absurd film

5

in which takenaka gets shot bc this whole thing is such bullshit

vimeo

WOW I finally finished my film about teeth this year! Here is “Origins” in all of its glory, I hope you enjoy!

Benedict Cumberbatch on Sherlock/Irene, @LFCC (29 July 2017):

“Was that love? Was that lust? It was another form of obsession in a way for him. He couldn’t let her go as was explored as John questions him.

“It was probably better that that’s there in the world and he doesn’t really want to acknowledge it. It’s a secret for him.”

Source link: http://www(dot)express(dot)co(dot)uk/showbiz/tv-radio/834615/Sherlock-Benedict-Cumberbatch-BBC-Molly-Hooper-John-Watson

WHAT’S NEW THIS WEEK: THANKSGIVING EDITION

What’s new this week on the main kids networks (in the US) + some programming highlights.

DISNEY CHANNEL:

Monday, November 20, 8.00PM: NEW SERIES PREMIERE of BIg Hero 6: The Series “Baymax Returns: Part 1 & 2″:  The animated series, based on Walt Disney Animation Studios’ 2014 Best Animated Feature Oscar winner, continues the adventures and friendship of Hiro, Baymax and the Big Hero 6 team, picking up immediately following the events of the feature film. Baymax Returns will bridge the movie and the series following the moment Hiro discovers the chip his brother Tadashi designed to create Baymax.  The series is created by Kim Possible’s Mark McCorkle and Bob Schooley, and executive produced by McCorkle, Schooley and Nick Filippi. The special follows an encore of the original movie Big Hero 6 at 5.45PM.

Wednesday, November 22: EVENING MOVIE MARATHON: 5.20PM: MOVIE: Meet the Robinsons  7.00PM: MOVIE: Tangled

Thursday, November 23: EVENING MOVIE MARATHON: 4.20PM: MOVIE: Tangled  6.00PM: MOVIE: Descendants  8.00PM: MOVIE: Descendants 2

Friday, November 24, 8.00PM: NEW Andi Mack “The Snorpion”

Friday, November 24, 8.30PM: NEW K.C. Undercover “Deleted!”

Saturday, November 25, 9.00AM: NEW Elena of Avalor “A Spy in the Palace”

Saturday, November 25, 9.30AM: NEW Tangled: The Series “Painter’s Block”

Saturday, November 25, 11.00AM: MOVIE: Adventures in Babysitting

Saturday, November 25, 8.00PM & Sunday, November 26, 11.00AM: MOVIE: Tooth Fairy

Sunday, November 26, 9.05PM: NEW Bad Lip Reading: Descendants Edition:  The parody features an absurd take on the film where the dialogue is completely dubbed over with nonsensical comedic takes. Now, the show follows the adventures of “the one in purple” and her friends at the “Magic Teeth Academy,” known as Auradon Prep in the original film. The premiere follows an encore to Descendants 2 at 7.00PM.

DISNEY XD:

Monday, November 20, 8.00PM: NEW SERIES PREMIERE of BIg Hero 6: The Series “Baymax Returns: Part 1 & 2″:  The animated series, based on Walt Disney Animation Studios’ 2014 Best Animated Feature Oscar winner, continues the adventures and friendship of Hiro, Baymax and the Big Hero 6 team, picking up immediately following the events of the feature film. Baymax Returns will bridge the movie and the series following the moment Hiro discovers the chip his brother Tadashi designed to create Baymax.  The series is created by Kim Possible’s Mark McCorkle and Bob Schooley, and executive produced by McCorkle, Schooley and Nick Filippi. The special follows an encore of the original movie Big Hero 6 at 5.45PM.

Wednesday, November 22, 8.00AM: MOVIE: Cars & 10.30AM: MOVIE: Cars 2, airing around a Phineas and Ferb marathon.

Thursday, November 23, 8.00AM: MOVIE: Planes & 10.00AM: MOVIE: Planes: Fire & Rescue, airing around a Ducktales marathon.

Friday, November 24, 8.00AM & 5.00PM: MOVIE: Meet the Robinsons, airing around a Gravity Falls marathon.

Saturday, November 25, 9.00AM: NEW Pokemon: Sun & Moon: “Mounting a Electric Charge!”/”Alola, Kanto!”

