, 1942)

Absolutely hilarious. I was watching this with my parents in the room. My mom tends to like old movies while my dad doesn’t, but both of them were laughing aloud at this one. Not much else to say about it, other than I love Joel McCrea the more movies I see him in-- though it’s weird seeing him in comedies since I’m so used to him as a back-breaking man on the edge in The Most Dangerous Game!

Nothing Sacred (dir. William Wellman, 1937)

I tend to associate William Wellman with the pre-code era, so I’ve tried delving more into his post-code work. Nothing Sacred is easily my favorite of those films thus far, mainly for Carole Lombard but also because the story still feels pretty fresh due to the jabs it takes at celebrity worship and moral hypocrisy. For a satire, it’s still very warm towards its characters, even when they’re misbehaving or deluding themselves, so it’s oddly a feel-good film too.

Applause (dir. Rouben Mamoulian, 1929)

I love watching early sound movies, but my inner history nerd tends to enjoy them more than the part of me that, well, craves good, well-made movies. Most early sound films are pure awkward, but there’s always an exception and Applause is one of them. While the plot’s backstage melodrama is nothing special, the way the story is told is super sophisticated and expressive for this period of cinema history, and Helen Morgan makes the figure of the discarded burlesque queen seem truly human and tragic rather than merely sentimental.

Topaz (dir. Alfred Hitchcock, 1969)

Another late Hitchcock everyone but me seems to hate. After suffering through Torn Curtain, I expected Hitchcock’s other cold war thriller was going to be dull as dishwater, but instead I found an understated espionage movie standing in stark contrast to the more popular spy movies of the period. It’ll never be top Hitchcock, of course-- still it was stylish and enjoyable, with some truly haunting moments. I think it deserves more appreciation than it’s been given.

What were your favorite cinematic discoveries in 2020?

[annethepancake]

30-Day Movie Challenge here. Part 3/3. Part 1. Part 2.

21. My favorite actor: Eddie Redmayne I had a minor crush on Eddie Redmayne in Les Miserables and totally fell in love after The Danish Girl. He was also the main reason why Fantastic Beasts was so great. I absolutely adore his acting, he's really versatile as an actor and he deserves to be less type casted into nerds or effeminate guys (see also: The Trials of Chicago Seven) Honorable mentions: (I've mentioned him too much not to include) Rupert Graves, Hugh Grant, Danny Pudi.

22. A director I think is a total genius: Quentin Tarantino I really aspire to be a writer half as good as him :< The story never fails to get the whole point across, the dialogues are the definition of show-don't-tell. He might be controversial but his talents are not for discussion. My favorite films of his: Inglourious Basterds (2009), Pulp Fiction (1994), and Django Unchained (2012)

23. My favorite female lead movie: Promising Young Woman (2020) I really don't have enough words to describe how much I love this movie. I've written about it before, so there you go.

24. A sequel I'm not a fan of: The Crimes of Grindelwald (2018) "Not a fan of" is a gross understatement. This movie makes my blood boil. I came to watch Harry Potter at 20, old enough not to be blown away by the wizarding world, and was kinda fed up with the "chosen boy" narrative. So when Fantastic Beasts came out and it was all about the magical creatures and their shenanigans, featuring a kind-hearted introvert, I was thrilled. I absolutely loved Fantastic Beasts and was waiting for the second movie in metaphorical agony. I was in actual agony after I watched The Crimes of Grindelwald. Not only was it about something totally different and no longer in the "fantastic beasts" realm, it was also the worst story ever told in the medium of film. They are making a third one and oh boy JK Rowling is gonna talk about WWII.

25. My favorite local director: (Probably) Victor Vu I don't watch a lot of Vietnamese films. I've only ever been blown away by the countryside as portrayed in Victor Vu's Tôi thấy hoa vàng trên cỏ xanh (Yellow flowers on the green grass), so there's that.

