best-moments-in-films

study dates with best friend!peter
  • you’d have been best friends for a while
  • and maybe you’re complaining about a class you have
  • “you know, if you wanted, i could maybe help…”
  • “just a thought i mean, uh, yeah”
  • peter being very nervous because he hates rejection
  • he probably likes u and u probably like him (neither of u admitting it)
  • after you get a test back as a 75, you give in
  • he’s really excited about it so goes home and tells aunt may
  • “but peter, you’re not even in that class”
  • “yeah i know aunt may, but [y/n] is”
  • aunt may giving him a knowing look, probably winking when you first come over
  • she secretly has always hoped you two would be together, this hopefully being the first step
  • within the first ten minutes he’d probably get distracted by watching himself on youtube
  • “peter we’re supposed to be watching a crash course, not ‘top ten best spider-man moments caught on film’”
  • he blushes and exits the tab, but you definitely catch him doing it at least two more times
  • “[y/n] this is boring”
  • “we just started fifteen minutes ago”
  • “…oh”
  • you bring your favorite candy with you and quiz each other, so after you get something right, you throw one and peter tries to catch it in his mouth
  • probably misses once or twice
  • probably hits him in the eye once or twice
  • “[y/n] you suck at this”
  • “well, i’m sorry i don’t possess superhuman abilities and have amazing hand-eye coordination”
  • aunt may bringing in a plate with crackers and cheese and juice boxes
  • “it’s good for brain power!”
  • peter being embarrassed and complaining that he’s not a little kid
  • you both secretly hope aunt may will bring more food though
  • the next test you ace with a 100
  • peter smiling because he heard flash got a 98
  • so you decide to do study dates regularly
  • peter possibly acting like he needs help with math even though you need it more than he does
  • you end up having him come over more
  • (because he likes showing up at your window all mysterious)
  • ((and you have a dog))
  • maybe he shows up kinda late at night, post crime fighting, and he’s still wearing the spider-man suit
  • claims he’s too tired to go pick up a text book, so he tries to use his webs to bring it to him from across the room
  • forgets that they’re hard to control
  • hits himself in the face with it
  • “oh sh*t!”
  • definitely gets distracted by your dog
  • “peter what’s this equ-”
  • “SHH [Y/N] I ALMOST GOT HER TO ROLL OVER”
  • peter getting distracted by everything
  • “[y/n] what’s this?”
    “that’s perfume, peter.”
    “really? well i think you better get it checked because it doesn’t seem to be wor-”
  • definitely has it held up to his eye to see if the little hole is clogged
  • definitely ends up spraying himself in the eye
  • definitely makes it hard for either of you to stay focused after that
  • maybe one time it gets really late, and you both end up falling asleep over your books
  • somehow you wake up in your bed
  • all your stuff has been put away
  • he probably left a cute note with lots of things crossed out
  • “hey [y/n] i hope you don’t mind i took your dog… just kidding”
  • (probably told himself that’s creepy to write but left it in there anyways)
  • you probably keep the note folded up somewhere, because it makes you smile
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So Today I Watched… Wonder Woman // Warner Bros (2017)

And so it is. The day has finally come. Before making the mistake of saying “The first ever Woman led Super-hero film” let’s remind ourselves for a minute that before this release we had over the past 25 years Supergirl, Tank Girl, Barb Wire, Catwoman and Elektra. No, Wonder Woman is not the first effort by a studio to have a leading superhero female character. BUT it’s the first one they finally get right. This movie it’s a letter of love to the character, one that Gal Gadot carries on with tenderness, strength, innocence and purity. I swear to God.  The best part of this film is this woman’s acting. She embodies all the traits of Diana of Temyscira, Daughter of Hippolyta. A child born from clay, and given life by the grace of Zeus to make the world a safer place.  She doesn’t know about her destiny and she’s refused to be told so by her mother who cares for her more than she should. Diana’s stubbornness and eagerness to learn make her the Amazon’s fiercest warrior until one day she meets Steve Trevor, a British spy on a mission to uncover a ploy by the Germans in WWI to strike the allies with toxic gas.