Saturday, November 25, 10.00AM: NEW MOVIE: Pokemon The Movie: I Choose You!Ash turns 10 years old and becomes a Pokémon trainer when Professor Oak gives him his first Pokémon. The movie reruns at 6.00PM and on Sunday at 12.00PM.

NICKELODEON:

Monday, November 20, 7.00PM: NEW Paradise Run “Game on Game Shakers”/”Paradise Quad Clash”

Tuesday, November 21, 7.00PM: NEW Paradise Run “Thunder-Quad, Assemble!”/”School of Rockin’ in Hawaii”

Wednesday, November 22, 12.00PM & 8.00PM: MOVIE: The Spongebob Movie: Sponge Out of Water

Wednesday, November 22, 7.00PM: NEW Paradise Run “Clash of the Nick Celebs”/”Game Shaking Up the Run”

Thursday, November 23, 8.00PM: MOVIE: Annie

Friday, November 24, 6.30PM: NEW The Loud House “The Crying Dame”/”Anti-Social”:  The children give Lily an old singing toy from the attic to help her stop crying, but it quickly drives them crazy; the kids try to convince Dad of the wonders of modern technology after he declares war on their electronic devices.

Friday, November 24, 7.00PM: NEW MOVIE: Hey Arnold! The Jungle Movie:  Featuring a storyline picking up where the original TV series ended in 2004, Hey Arnold!: The Jungle Movie follows the kids on the field trip of a lifetime, where Arnold and his friends embark on a quest to achieve his dream of finding his missing parents. Hey Arnold!: The Jungle Movie will premiere as a simulcast on Nickelodeon, TeenNick and Nicktoons. The premiere will follow a new episode of The Loud House at 6.30PM. 

Saturday, November 25, 8.00PM: NEW Henry Danger “Danger Games”:  Henry Danger meets the Game Shakers in the brand-new Nickelodeon Crossover Event, “Danger Games”. When Dr. Minyak (Mike Ostroski) plans to ruin Double G’s (Kel Mitchell) worldwide charity concert, Captain Man (Cooper Barnes) and Kid Danger (Jace Norman) join forces with the Game Shakers to defeat Dr. Minyak and keep Double G safe. The special is a 90-minute TV movie event, and repeats on Sunday at 11.00AM and 5.30PM.

Sunday, November 26, 7.00PM: NEW Nickelodeon HALO Awards 2017 Award Presentation:  Some of music’s most popular stars—Kelly Clarkson, Kelsea Ballerini, Hey Violet, Why Don’t We, Ayo & Teo and Jacob Sartorius–are coming together for the Nickelodeon HALO Awards 2017, a one-of-a-kind concert special honoring four young leaders who are changing their communities and the world by “Helping and Leading Others” (HALO). Led by host, creator and executive producer Nick Cannon, the one-hour musical event will also feature Nick stars: JoJo Siwa (Lip Sync Battle Shorties), Lizzy Greene (Nicky, Ricky, Dicky & Dawn), Ricardo Hurtado (School of Rock), and Daniella Perkins and Owen Joyner (Knight Squad). Nickelodeon HALO Awards 2017, held at New York’s Pier 36, will be simulcast across Nickelodeon, TeenNick and Nicktoons.

Sunday, November 26, 8.00PM: Friends MARATHON: The marathon begins with the episode “The One Where Ross and Rachel….. You Know” at 8.00PM and ends with the finale “The Last One” at 3.18AM. 

CARTOON NETWORK:

Monday, November 20, 1.00PM: MOVIE: Diary of a Wimpy Kid: Rodrick Rules

Tuesday, November 21, 1.00PM: MOVIE: Dr. Seuss’ The Cat in the Hat

Wednesday, November 22, 5.00PM: NEW Ben 10 (2017) season finale “Omnitricked”: The episode will follow Ben and his family as they go on a trip to Portland. The vacation is interrupted when Dr. Animo sends one of his monsters to activate a dormant volcano just outside of Portland, but Ben’s current aliens will not be strong enough to defeat the mad scientist in time. However, Ben’s Omnitrix saves the day when it lets the boy transform into a never-before-seen alien.