26. A movie I find hopeful: Paddington 2 It is the cutest film I've ever watched, with a lot of good messages that even adults can learn from. Paddington 2 also features Hugh Grant as a washed up actor and a bad guy, and he embraced the jokes on himself so much it was absolutely fun to watch!

"If we are kind and polite, the world will be right."

27. A film I know by heart: Hannah Gadsby's Douglas (2020) I cheated a bit, this is not a movie but a stand-up special. But I have watched it so many times now I remember every word, and the jokes are still super funny even at the 1000th watch xD

28. My favorite opening scene: Inglourious Basterds (2009) I think there are thousands of people agree with me on this one: This is probably the best opening scene one can see on film. Opening scene is to set the tone of the film and introduce major characters, and Tarantino did it in the best way possible! This Youtuber says it better than me.

29. A film that was based on a book and was executed well: Làng Vũ Đại ngày ấy (Vu Dai Village) (1980) Nothing ever beats this classic for the position of the best creative storytelling adapted from literature. It respects all aspects of the original works, and creates a world where struggles are intertwined and empathized with. Not to mention, perfect casting too.

For my international friends: The movie is based on the short stories of the famous Vietnamese author Van Cao: Chi Pheo (name), Lao Hac (Name) and Song Mon (Rotten Life - grossly translated), all about the struggles of Vietnamese people before our great revolution against the French colonials in 1945. Though the original works were written separately, the movie combined all of them and made one Vietnamese classic literature cinematic universe, still relevant to this day.

30. A TV series I'm binging now: Peaky Blinders (2013 - 2022) Not binging, just watching in a moderate pace. This is one of the rare series/movies I didn't watch for the actors/directors/topics I cared about. I was just drawn to it by the style. I'm surprised to see I'm not jumping in any actor's fandom because of this series but just enjoying the story for itself. The style is amazing. Really masculine and hyper macho but touching in a lot of ways. The soundtrack is awesome too!

[aion-rsa]

Midnight Mass: It’s Time to Talk About That Monstrous Twist

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This article contains huge spoilers for Midnight Mass. So help me God if you read this without watching the series first��

The version of Midnight Mass that Netflix advertised still would have made for a compelling horror series. 

An isolated, insular island community? Great. A young, charismatic preacher suddenly coming to town to shake things up? Perfect. That preacher proving capable of performing minor miracles? Love it, no notes! 

Of course, as viewers who have watched at least four episodes of the seven-episode series now know, Midnight Mass has one extra supernatural twist in mind that elevates an already interesting story to true mind-blowing status. Critics were understandably asked to keep this aspect of the show a secret before it premiered. So please indulge me as I finally slay these embargo demons and get it off my chest.

Vampires. Vampires! V-A-M-P-I-R-E-S. VAMPIRES! VAMPIRES VAMPIRES VAMPIRES! Literally like Dracula. And Nosferatu. Anne Rice’s Lestat. Stephen King’s ‘Salem’s Lot. Vampires. VAMPIRES, BRO, VAMPIRES.

For creator Mike Flanagan, a filmmaker influenced by all manner of classic horror, bringing the fanged bloodsuckers to life was a long time coming.

“My favorite vampire movie is (Werner) Herzog’s Nosferatu,” Flanagan told Den of Geek and other outlets prior to the premiere of Midnight Mass. “That film is the vampire story as high art. I also adore From Dusk Till Dawn. I read Dracula young enough for it to really burrow in for me. And I read ‘Salem’s Lot early enough to color an enormous amount of work that I’ll do for the rest of my life.”

Midnight Mass’s depiction of the mythological undead beast and how it can neatly fit into Christian dogma is one of the most satisfying horror twists in years. Now that the truth is out, let’s discuss Midnight Mass and how it conflates vampires and biblical angels. 

Mistaking a Vampire for an Angel

The interesting thing about Midnight Mass is that it clearly takes place in a universe where the average person has no knowledge of what a vampire is. Even Sarah Gunning (Annabeth Gish), arguably the most well-read person on Crockett Island, has to do some research into “porphyria cutanea tarda” (a.k.a. the real life “vampire disease”). This is similar to The Walking Dead’s approach to zombies, in which the “z” word and George A. Romero’s name are never spoken. This strategy in Midnight Mass allows for a truly fascinating case of mistaken identity.