Diana’s first knowledge of the world of men by the words of Steve wakes her  warrior spirit but despise being a very wise woman in the ways of the Amazon she knows nothing of the world of man. Once she’s out of Temyscira she has to face the nuisances of the world in London on the year of 1918. From here on it’s an amazing experience to see this warrior woman who sees the world on terms of right and wrong, learn about compromise, patience, love, hypocrisy, the measure of principles, the way the world works and how this affect in the outcome of the conflict she faces. Every relationship Diana builds in the film reveals a new facet of the character; she truly is an ambassador for humanity, caring for everyone. As every origin story, this movie has “The hero’s realization” scene (the moment when the hero knows he has to step up and make a stand to prove his/her worth) and while we have seen this played out a thousand times over in a lot of super hero films over the past 12 years Diana’s realization is pure gold and a one the best moments to watch in the film despise being blown over in the trailers already. Diana is not an infallible hero she’s learning as she goes and as such she makes mistakes. Some of them cost her dearly. Some of them haunt her to this day and that’s why she put on the mantle again in Batman V Superman.

The movie did not receive the hype BvS had with a 3 years in the making process and that’s a good thing. This is a very solid film. One of the best origin stories ever told. Patty Jenkins outdid herself with this movie. The aesthetics are great and they suit the period the film is being set in. The music while not the most memorable makes good companionship to the drama unfolding over the 2 hours of story. Every actor is efficient on their contributions. You’ll get humor. You’ll get sadness. You’ll get moments of reflection. You’ll get empowerment. You’ll get action. But above all and everything else… We, the fans, finally have a Wonder Woman feature film and it’s an awesome one. If you are one of the few who haven’t watched it yet go and buy a ticket. You are in for a ride.

My Faith in the DC Cinematic Universe has been restored to a 100%.

Detroit dir. Kathryn Bigelow (2017)

I finally saw Detroit, the day of the Charlottesville Nazi march no less.  

I have very mixed feelings on the movie and they’re only mixed because director Kathryn Bigelow is a really good filmmaker. People who were most wary of the film because it had a white writer were right to be so, because the script is absolutely the weakest link and writer Mark Boal, who also wrote the scripts for Bigelow’s films The Hurt Locker and Zero Dark Thirty, has penned a script that gets so much wrong, trampling all over moments of subtlety with clumsy dialogue and making minimal effort to deliver context. 

The film has a very clear three-part structure: the first is dedicated to the overarching outrage and frustration that led to the 1967 riots, the second shows the murders of three black men by the police at the Algiers motel that took place mid-riots, and the third focuses on the lack of justice provided by a biased and ineffectual legal system. But at every turn the writing, and sometimes the direction, undercuts its own message. Aside from some completely lazy title text accompanied by some very ugly animation, the first section does an absolutely terrible job of showing why black people in Detroit started rioting and even mostly privileges the perspective of the police. The final section is so bad you have a character screaming out “the system is rigged” in a courtroom as if the movie doesn’t trust the audience to put the pieces together.

And that’s a real pity because these two weak sections bracket the strongest most effective part of the movie where Bigelow delves in to what exactly went down at the Algiers and where Boal for the most part (but unfortunately not completely) curbed his need of having characters broadcast the film’s intentions. This is the part of the movie that’s earned the most criticism for the amount of violence, but it’s a violence that feels earned in a way that the violence of the first section of the movie doesn’t. This is Bigelow at her masterful best, juggling a large ensemble of characters so that their actions and motivations are clear. Despite the chaotic nature of the action, which involves about a dozen characters running in and out of various rooms, the geography of the place is never in doubt so that audiences are able to fully focus on the horror of the actions. It is by no means a perfect piece of cinema but it’s by far the best part of a fractured film because it shows (without telling!) that there is absolutely no winning what the police call the “game”, where they use brutality to get their suspects to confess, or indeed any way of winning when it comes to black men dealing with the police at large. One of the gifts of the large ensemble is watching as all the black men take different approaches to trying to survive the night and the absolute desolation of watching as every single one loses. Even the ones who live come away completely destroyed by what they’ve seen and what they needed to do to survive.

