can you tell how much i love this movie yet

the first of many | M

pairing: jung hoseok x reader

genre: smut, major fluff

word count: 3.1k

a/n: i really have no idea how this became so fluffy. this is also my first piece of writing so any and all feedback is welcomed and encouraged!! also thank you @xtaexhyungx for giving me the confidence to post and screaming about my ideas with me ily

Originally posted by sweaterpawsjimin

From the first instant that you laid eyes on him, you knew there was something different about him. The way that his smile never seemed to leave his lips and the way his laugh made you forget all the issues in the world-that’s what drew you in. You couldn’t be around Hoseok and not match his smile, regardless of how sore your cheeks got.

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Clingy - Part 2 (Sebastian Stan x reader)

Summary: You’re a new foreign actress who’s striving in Hollywood and Marvel decided to hire you.

Word count:1.5k

Genre: Fluff,angst

A/N: Thank you for the 90 notes onthe first part!I definitely didn’t expect it to get so many notes.Here’s part 2 for you guys. Once again, thank you!

Author: @chrixa

Life has been pretty good for you and Sebastian. Since moving in with him three months ago, you look happier, and truth is, you are. Even Chris said the other day that your smile seems brighter and you enjoy yourself more. All of that thanks to the Romanian guy who manages to make you smile everyday, Sebastian Stan.

Sure, you’re still hanging out with the rest of the Marvel cast members, but none of them, except Chris, knows that you’re dating Sebastian. That is until Sebastian told them two months ago.

Now, you’re already together for six months, and he still shows no signs that he wanted to go public to the media.

“Why can’t we tell the rest of the world about our relationship? I mean, Chris and Jenny are fine with everyone knowing, why can’t we?” you asked him the other day, desperate.

“You know why! The paparazzi can get a little over the line and can even potentially harm you!” he raised his voice. You stayed silent, unable to react.

“Baby doll,” he whispered and you can hear the guilt in his voice after yelling at you. You stared into his icy blue eyes, knowing that he’s right. “I just don’t want you to get hurt when I’m away. I know you have Chris who can protect you but he has other stuff to take care of,” he stepped closer.

Sebastian’s going to Ireland next month to film his new movie and you have a new movie coming up as well. He’s guilty because he can’t be there for you if you need anything. And he can’t be there to protect you when you walk home alone late at night.

“I know. I just want to celebrate our love, you know. Tell the world how much I love you,” you hugged him and placed your head a little below his chest. Short.

“I love you, too. Soon, okay?” He kissed the top of your head. All you can do is nod and spend the rest of the day cuddling.

Sebastian’s out eating with some of his friends. You begged to tag along but he said it’s a guys night and he promised to come home early and watch movies with you.

It’s nearly 11 P.M and Sebastian’s not home yet. You called him multiple times and texted him asking where he is and whether or not your movie date is up. And there was no reply.

Hey, big guy. Are you out with Sebastian? You sent to Chris.

No. I heard he’s going out with some guys. Why? He replied a minute later. Such a good friend.

Yeah he’s out and he’s not home yet.

Is he fine? I mean I can try to find him if you want. What a sweet guy.

Nah. I don’t want to disturb your night. Anyways, thanks Chris :)

Call me if you need anything, okay? I’ll be right over. You love him so much.

Yeah, sure, I’ll be fine. Thank you.

“(Y/N)! Hey, I’m home, baby doll.” 12.43 A.M.

“Babe? Where are you?” He called once more. You’re not answering.

It took him a moment to find that you’re sleeping sitting on the floor, in front of your shared bed with your phone next to you.

“Hey, hey (Y/N), I’m home,” he was starting to lift you when you wake up.

“Don’t. Just don’t, Sebastian,” you said, biting back your tears. He looked confused. You glanced at the clock on your bedside table and felt your neck that hurt as hell thanks to your unwanted sleeping position.

“You promised. You promised you’ll be home early and spend time with me! Watch movies and cuddle before you’re leaving to Ireland!” Your tears spilled.

“Doll, I’m sorry, okay? I got carried away.” He ran his fingers through his hair the way he always do when he’s nervous.

“Wh- Sorry? Wait. Are you drunk? How much did you drink?” You can really smell the alcohol in his breath.

“I- They brought me to a bar, okay? I can’t just say no and leave!” He yelled while throwing his hands up in the air in frustration.

“But you promised me, Sebastian.” He stood like a planted tree, staring at you.

“You chose to go to a bar instead of spending time with me?” You can hear the anger in your voice.

“That’s not what I’m saying. I-”

“Can’t you at least give me a call or a text or anything? Saying that you’re better off drinking and having fun instead of being with me? You can’t imagine how worried I was and how disappointed I am,” you’re hiding your face in your hands, sobbing.

“I’m sorry, okay? Let’s just sleep and for-”

“Sleep? How am I supposed to sleep like this.” He stepped closer.

“Don’t.” You’re going for the door.

“God, I don’t understand why you’re just so clingy!” He yelled, letting the frustration finally out.

You stopped.

“What did you just call me?”

“I-I don’t mean that I-”

You left and shut the door in front of his face.