While viewers immediately know that the creature Monsignor John Pruitt (Hamish Linklater) encounters is a vampire, he believes it to be an angel. Given how studied Pruitt is in the Bible and Cathloic theology, it’s entirely understandable why he would think a tall, muscular, bald-headed beast with fangs and leathery wings is an angel. As it turns out, the angels of the Old Testament can be truly terrifying. 

Not all angels are soft-featured human-like creatures with fluffy white bird wings. Some, like Seraphim, Cherubim, and Thrones are designed to intimidate God’s enemies. In the New Testament’s Book of Luke, an angel visits Zechariah and immediately asks him to “be not afraid” because the angel can see the poor guy absolutely shaking in his boots upon his arrival. Angels being terrifying is even something of an Internet meme, with users contrasting the phrase “be not afraid” with images of truly monstrous beasts. 

Not only does Pruitt’s vampire have the vague appearance of an angel, it also apparently holds the secrets to eternal life as promised in the Bible. By merely drinking some of the “angel’s” blood, a good Christian can live forever just like God says. Does that blood-drinking sacrament sound familiar? It did to Mike Flanagan.

“In Bible school I used to say ‘if the wine turns into Jesus’s blood literally and we’re drinking it so that we can live forever … that seems like a short leap to vampiric myth.’”

Of course, drinking the angel’s fluids in the case of Midnight Mass also leads to some unwanted side effects like a thirst for blood and extreme sensitivity to sunlight. Thankfully, good ol’ Bev Keane always has a Bible quote ready to go for that. When read through the proper perspective, the Holy Bible may as well be the original vampire story. 

The Rules of Vampirism

“The thing that I love about the vampire as a cinematic tool is how malleable it is,” Flanagan says. “We all agree that there is no canon. There are no rules. In fact, part of the joy is seeing what rules people cherry pick as they approach a vampire story.”

All depictions of vampires are indeed quite different. Vampires can range from the classic Stoker-ian monster to Twilight’s nigh-invulnerable sparkle bois. Midnight Mass’s version of the vampire leans towards the classic, albeit with some tweaks. In terms of appearance, The Angel (as we will be calling Midnight Mass’s O.G. vampire for simplicity’s sake) has a more bestial look like Nosferatu rather than an aristocratic one like Count Dracula or Anne Rice’s creations. 

“We winked at (Nosferatu the Vampyr actor) Klaus Kinski a few times when we designed our guy,” Flanagan says.

Though the Angel resembles Nosferatu in appearance, its vulnerabilities owe more to Rice’s The Vampire Chronicles. Religious iconography does not appear to hurt the Angel nor its thralls. Traditional human weapons like bullets or blades also do no harm (at least not mortally). These vampires are, however, tremendously susceptible to both fire and sunlight. Exposure to the latter for even a few seconds is enough to kill the Angel and his many acolytes. 

Read more

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Like in Rice’s works as well, the path to creating a new vampire is quite simple. Step 1: Drink its blood. Step 2: Die. In Dracula and ‘Salem’s Lot, the method of vampire creation is merely being bit by one, zombie-style. Rice and Flanagan’s approach is quite a bit more intentional and interesting. It also opens the door for perhaps Midnight Mass’s most ingenious storytelling quirk: communion. John Pruitt is able to get nearly the entirety of Crockett Island to become a vampire by spiking the communion wine with his buddy’s blood. Then, all that remains is for them to poison themselves to death, Jonestown-style. 

The mass “resurrection” scene in which the congregation awakes as their new vampire selves also provides some insight to just how hard it is to contain the vampire’s overwhelming hunger. Riley Flynn was able to resist it when he turned because John Pruitt babysat him like a psychedelic mushroom guide. The plan for the rest of the congregation was to have their babysitters as well but that didn’t quite work out. Still, Riley’s dad Ed makes it clear to his wife Annie, that even if it’s hard to resist the call for blood, it’s not impossible. 