Will Poulter, playing a racist cop, has been met with the most praise and though he’s very good among my favourites were John Boyega as a security guard who decides the best approach is to act deferential. It’s not a great role, again the writing lets him down, but he has such a commanding presence that he’s a pleasure to watch on screen. Algee Smith as an ambitious young singer and Jacob Latimore as his friend and roadie are also standouts. I’ve heard no one praise Anthony Mackie but he has one of the best moments in the film. Sitting in his room with two young white girls they hear the police invading the motel he starts coaching them on what to do and how to act and without further explanation you can tell from the exhaustion and fear in his voice that he’s been in this situation before. It’s a quiet well articulated moment of the kind the film could have used more of. Also to briefly bring up the two white girls who are also brutalized by the police: Hannah Murray has the biggest part between the two of them and she is unfortunately awful. I’m honestly so disappointed because though the role was small it covered a lot of complexities I’ve never seen depicted before on screen: the way white women use black men and black culture as a way of being transgressive, the way white women are used as an excuse for white men to lash out against black men, the way that even if they are privileged in some ways they can be victims of sexual harassment and abuse, and the way in which despite these things they can retreat back into the privilege of their whiteness. A lot of complexities going on that are ruined by Murray’s atrocious performance. I wish Bigelow had chosen someone else.

Some more scattered thoughts: I love it when directors reuse actors so I enjoyed seeing Anthony Mackie and also Jennifer Ehle, so great in Zero Dark Thirty, in a cameo! The production values on this were amazing and the costume design by Francine Jamison-Tanchuck, especially for the women, was gorgeous. I can never unthink of John Krasinski as Jim from The Office, and he was distracting as a smarmy police union lawyer. Samira Wiley also pops up for literally less than a minute, the role didn’t require her having a lot to do but it seems like such a crime to have her do the work of a glorified extra.

I wish I could recommend it because I am a huge fan of Bigelow but I just can’t. The riots deserved a better movie and I believed Bigelow could do better so I’m disappointed that the resulting film was so uneven. Even though the time never dragged for me this only ever felt like a very solid first draft with hints of how much better it could have been. I’m not surprised it’s flopping at the box office because a) it’s not very good and b) who exactly is the audience for this? White racists won’t touch a movie that address systematic racism by police and white people sympathetic to the film’s message will have a difficult time sitting through a two and half hour uneven film filled with gruelling violence. By the time I walked out of Detroit to check the news a woman was dead and many more injured after a Neo-Nazi plowed his car into a crowd of peaceful protestors. It served as a painful real-world reminder that black audiences and other people of colour are already living everything Detroit has to say. 

“What am I talkin to you for?  All you gotta do is munch on a carrot and people love you.”

This is probably the best moment in the entire film to me, and it only lasts 25 seconds.  So why didn’t we see more of it?  Aside from numerous reasons you can probably guess if you know what went on behind the scenes, it’s because this ISN’T LOONEY TUNES. This is Pixar levels of depth, drama, and character building that the original shorts never had.  I highly doubt Bugs or Daffy can pull off pathos well but this scene convinced me it’s possible.  You know, just sit and silently ponder the themes of the story with no wild, exaggerated movements for 3 full minutes without it looking very awkward, the kinds of things you only see in live-action movies. Here, Bugs for the first time finally realizes that all the abuse Daffy had gone through for decades in stardom isn’t acting anymore, and could be seriously harming his well-being. For the first time, Bugs is worried about him.  Daffy likewise acts like his sarcastic self but finally gets a chance to voice his frustrations like a mature adult to his foil, and I think that already lifted some weight off his shoulders.

They’re designed for slapstick and vaudeville levels of comedy.  And it saddens me that the only time I really felt like they GOT shades of a good Looney Tunes movie for today’s audiences is when we were given a scene that would NEVER happen in a short, but it’s still BRILLIANT, and I can’t wait for someone to make another movie with these characters with about 40% or even 20% of the movie carrying this kind of emotional weight to it and pulling it off! Yes, many purists will cry “That’s not Looney Tunes!” but every single animated film today have this kind of tone mixed in with the looniness, so I’m confident there’s a way to do it.