It rained heavily but you couldn’t care less, even without any umbrella or coat. You tried calling Chris but it went straight to voice mail. He must probably be asleep.

After wandering in the rain, you finally saw a 24-hour cafe and went in and ordered yourself a cup of hot tea to warm you. You checked your phone and you have 83 missed calls and 57 texts from Sebastian. You tried to stop your tears from streaming down but they just keep on coming.

When your tears finally stopped, you decided to come home. You checked your phone and it’s 2.59 A.M. Damn.

The rain stopped, but your clothes are still soaked. The cold breeze hit your skin making you shiver. If only Sebastian was here.

You opened the door quietly, afraid to wake Sebastian up. And there you see him sleeping on the couch, the TV on with his phone in his hands. You let out a sigh.

You turned the TV off and went to the bathroom to change your clothes and wash up. You knew you needed some sleep but your mind just couldn’t cooperate.

Sebastian’s sleeping face is your most favorite thing in the whole wide world. He looks so peaceful; so peaceful and innocent, you nearly mistook him as a newborn baby. His lips slightly parted, his eyelids closed, his breathing even, and his whole body relaxed from all the hard work he’s done; he’s just too perfect.

The last thing you remembered is that you sat on the floor next to the couch.

“Hey, baby doll. Wake up. Good morning.” You opened your eyes. 10.36 A.M. You slept on the floor with your head on your knees. Your hands hugging yourself for warmth.

Sebastian’s face was in front of yours. “Good morning,” you managed to reply weakly.

“I’m so sorry about last night. It won’t happen again.” He helped you get up and hugged you.

Half awake, you return his hug and literally slept on his chest, almost drooling.

“Hey, you awake?” He cupped your face in his hands.

“Huh? Yeah, yeah I’m awake,” you said as you yawn.

“Oh, God your eyes are swollen. I’m gonna get some ice pack.” He sat you down on the couch. A few minutes later he returned with a cup of hot chocolate and an ice pack. “Here, have this.” He sat next to you and puts his hand on your shoulder. You put your head on his chest because you’re too short to put it on his shoulder.

“I’m sorry, okay? I was drunk, I had no filter to what I was saying and I love you for who you are.” He kissed the top of your head.




“I’m not going anywhere, sweetheart.”

izuqu replied to your photo: Look what was in the mail for me today! 😍 I know…

one of my favorite movies of all time! :D

Yours too?! A lot of people kept telling me how good these movies are, and honestly, I haven’t even watched them yet and already love them!

Let me watch it tomorrow, then I can say “Same!” =D


Oh, Indian cinema. It is so fascinating to watch you evolve. Perhaps the only popular cinema on Earth that still rebels against the narrative vocabulary so aggressively imposed as “good” by Hollywood and the West, yet now confident enough to constantly dismantle both those ideas and formulas along with its own, creating something new in the process every time.

As much as the World’s media would like you to believe, our film culture is not defined by Bollywood and Shahrukh Khan. I saw more than 100 Indian films over the last 12 months, many good and many awful, but the social and political climate in which movies are being made, a world in transit pushing against the force of globalisation, makes pretty much all of them a thrilling and challenging watch. These ten films listed below are those which assessed the language of storytelling, whether embracing or dismantling the “rules”, and really managed to say something. Enjoy!

10. Judge Singh LLB

Modern Punjabi cinema is a movement in itself just by existing, but this little film represents more than just a growth spurt in a once-dormant regional industry. The true spirit of independent cinema is alive in Judge Singh LLB; charmingly scrappy production values and an earnest creativity that rises above technical and budgetary restrictions. This is the same energy we saw in the sudden flurry of new-age Tamil comedies a few years ago (Naduvula Konjam Pakkatha Kaanom, Soodhu Kavvum etc.) where a filmmaker can be felt simultaneously satisfying their own creative impulses while tirelessly serving the audience something entertaining. Every over-exposure, every shaky GoPro shot, every slightly awkward cut, is easily forgiven when intentions are this good. And with a script so insanely fun, that seamlessly fulfills being both a gripping thriller and a slapstick comedy, (a bumbling work-shy law grad is forced to fight a controversial murder case to win over his bride – tell me you don’t wanna see this!), you may not even notice anyway.

9. Su Su Sudhi Vathmeekam

Malayalam cinema is officially in a league of its own, and I could have easily written a top 10 list of films from Kerala, with this one being the summation of everything that’s making it great at the moment. While visually unassuming, this tale has one of the largest ensemble casts seen in a film this year, and beautifully manages to make every character a complete person. With a different director or writer, this could have been a confusing and directionless mess of subplots and narrative dead-ends, but in these capable hands it becomes a tapestry of human life, with this colourful array of people weaving their way in and out of our hero’s journey in a way all of us experience in our realities. Another brilliantly character-centric Malayalam film this year, Amar Akbar Anthony, imploded in on itself when it frantically tried to be about something in its last 20 minutes. Here, we are spared a similar fate, quite miraculously when considering the moralistic ‘feel-good’ (ugh) potential of the story of a simple man overcoming his speech impediment. His disability doesn’t define his character. Sure, it means that themes of self- confidence, societal attitudes to the “other” and the power of determination are all tackled, but the main triumph is that this is just a film about humans, and everything that comes with being one.