“When I saw them at the church, I thought it was something they really couldn’t help. Like something impossible not to do. But it isn’t, Annie,” he says.

Maybe if more vampires were like Ed Flynn, a whole island full of vampires wouldn’t be too bad of a thing in the first place. 

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How to Defeat a Vampire

While every vampire story presents its own unique take on the creature, the answer on how to defeat a vampire is usually the same: by doing it together.

“We poor humans only have so much that we can give,” Flanagan says. “We’re ill-equipped as individuals to make any kind of meaningful stand. The only way evil in the world can be brought down is through collective effort. That’s something Stoker understands inherently. It’s clearly something King understands.”

Alongside the aforementioned Bram Stoker and Stephen King, Flanagan presents a small team of humans at story’s end who will do what it takes to defeat evil, even if it means dying in the process. Erin Greene (Kate Siegel), Dr. Sarah Gunning, Sheriff Hassan (Rahul Kohli), Annie Flynn (Kristin Lehman), Warren Flynn (Igby Rigney), and Leeza Scarborough (Annarah Cymone) are the six residents of Crockett Island brave enough to try to take down the Angel. All but two (Warren and Leeza) die. They do succeed in eliminating the immediate threat on Crockett Island but it’s possible the Angel made it away to suck blood another day, damaged wings and all.

What’s interesting about Midnight Mass’s “final crew” is that six appears to be the magic number when it comes to taking down a vampire. Stoker’s Dracula has six heroes: Jonathan Harker, Mina Harker nèe Murray, Arthur Holmwood (Lord Godalming), John Seward, Quincey Morris, and Abraham Van Helsing (of which, only poor American cowboy Quincey Morris dies). King’s ‘Salem’s Lot also has six: Ben Mears, Matt Burke, Susan Norton, Mark Petrie, Jimmy Cody, and Father Callahan (of which, decidedly more than one of them die). This strange bit of arithmancy is something we asked Flanagan about.

“The number was certainly not intentional,” he says. “Once it was clear that Riley was not going to be carrying the torch to the end it really was about asking ‘who are the characters who seem in the very beginning to be at a disadvantage and how do we empower them in the end?’ This was gonna be played out by Sarah Gunning, Sheriff Hassan, and everyone else who would get to just give a little piece.”

Considering that Erin and company were outnumbered about 117 to six, it was a pretty good showing for Crockett Island’s last humans standing.

All seven episodes of Midnight Mass are available to stream on Netflix now.

The post Midnight Mass: It’s Time to Talk About That Monstrous Twist appeared first on Den of Geek.

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[smokeybrandreviews]

Smokey brand Movie Reviews: Super Green

The Green Knight s finally out and i can see it without having to wait a month and a half! I thank A24 for this rather quick turnaround because this thing has been on my radar fr what seems like forever! I’ve written about this before but A24 is my favorite studio releasing content. Neon is a close second and Netflix is making a real charge, but A24 releases classics. Some of my all-time favorite films are A24 products. Ex Machina, Hereditary, Under the Skin, The VVitch, Uncut Gems, Zola, Midsommar, Lady Bird, Eighth Grade, The Lighthouse, High Life, The Monster, Enemy, Climax, Room, The Killing of a Sacred Deer, The Disaster Artist, and Under the Silver Lake have all impressed in one for or another, all of them A24 offerings. This studio is f*cking amazing and i cannot sing it’s praises enough. They’ve been around for less than a decade, A24 was founded in August of 2012, and they’re brought this level of quality consistently. The Green Knight has all of the workings to slide right into my all-time list, just like Ex Machina and Hereditary did before it. Let’s see if i really love it as much as i think i will.