Wednesday, November 22, 6.00PM: NEW MOVIE: Kung Fu Panda 2:  Now known as the Dragon Warrior, Po (Jack Black) protects the Valley of Peace alongside his friends and fellow kung fu masters, the Furious Five. However, a dangerous villain threatens Po’s awesome new life with plans to use a secret weapon to wipe out the martial art and conquer China. In order to defeat the new enemy, Po finds he must recall his past and unlock secrets of his mysterious origins; only then will he find the strength to vanquish his foe. The movie encores on the network on Thursday at 1.30PM.

Friday, November 24, 6.00PM: NEW Teen Titans Go! “The Self-Indulgent 200th Episode Spectacular!”: When their world starts disappearing, the Titans must confront their creators. The Titans learn how difficult it is to make a cartoon when they try to animate Michael Jelenic and Aaron Horvath, their creators. The special reruns on Saturday at 10.00AM, 3.30PM and 7.30PM, and on Sunday at 8.30AM, 2.00PM and 6.30PM.

Friday, November 24 to Sunday, November 26: Teen Titans Go! ALL THANKSGIVING. Enjoy a whole Thanksgiving weekend of Teen Titans Go! from 6.00AM to 8.00PM from Friday to Sunday (Wednesday and Thursday included, excluding Ben 10 and Kung Fu Panda 2).

All times are in EST and obtained from Zap2it’s TV listings.

Okja was a really fascinating film to watch, especially from a linguistic/cultural perspective… especially as a Korean-American, seeing a distinctly Korean-American character on screen (more on that, btw). But also, there were so many little things here and there that I found super interesting? Incoming list that was typed up as I was watching, which also means spoilers ahead (sorry to my mobile friends).

Also side note, the choice for musical style was really interesting. If anything, it just furthered the absurdity of this film, ahaha.

Keep reading

François Truffaut l'appelait “Framboise” Dorléac. L'actrice, qui a fait tourner Bébel en bourrique dans “L'homme de Rio”, et chanté la vie dans “Les Demoiselles de Rochefort” avec sa sœur Catherine Deneuve, est morte il y a tout juste cinquante ans. Retour sur sa carrière trop brève en cinq rôles marquants.

Elle est morte à 25 ans, sur la route de l’Esterel, pas loin de Nice, dans un accident de voiture, le 26 juin 1967. Françoise Dorléac était la sœur aînée de Catherine Deneuve et, contrairement à sa cadette, rêvait de devenir comédienne.
Gamine, elle fait du doublage (c’est la voix de Sandra Dee dans Le Mirage de la vie, de Douglas Sirk, en 1958). Au théâtre, en 1960, elle triomphe dans Gigi, d’après Colette, aux côtés de Gaby Morlay. A la télévision, Michel Deville en fait l’héroïne des Petites Demoiselles, en 1964.
Mais c’est le cinéma qui l’attire. Elle a tout pour devenir une star : la classe, la beauté, l’extravagance. Seule la confiance lui manque. Comme elle doute constamment d’elle-même, la caméra lui fait peur. « Elle se cachait derrière tout ce qu’elle pouvait trouver : un éventail, une voilette, une mèche de cheveux », disait Edouard Molinaro, qui la dirige dans deux comédies où elle fait merveille : Arsène Lupin contre Arsène Lupin (1962) et La Chasse à l’homme (1965).
Cinquante ans après sa disparition, Françoise Dorléac reste inoubliée. Chaque fois qu’une jeune comédienne, au détour d’un film, parle juste, rit fort et joue vite, on pense à elle. Durant sa brève carrière, elle aura tourné cinq films importants. 

“L’Homme de Rio”, de Philippe de Broca (1963)
«  Ma voiture ? Mal garée ? Alors ça, ça métonnerait… » Dès ses premières répliques, Françoise Dorléac étincelle. Depuis Danielle Darrieux, dans les années 30, on n’avait pas vu une telle célérité, une telle aisance, une telle ferveur, un tel charme… Au début, Agnès n’est que le faire-valoir d’Adrien Dufourquet (Jean-Paul Belmondo), militaire en permission qui, à la poursuite de sa fiancée enlevée, escalade les immeubles de Rio, fait des loopings dans un vieux coucou et saute en parachute dans une rivière infestée de crocodiles…
Mais, très vite, Agnès-Dorléac insuffle au film un souffle de fantaisie poétique, pas loin du pur surréalisme, notamment lorsqu’elle exige d’Adrien une voiture rose avec des étoiles vertes pour s’en aller récupérer une précieuse statuette… Belmondo râle, mais il s’exécute. comme s’il pressentait que la vision frénétique de Dorléac révélait, en fait, le monde tel qu’il est : absurde et précieux… Le film reste, aujourd’hui encore, une réussite inégalée