Not Your Average Rom-Coms

It pains me to say that in recent years I have become somewhat of a movie snob.  But honestly in my opinion, how can you not be in this day and age?  I just can’t justify going to the movie theater anymore to buy a 10-12 dollar ticket to see yet another romantic comedy with Katherine Heigl (sorry but Katherine Heigl movies are just bad) or Channing Tatum flaunting off his perfect abs.  I still love romantic movies, but they have to be unique and different in some way.  I love movies that leave an impression on you and films that have endings that can be open to interpretation.  It is for that reason that I have composed the following list of romantic films (some comedic, some dramatic) that should not disappoint.

1.  (500) Days of Summer

I have literally seen this movie at least 10 times.  I love it for three main reasons—(a) the chemistry between Zooey Deschanel and Joseph Gordon-Levitt, (b) the beautiful and experimental cinematic elements of the film, and © the soundtrack.  500 Days of Summer tells the story of the relationship between Tom (a hopeless romantic) and Summer (a girl who doesn’t believe in love).  Very funny and at times touching, the film tells the story out of sequence –making for a very interesting progression of time.  The ending is open to interpretation; just remember that a number of the movie’s promotional material included the disclaimer “this is not a love story”.    

2.  Edward Scissorhands

This is one of my favorite movies.  It is also one of the weirdest I have ever seen, but it is brilliant.  Directed by Tim Burton, Edward Scissorhands tells that story of a gentle man named Edward (Johnny Depp) who falls in love with the beautiful Kim (Winona Ryder).  The only problem is that he has scissors for hands and has lived in an abandoned mansion for most of his life.  His life completely changes when a cosmetic saleswoman named Peg (Diane Wiest) takes Edward under her wing and shows him what it is like to live in suburbia.  This film is a perfect example of the wondrous Burton/Depp partnership. 

3.  The Science of Sleep

From the mind of director Michel Gondry, The Science of Sleep tells the story of Stéphane (Gael García Bernal) as he falls in love with his charming French neighbor Stéphanie (Charlotte Gainsbourg).  Stéphane is very shy and highly imaginative; he often has trouble distinguishing between reality and the world of his dreams.  The film is very quirky and may actually warrant more than one viewing to fully appreciate the magic of the film. 

4.  Annie Hall

Calling all Woody Allen fans!  I happen to love Woody Allen and find his early films to be incredibly charming and hilarious.  Annie Hall tells the story of the neurotic Alvy Singer (Woody Allen) and his girlfriend Annie (Diane Keaton).  Diane is the true star of this film by creating such a classic and loveable character.  The first ten minutes are absolutely hysterical and feature some of the best moments in the film.  Annie Hall won four Oscars when the film was released in 1977 including Best Actress, Best Director, Best Picture, and Best Original Screenplay. 

 

5.  Amélie

Amélie is by far my favorite foreign film.  Set in Paris, the film tells the story of Amélie Poulain—a shy and imaginative girl who discovers love as she tries to mysteriously solve the problems of others.  Audrey Tautou plays the title role with perfect grace that could be compared to a young Audrey Hepburn.  The set design, music, and creative elements of the film are incredible and completely tie the film together.  If you don’t already, you will have a weird obsession with garden gnomes after seeing this film. 

6.  The Edukators

The Edukators is a German film about a group of young activists who break into the homes of the insanely wealthy—not to steal from them, but to leave obscure messages telling them that they have too much money.  But one night Jan (Daniel Bruhl) and his best friend’s girlfriend Jule (Julia Jentsch) improvise a kidnapping when they are caught by a businessman in his home.  The film also has road trips to the German countryside, love triangles, and thoughtful commentary on growing up.  Yes there are subtitles, but The Edukators is a film that will stick with you long after you watch it. 