The Exceptional

The first thing that hits you is how f*cking gorgeous this film is. Seriously, i was immediately captivated by that opening scene with Gawain rushing for Mass. It definitely opens up as the film progresses and you are treated to one of the most visually striking films of the year. This movie could give Denis Villeneuve, Ari Aster, or Robert Eggers a run for their money. Seriously, you can frame several shots in a museum and no one would know the difference between that and the Van Gophs on display.

I r0aely mention this but it’s absolutely necessary that i do in this particular review because it was just that memorable. The sound design made this film. I’m not talking about music choice or score, but the actual sound effects for specific scenes. That sh*t was some of the tightest I've ever hear on a film and it really added to the overall experience. Just the way the Green Knight creaked and popped as he moved was more than enough to get this mention but there is so much  ore than just that. I hate that i had to see this at home because, f*ck, this thing would have sounded like god in a proper theater.

I mentioned that you can frame these shots in a museum before and a lot of that shine belongs to the cinematography. The shots chosen for this film are breathtaking. I imagine a lot of that has to do with location but even the scenes filmed in dank castles and murky bogs popped with that same, meticulous, shot composition and it really gave those scenes life. The were ties when my jaw dropped at the majesty of a scene. The one with the giants immediately comes to mind. Like, f*ck, was that beautiful to witness.

In that same breath, you have to know when to pull back. Editing is just as important to a film as anything else and The Green Knight is cut with a precision I've rarely seen. This thing has no fat whatsoever. It presents to you exactly what you need and little else. I love that. I love that this film has a story to tell and it tells it with extreme prejudice. These cuts were made with intent. That’s rare nowadays.

I also have to give a nod to the use of color and lighting. Again, it’s not something i ever really focus on but goddamn is it necessary for this review. Light plays a very important role in how this story was told. Certain scenes absolutely need it and others are perfectly accentuated by it. It takes a deft hand to juggle such a nuanced aspect of film and The Green Knight has done that the best this year. So far.

This film has a very real, very potent, atmosphere. It’s not tension, not like Uncut Gems of Good Times, but there is this unrelenting sense of dread that runs through this entire film. It’s measured and restrained but it’s always there. I appreciate that. For a film to illicit such emotion out of me is testament to the mastery of it’s visionary.

All of the praise I've given to the technical aspects of this film would be for naught if i didn’t recognize the director, David Lowery. This dude is fast climbing the list of my favorite directors. I actually listed  bunch above but, after seeing what he’s gone with this film, dude is really making a case for himself. He did the Pete’s Dragon remake which i hear as pretty good, and A Ghost Story but i haven’t seen either. Not really my cup of tea. But if they’re as good as The Green Knight, i might have to revisit that thought because, holy sh*t, this dude can direct the f*ck out of a film.

The writing is on point. I legit hesitated to put this on here because it is the weakest aspect of  everything else in this film but that is misleading. The writing is exceptional. There is no way this film could be as good as it is, if the script was dog sh*t. The material given to these performers had to the top tier in order for them to give the performances they did and and they definitely f*cking did that!

This whole cast really f*cking delivered. Sarita Choudhury as Mother and Sean Harris as the King were easily the best of the supporting cast but everyone else brought that same energy. Joel Edgerton, Kate Dickie, and  Barry Keoghan, all deliver powerful performances. Hell, this is the best I've ever seen Erin Kellyman act and i have to give a lot of credit to the overall quality of this cast delivered. That said, there are three individuals who put everyone else to shame and i say that knowing exactly how much praise i just heaped upon them all.

Alicia Vikander comes in and delivers on two roles, Essel and the Lady. This isn’t surprising at all because she always delivers. I’m never disappointed by her performances. Admittedly, i haven’t seen many but that’s because she is very particular about the characters she signs on to portray. That said, it’s weird the two performances she’s done that immediately jump out to me, are both with A24 films. Her Eva in Ex Machina, and that film in general, is what made me even take notice of both her and A24 as a studio. Here we are, seven years later, and she’s still blowing my mind. F*cking exceptional.