“La Peau douce”, de François Truffaut (1964)
«  Jusque-là, elle n’avait que des films où elle courait, où elle traversait l’écran, selon François Truffaut. Je lui ai conseillé de “s’installer” : dégager le front, parler moins vite, rester immobile : « Il faut qu’on ait le temps de vous voir », lui disais-je  »… Dans La Peau douce, Françoise Dorléac est la rencontre de rêve et l’être de fuite, comme le sera, en plus dramatique, Catherine Deneuve dans un autre film de Truffaut, La Sirène du Mississipi. Inaccessible, donc inoubliable.
Lorsque Nicole propose à son amant-papa (Jean Desailly) de se revoir après leur rupture – car elle l’aime bien, cet homme ! –, il refuse, furieux. Comment rester ami avec quelqu’un qui, sans le vouloir ni le savoir, a renversé sa vie ?Massacré à sa sortie, devenu un classique, aujourd’hui, La Peau douce obéit a la rigueur et à l’épure de la littérature française du XVIIe siècle. Presque une tragédie racinienne…

“Cul-de-sac”, de Roman Polanski (1966)
C’est la seconde femme du héros (Donald Pleasence), qu’il a ramenée dans son château isolé et délabré dans l’île de Lindisfarne, en Angleterre. Une Française, prénommée Teresa, qu’il a dégotée dans des mauvais lieux, vu sa spécialité : «  la bicyclette », expérimentée, à un moment, sur le gangster (Lionel Stander) qui ne l’apprécie guère…
Dans une scène sublime, Dorléac maquille ses yeux dans l’œil de la caméra (le nôtre, en fait), puis se glisse, tel un chat, dans un long fourreau noir avant de se précipiter sur un pick-up pour écouter, une fois de plus, la grinçante musique de Krzysztof Komeda. Tout le film – le meilleur de Roman Polanski, avec Chinatown et The Ghost Writer – semble rythmé par ses rires en cascade qui, face à la bienséance, imposent l’insolence.

“Les Demoiselles de Rochefort”, de Jacques Demy (1967)
Il faut voir, sur le site de l’Ina, le (trop) bref reportage consacré au tournage des Demoiselles de Rochefort. Françoise Dorléac est la plus exubérante des deux, Catherine Deneuve, la plus incisive, et l’on sent, entre elles, une complicité radieuse dont visiblement Jacques Demy va se servir sur l’écran… Semi-succès à sa sortie, le film est devenu «  cultissime » depuis, au détriment des Parapluies de Cherbourg, plus novateur en un sens… Mais, hormis les perruques des sœurs Dorléac, il distille toujours un bonheur de chaque instant.
Françoise, rousse et sage, tance sa sœur d’avoir laissé leur demi-frère, Boubou, entre les mains de routiers inconnus, tombe amoureuse de Gene Kelly et condamne le jeu de mots de Jacques Perrin (« J’m'en vais en perm’ à Nantes ») par une formule sans appel : « C’est de l’esprit à quatre sous ». C’est dire qu’elle a raison sur toute la ligne…

“Un cerveau d’un millard de dollars”, de Ken Russell (1967)
« Now is the winter of our discountent » (« Voici l’hiver de notre mécontentement »)… Cette réplique du Richard III de Shakespeare est le code utlisé par Anya, agent double, voire triple, pour entrer en contact avec Harry Palmer (Michael Caine), dont ce sont les troisièmes aventures, après Ipcress, danger immédiat (1965) et Mes funérailles à Berlin (1966)…
Françoise Dorléac n’a pas grand-chose à faire dans ce film d’espionnage, mais elle y est belle à tomber. Son visage évoque de plus en plus celui de Greta Garbo, la « Divine »… On aimerait bien voir, édité en DVD, le premier film de Ken Russell, ambitieux, où il rend, lors des dernières séquences, spectaculaires, un hommage appuyé, et pas ridicule du tout, à Alexandre Newski d’Eisenstein…

The G.O.A.T.