7.  Breakfast at Tiffany’s

Holly Golightly is a classic example of the damsel in distress.  Breakfast at Tiffany’s follows Holly (Audrey Hepburn) though her many ups and downs and her budding romance with her new neighbor Paul Varjak (George Peppard). Based on the book by Truman Capote, Breakfast at Tiffany’s offers a look into the glamour of the 1960s and the tremendous talent of Audrey Hepburn. 

 

8.  Juno

I cannot even begin to describe how obsessed I was with this movie when it first came out.  I loved everything about it—especially how amazingly quotable it is.  Juno is a story of unplanned pregnancy, quirky young love, and the trials and tribulations of the adoption process.  The casting is spot-on—you can’t get much better than Ellen Page, Michael Cera, Jason Bateman, Allison Janney, J.K. Simmons, and Jennifer Garner.  Diablo Cody won an Oscar for Best Screenplay (no surprise there). 

9.  The Graduate

A classic film about a recent college graduate Benjamin (Dustin Hoffman) who finds himself trapped in an affair with Mrs. Robinson (Anne Bancroft)—the wife of his father’s business partner and the mother of the girl he can’t help but fall in love with, Elaine (Katharine Ross).  Featuring a stellar soundtrack from the great Simon & Garfunkel, The Graduate expertly showcases the changing times of the 1960s, what it means to grow up, and the messy business of relationships.  The film was nominated for a number of awards and still receives critical praise even today (almost 50 years later).

10.  Before Sunrise

Before Sunrise is the story of a young man (Ethan Hawke) and woman (Julie Deply) who meet on a train while traveling in Europe and end up spending a romantic evening together in Vienna.  The film is full of thoughtful dialogue and showcases the magic of chance meetings and life’s spontaneous events.  If you like this film, make sure you watch its sequels, Before Sunset (2004) and Before Midnight (2012)

Other favorites: Lost in Translation, Garden State, Slumdog Millionaire, Eternal Sunshine of the Spotless Mind, Rushmore, Blue Valentine, Never Let Me Go, Lars and the 

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Now showing: the world’s first cognitive movie trailer.

IBM and Watson went to Hollywood to help create the trailer for 20th Century Fox’s new suspense/horror film Morgan. But first Watson needed to understand what scares us. So Watson watched over 100 horror movie trailers and analyzed their imagery, audio tracks and scene composition to determine their underlying emotions and understand what elements make up a good trailer. Watson then watched Morgan in its entirety and selected the 10 best moments of the film for the trailer. IBM filmmakers edited these moments together to create a cohesive narrative and a finished trailer in just 24 hours. Go ahead and watch it now, if you dare.

Watch the cognitive movie trailer →

Ask Jenna about some of the best filming moments and they’re not the big scenes such as the coronation and the wedding. ‘Of course, they were amazing,’ she says, 'but the ones that really knocked me out were some of the quiet scenes between Tom and me, where he’d just give me a certain look or I’d see him walking towards me. As actors, there was so much trust between us and we always seemed to have exactly the same instincts. It was joyous.’
—  Jenna Coleman, TV Times Interview
FFXV NOVEMBER COUNTDOWN CHALLENGE

Hey there! I have had this as a draft waiting to post it but i’ve made a November Countdown activity counting down to the release of the game that everyone can do! There are 28 topics that you can express either through picture or text (Text is preferred for this !) Ranging over characters, events and more. Check beneath the read more for the whole list.

This starts on Nov 1st.

make sure to bookmark/save this post so you know what day is which topic! I will also be participating in this~ There’s no competition or rules other than that this is mainly a text activity, this is all for us to reflect on the ten year journey and relive our favorite/best/worst moments together~ Have fun!

p.s: I don’t expect or order you to do this, i know it clashes with FFXV week,  i thought it would just be a fun side activity to do before the game releases.

Keep reading

the best moment in any harry potter film was when slughorn got caught stealing plants and harry just walked by, stuck his head in, asked what the professor was doing and left like it was no big deal and then after that slughorn ran out after him to try to stop him from going outside the castle after curfew and whispered “hARRY!” and fucking harry potter imitated him with a “sIRRR!!”