Ralph Ineson is almost unrecognizable in the Green Knight make-up but the second he opens his mouth, you immediately recognize that gravitas. There is a weight to this character and you f*cking feel it with every move Ineson makes. Dude isn’t in it much but the scenes he does appear in are absolutely stolen by this big, green, maestro of his craft.

More than anyone, this is Dev Patel’s film. This dude is a great actor but it’s rare someone gets a part where they can really bite into the content but that is not the case with this role. No, sir, this sh*t was tailor made for Patel and he definitely digs right the f*ck in. His Sir Gawain is just as good as his Jamal Malik from Slumdog, if not better. Seriously, this film would be nothing without Patel. As outstanding as every other aspect that i gushed about in this brilliant goddamn film, the very best is Dev Patel’s performance. Seriously, that sh*t, alone, is worth the watch.

The Verdict

The Green Knight is f*cking exceptional and exceeded all of my expectations. This year long wait was more than worth. It's the best film of the year so far, leap-frogging into my top twenty all-time and I've seen thousands of films. This thing is a masterpiece on all levels. Narrative, plot, lighting, performances, sound design, composition, editing, score; It's the closest thing to a technically perfect film I've seen in quite some time. If Dev Patel doesn't get an Oscar nod for this, there is no justice in the world because he f*cking carries this movie. Patel is easily the strongest force driving this incredibly compelling watch, but Alicia Vikander, Erin Kellyman, Sarita Choudhury, Ralph Ineson, Sean Harris, Kate Dickie, and Barry Keoghan all match that energy with f*cking gusto. I was absolutely mesmerized by the way these absolute masters in their craft, embodied and gave their respective characters life, particularly Vikander. She never disappoints.

The only issue I see that would hinder someone actually getting into this film is the fact that it's a little long in the tooth. You never really feel it, as long as you buy into the fact it's a character study and not a high concept fantasy film filled with dragons and sh*t. If you think Michael Bay and Zack Snyder are the pinnacle of cinematic excellence, pass on this. You won't make past the first tn minutes. Also, make better life choices. No, this is about Gawain and it never deviates from that core drive. Weird sh*t happens, sure, but it's nothing as fantastical as Smaug or a Balrog. Even so, this f*cking movie kept me glued to the edge of my seat. I loved every second of it and cannot sing it's praises enough. My only regret is that I didn't get to see it in a proper theater. This f*cker would have been a real experience to see on a proper cinema screen, especially that shot with the giants. The Green Knight is outstanding and deserves all of the praise it's gotten and so much more.

[tinyyoungblood]

midnight in prague | tom holland

summary: you play MJ in far from home and when filming gets too stressful, you and tom sneak off from set to explore the city of prague at night while also talking about the idea of running away together

pairing: tom holland x actress!reader

word count: 1.9 k

warnings: a bit angsty but mainly fluff, one (1) violent metaphor, language 

a/n: i highly recommend listening to the song, it’s absolutely beautiful, sets the mood and inspired this story. used some of the lyrics as dialogue. enjoy! 

song/inspo: Canada (ft. Alessia Cara) by Lauv

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“That’s a wrap, guys!” The crew cheered weakly, lacking the usual enthusiasm. Not moving from your spot, you meekly pumped your fist in the air in mute joy. To say you were exhausted wasn’t just an understatement, it was a big truck that rammed and then dragged you through the empty streets of Prague. You’ve been up since 9 am and the enormous clock, that had surely become the focal point for everybody, almost signaled three hours after midnight.

Your scene partner was even more drained than you. Tom was barely twitching a limb—only a hollow shell, containing the last remains of his wiped-out energy.

With his head rested on yours, you believed he was dead asleep and lightly poked his side to wake him up. But he only reached out and held your hand in a loose grip, arms dangling between your bodies. “I’m awake,” he murmured, and you were sure he was talking in his sleep.

“Tommy, wake up,” you said gently and wrapped your arms around his torso, letting him engulf you in a warm hug but he didn't budge, “You’re compressing my brain, Tom.”