In our Ricky Shore Sings the Blues Facebook group last week I made a post questioning whether or not Quentin Tarantino is literally the greatest director in history. It was kind of a joke. Of course there’s no official list that has named any director the “greatest” but it’s been a popular sentiment amongst movie fans for many years that Tarantino is the “best”, or at least in the “top three”. I made the point that throughout the past two and a half decades, we’ve seen a coordinated marketing campaign that has pushed a narrative that Tarantino is a notch above all other directors. That campaign lost support around the Kill Bill days and it’s been waning ever since. Christopher Nolan is enjoying the highs of a similar campaign as we speak. How many people can you think of who will immediately say “Chris Nolan” like a knee-jerk reaction to the question of who is the “best director”?

My argument was not that Tarantino is a bad director, or even that he’s overrated by his audience. This is how I suspect most people interpreted what I wrote. My argument was that our perception of most things is influenced by extremely powerful people who push certain agendas. Sometimes these agendas are right, true, just, ethically sound, whatever you want to call them. Sometimes they’re corrupt, and in the case of Tarantino, who is the only director I can think of that has worked exclusively for Harvey Weinstein, maybe the agenda was corrupt.

Most people who follow my videos and blogs know that I’m a David Lynch fanatic. I’d argue that he’s the greatest director in history (give me 100 pages to make my case). I don’t view Lynch as a perfect person. I think his ethics are questionable. Amongst other vagaries, he promotes transcendental meditation, which many argue, for valid reasons, is a cult-ish practice not unlike Scientology. After Michael J. Anderson refused for financial reasons Lynch’s offer to be in season 3 of Twin Peaks, Anderson took to Facebook to air his grievances about Lynch. Anderson accused Lynch of molesting Jennifer Lynch and then using the crime as inspiration for Fire Walk with Me. Anderson was vilified by Lynch fans. “Anderson’s bitter and crazy” was the general consensus. Although I think Anderson’s methods in making the accusations were strange, and that the accusations sound incredible, I can entertain the possibility that he is telling the truth, or at least the truth as how he sees it. After Julee Cruise’s appearance in season 3 aired, she took to Facebook to accuse the Twin Peaks production crew of mistreating her. She mostly accused E.P. Sabrina Sutherland of being a jerk. In return, Cruise was treated similarly to Anderson by the fans. “So Julee Cruise is an asshole,” tweeted a major Twin Peaks fan account. I fully believe Cruise. Why would she lie about being mistreated by the production? That makes no sense. I mean, maybe she’s delusional, but the facts suggest that she isn’t. Just because I’m a Twin Peaks fan, that doesn’t mean I can’t imagine that a stressful production like Twin Peaks might chew someone up and spit them out.

But that doesn’t tarnish my opinion of Twin Peaks. Maybe it does. The show gives you so much to think about that how can hearsay influence an entire overview anyway? I don’t know the full story - I’m not omniscient, so although I can hear these accusers, I can also still gain value from the works in question.

I love The Pianist and I hate Roman Polanski. I love Match Point and I hate Woody Allen. I love 3 Women and I hate Robert Altman. I realize ethics come into play when we’re choosing which films to support, but the films speak for themselves (this is why I support piracy - we shouldn’t be compelled to support art that we aren’t sure about). The context around a film merely provides us with insight into the film. If Jennifer Lynch came out accusing her father of molesting her, I would be horrified and saddened and it would ruin Lynch’s work for me. It would ruin the work because I would consciously or subconsciously start looking for advocations for pedophilia within the films, just as we do with Woody Allen’s films now. Because film is a collaborative art, Lynch’s films aren’t just his. They also showcase the work of many actors, photographers, writers, editors, musicians, and countless other creative talents. While Lynch, like most great directors, is in control of every aspect of his films, that doesn’t invalidate the contributions of his collaborators. He’s on record saying the story of Twin Peaks is 50 percent Mark Frost. If his reputation were tarnished, it would tarnish the contributions of his collaborators, and although it would be morally just to expose Lynch if he is in fact a criminal, it would be a tragic loss for those people who are proud of the work they created for him because audiences would turn their backs on Lynch’s works. This tragic loss would be justified, but it wouldn’t be any less of a loss.

Kevin Smith announced today that he will from now on donate his residuals from his Weinstein-produced movies to charity. Admirable. I applaud him. So inspiring. But my heart breaks for Clerks. That movie had nothing to do with Harvey Weinstein besides Harvey buying it after it was completed and bankrolling its release. Clerks was made because Kevin Smith put his life on the line to make a movie. It is one of the only truly independent films in the public consciousness. The reason why it’s in our public consciousness is mainly because of Harvey, but that doesn’t reflect on the film itself. If the money from Clerks can go to charity instead of lining Smith’s already fat pockets, then that’s a beautiful thing, and maybe it’s how the film will fulfill its promise to the world. However, sexual abuse has nothing to do with the film Kevin Smith and his collaborators produced (as far as I know).

Clerks, Pulp Fiction, Eraserhead; all the films we love are just what they are. They aren’t “good” or “bad” necessarily, and our culture, especially in the age of Rotten Tomatoes, has grown too quick to quantify artwork. This is an idea I’ve tried to get at for years. I was ridiculed a couple years ago by some (misguided) horror fans because I refused to give shitty z-grade indie horror movies “bad reviews”. These are the types of movies made by groups of friends with camcorders and I see it as absurd to hold these films to the same standards that we apply to major productions, especially when most of the “critics” covering these films aren’t equipped to properly evaluate art in the first place. “It’s like criticizing a toddler,” was my defense. I didn’t mean the makers of these movies are like toddlers. I mean in the grand power structure, an indie filmmaker has as much power as a toddler. So why tear them down? If I am vehemently opposed to a film, I’ll either talk about why it’s bad or I just won’t cover it. Some films don’t deserve bad reviews just like some people don’t deserve to be marginalized. They don’t pose a threat.

Which brings me to the question of what is true and what isn’t in art. Deconstructionist criticism tells us that the meaning of a piece of art isn’t necessarily related to the intentions of the artist or artists behind the piece in question. In a post-modern age, which this resembles so much more than any other time in history, deconstruction is our only way to enjoy what we enjoy while at the same time understanding why we enjoy it and protecting us from whatever it is we don’t want to enjoy. Deconstruction is the only way to get to the truth, to what is objective. This is ironic to me for some reason. There are countless arbitrary factors that play into everything that happens. If we can recognize this web of factors, then we can understand that something like a Rotten Tomatoes score doesn’t necessarily indicate whether a film is good or not. A Rotten Tomatoes score is a false qualifier of art, I would argue. The label of “greatest director” is a false qualifier also. In my 100 pages of Lynch praise, I would never be able to successfully argue that Lynch is the “best” at anything. So that’s what I meant when I wrote, “Can we finally all agree that Tarantino isn’t the ‘best’ director and that Harvey Weinstein basically bought him a reputation?”

David Foster Wallace is widely known for popularizing postmodern fiction. Every internet troll reads Infinite Jest and then thinks they know the secrets of the universe. Novelist Jonathan Franzen was very close to Wallace and after Wallace killed himself, Franzen wrote a piece for The New Yorker where he basically argued that Wallace killed himself in order for his work to reach a larger audience. Franzen in so many words accused Wallace of killing himself for the sake of popularity. Although I don’t think Wallace was shallow or stupid or ethically questionable, I do entertain the possibility that a motivator for Wallace to kill himself was to spike his book sales. It’s a postmodern outlook and Wallace was postmodern to the bone. Since his death, his status has become unimpeachable. His suicide was tragic and complex but aren’t all suicides tragic and complex? Taking into account Franzen’s thoughts, I posit that Wallace killed himself because he saw all this coming. He foresaw where we are now. A reasonable epitaph for his tombstone could read: “He died as he lived: postmodern”.

9

Horror Is Everywhere: Scenes From The Films Of David Lynch

The works of David Lynch are among the most intriguing stories on the screen because they suggest that something sinister, absurd, or disturbing is lurking around every corner of our seemingly ordinary lives. Deformed babies, sadomasochistic sex cults, dancing dwarves that speak in tongues, human trafficking- everything, even the most despicable act, is possible and might be happening right in your backyard.

Source: The Work of David Lynch (and cinematographer Frederick Elmes)