Slowly, he lifted his head, eyes fluttering open to scan your face but only a second later did he realize that insomnia had caused him to believe your teasing for once. You couldn’t help but pout at the prominent exhaustion on his face. Footsteps on cobblestone and the movement of heavy filming gadgets made up your surroundings but you focused solely on Tom and the guilty look on his face. No words were needed for you to know that he was still sorry for something that he had no control over.

It wasn’t his fault that the weather conditions pushed the night shootings back and it certainly wasn’t his fault that cars were constantly driving over the bridge that you were filming at, forcing you to quickly jump to the side, only to shuffle right back to restart the scene.

But this was Prague and he was Tom. Much like his character, he had thoroughly planned a romantic trip for both of you and after weeks of gushing about it, he was sure he could make it work but something would always come up and push his plans into hopelessness.

At this point, he had accepted his fate but that didn’t mean that he wasn’t sad every time he looked at you and mad every time somebody said “action”. He loved his job and was forever grateful but for fuck’s sake, was it too much to ask for to spend some alone time with his girlfriend?

Just when he was about to open his mouth to apologize to you, you locked his lips with yours and he melted into the kiss, tense shoulders dropping. Releasing his lips with a soft plop, he sighed with a small smile, but his eyes still held sadness. Out of the corner of your eye, you noticed that the others were already walking toward the van to drive back to the hotel to fall into a restless sleep, but you couldn’t bring yourself to let Tom go to bed like this.

Your mind flicked to back home where you had naively envisioned your trip to Europe to be completely different—free and without a care in the world. You knew you were here for work, but you didn’t expect to have this many obligations that added to the constant pressure of having to deliver the perfect scenes. The world was counting on you to not fuck this up.

You sighed and looked down at the river. The water reflected the vibrant yellow streetlights and brought you a sense of much-needed peace and tranquillity. Tom watched you curiously as your eyes marveled at the scenery.

Your head whipped back to him and now you were beaming at him, a glimpse of mischief dancing in your eyes. “Let’s get out of here.” Tom blankly stared at you and blinked to make sure he wasn’t hallucinating. “What?”

“I’m saying,” you dragged out and let go of his torso to swing his arms excitedly from side to side, he squeezed your hand, “this is our last night in Prague! We’ve been looking forward to this for the longest time, do you really want to miss it? Come on, we can sleep on the plane tomorrow. Let’s be carefree for once.” Your soul was fueled with sparkling joy and you forgot about your exhaustion. “Let’s be free.”

Tom took a second to contemplate your words before a wide grin broke out on his face and he nodded eagerly, surrendering to bliss. “God, I’m obsessed with your brain sometimes.”

With your hand still in his, you pulled him with you, excitement shimmering. Crossing the Charles Bridge, the two of you slipped away and entered the night you had dreamed of.

Golden lanterns on the side of the houses marked hidden but absolutely breathtaking alleys and for the first time on this trip, it was quiet and serene. Your eyes couldn’t stop darting everywhere, taking it all in with the deepest admiration. It was like you were falling in love with the whole world.

You had a bounce to your step and Tom couldn’t contain his bubbly feelings at the sight of you. He didn’t really understand what switch of yours was suddenly flicked for your spirits to fly this high, but he didn’t need to. He missed spending time with you. Back in the States, both of your schedules were packed and barely allowed a fleeting glimpse but now, the girl of his dreams was buzzing with happiness while the streetlights highlighted her glowing face and he’d be damned if he wouldn’t treasure every moment.

The darkness made the town appear like a secret fairytale village with its colorful houses and narrow passages. Your soft chatter lingered in the warm summer air and every time a giggle left your lips Tom’s heart filled with more love for you, warming him from within. With his adoring gaze, he spun you around. Your dress flying up and you stretched your arms upward, enjoying the carefreeness with a broad smile. You felt like you were floating, feet barely touching the ground as the both of you were dancing to no music.

Drunk with happiness, both of you laughed as Tom pressed your back against a wall. With his hands caressing your hips and your foreheads pressed against each other, your heart throbbed with profound joy, something you haven’t felt in a while.

Adrenaline and happiness consumed you, so much of it that you nearly forgot to breathe but you didn’t need to as Tom’s lips were already on yours. You pushed off the wall, sealing the tiny space between you and he deepened the kiss. Your heart almost broke with joy. Pulling apart, it left you breathless again and you were certain nothing could ever wipe off the stupid grin on your faces.

Arms swinging, the two of you continued your fairytale walk and ended up at the Charles bridge again where you had started off the night. Still high on emotions, Tom pulled you with him as he swung his legs over the rim of the bridge and gestured for you to follow. You didn’t hesitate and sat next to him, legs dangling over the river. You rested your head on his shoulder and his arm wrapped around your small frame as you overlooked the sight in front of you.

Your voice was delicate as you spoke, cautioning into the silence, “I really needed this. It's almost like I've been stuck at home forever.” Tom was playing with strands of your hair and you knew he was deep in thoughts.

Again, you watched the dancing streetlights reflection on the water surface but this time it didn’t bring you peace. You had your night and that was all you wanted. So why did you feel a pinch of sadness at the simple thought of heading to the hotel, settling into your bed and calling it a night. You didn’t want this night to end and you knew Tom also dreaded having to end this feeling.

So the question he asked next wasn’t a surprise to you in the slightest—it resonated with you.

“What if we move to Canada?”

He sounded hopeful. Musing about taking on the world in a different way than you both already did but he knew you two were in no position to be bold and just not give a damn. It was neither in his nor your power to be selfish. A sudden breeze left goosebumps on your exposed skin, but he dreamingly gazed at you with vulnerable eyes and you let yourself dream with him.

“We could bring Tessa,” you voiced, and the corner of his mouth quirked up. “And your paintbrush and some candy,” Tom added, and awe transformed your face, eyes lighting up.

“I guess we’re lucky that we don’t need much outside of us, do we?” You chuckled softly and he shook his head with a sad smile on his face. He took your hand in his and started to play with your fingers, eyes looking heavenward. For the first time tonight, you noticed the endless stars sparkling from above.

“You know, when we film those movies...” He licked his lips and your gaze darted to his hesitant face. You weren’t sure if tears were brimming his eyes or if they reflected the deep water but they were glistening and you squeezed his hand to remind him that you were there. “...When they talk about those people in the movies who up and leave, I always think about how that could be us.”

He looked down at you, hands tightening around yours and now you were sure those were tears shimmering in his eyes. “That could be you and me.”

You didn’t answer and he didn’t need you to.

Both of you knew this wasn’t the heat of the moment talking. ‘Let’s get away from here and do our own thing’ wasn’t an option for any of you. Your thing was acting, you loved it from the bottom of your heart, and you wouldn’t be completed without that passion in your life and Tom—Tom was Spider-Man. Arguably one of the most recognizable cinematic characters in the world. Besides the fact that he couldn’t just quit, he didn’t want to either.

This was the life that you both chose. Unforgettable memories, unconditional support and overwhelming opportunities. There were also hours of press tours, draining interviews and nerve-wracking red carpets.

Your heart rate picked up at the single thought of it all but if tonight had taught you anything, it had taught you something deeply beautiful. Amid the chaos and pressure, amid the glamour and blessings, all you needed in the end was Tom by your side. He was the reason why you soared your highest heights and he was your support system when you plunged to the deepest depths. Gratitude flowed through you.

Leaning forward, you pressed a soft kiss on his cheek, letting it linger for a moment before you nuzzled your head back into the crook of his neck—brown eyes never leaving you. He returned the gesture by leaving a gentle kiss on top of your head, before resting his own on yours, pressing you closer into his body with a content sigh.

We are lucky that we don't need much outside of us.

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wrote this at 5 am so it might be extra cheesy but i’m still too sleep-deprived to tell lol. i appreciate the hell out of feedback so feel free to leave me some and if you don’t, that’s okay too. thank u for reading, buh-bye! x

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