8. Piku

After the last few years of commercial Hindi cinema, it seems repetitive and patronising to talk about “women-centric films” in the same way we did when Vidya Balan was the biggest name in Mumbai. Yet this is not a film about being a woman, or how hard it is to be a woman, or how women can smoke and drink and fuck and no-one should judge them. In fact, it’s a film about family, old-age, and our attachment to the idea of home. The fact that the our main character happens to be woman, a complex bundle of charm and erratic mood-swings and wonderfully polished grey-areas, as far from being two dimensional and as close to being a living breathing human as is possible on screen, is simultaneously inconsequential and revolutionary. The heroines of Tanu Weds Manu Returns and Queen, lauded for their feminist subtext and superbly performed by the face of new “women-centric Bollywood” Kangna Ranaut, are essentially caricatures. They are types. Piku is not a type. Sometimes she’s a bit of a grumpy asshole. And then sometimes you’ll wish she was your best friend.  She’s totally unpredictable, yet will remind you of yourself and everyone you have ever met. This detailed dialogue-heavy character study of a frustrated single woman and her relationship with her needy father became one of the biggest hits of the Hindi box office this year. Don’t confuse corporate figure-mongering with genuine audience approval – Piku was a triumphant and unexpected phenomenon, and this is something to celebrate.

7. Kunjiramayanam

We have a problem with comedy in mainstream Indian cinema. The genre is defined by broad, unfunny slapstick outings (personified by the films of Sajid Khan and his Housefull series) or crude sexual innuendo (Grand Masti, Kya Kool Hain Hum), and in the South, comedy is usually relegated to a “track” in a film with a simultaneous, much more serious story-line, or simply diluted with jarring and unnecessary melodrama and emotion. So we return to the Malayalam screen, which has now given us the Perfect Indian Comedy Film™. Doused in local flavour and a beautiful sense of time and place, the humour of the film (lightheartedly satirising small-town India’s obsession with ritual and superstition) is purely situational, which means that the huge cast of characters are allowed to become really lovable, and feel like close friends by the time the credits roll. The film is so funny, and so untarnished with anything other than actual comedy, that you may actually miss how well written some of the relationships are, and the cinematic and visual finesse with which it has been shot. However first and foremost, this is a stupid film about stupid people, and simply one of the finest ones India has ever produced.

6. Nirbaak

Placing this film in any canon or cultural trajectory is difficult. It’s too much fun to be considered “parallel cinema” (the tag given to mostly joyless and dour “realist” Arthouse Indian film), yet too genre-less, too obviously crafted from the mind of an auteur, to be placed into any other box. This is cinema about cinema, and not in the way you’re thinking. It is cinema about the craft of cinema, using image and sound (not words) to create meaning. Four stories, including one about a tree in love with a woman and another about a coroner in love with a corpse, communicate some really damn deep questions about the nature of human emotion. Is it possible to be in love with yourself? Can attachments to inanimate objects ever been considered as love? Is jealousy a form of love? There is hardly any dialogue, just brilliantly composed images, wonderful visual storytelling and some powerful sound design (struggling to remember another instance this year where I even noticed sound design in an Indian film), yet we are forced to think about the very feeling that defines every member of our species. A work of genius and poetry.

5. NH10

I love it when a recognisable Western genre is perfectly Indianised. I find it a fascinating process, seeing what needed to be added, subtracted and adapted in a formula to allow it to sit comfortably in an Indian movie theatre. Here we have the horror-thriller genre, I’m thinking of films like Donkey Punch and Eden Lake, that start off as normal dramas before slowly descending into terrifying disaster, horrifying because “It Could Happen to You”. There are homages played to various western genres (most obviously Anushka Sharma’s Kill Bill yellow-esque jacket she dons while literally slashing the patriarchy), but the film plays on very Indian fears and themes. A middle-class metropolitan couple find themselves violently embroiled in an honour-killing in a rural wasteland while on their way to a luxurious retreat, and in one short, economically taught thriller, the uncomfortable gaps between India’s rich and poor, cities and countryside, even men and women, are exploited to brilliant effect. Taken at its most rebellious, the film is a warning to the new designer handbag-wearing class of Indians that they are not safe in their high-rise towers from the lawless madness of “Real India”, or perhaps an aggressive call to arms to women either side of the class divide, united by the sexism, though various in its forms and degrees, that unfortunately defines their existence in modern India. The most valuable lesson of NH10 though, is that much more than monsters or ghouls, it is human beings that are the most horrifying.

4. Masaan

For each film in this countdown, I’m attempting to assess a film’s cultural impact, its cinematic value and also what it is actually about, but I can’t do any of this for Masaan. It is a gorgeous slice of poetry that will wash over you like ocean waves, affecting you deeply in ways you are unable to explain. Two simple stories of life and death, told with a remarkable flair, remarkable in the fact that it immerses you into a trance-like state, forgetful of the fact you are even watching a film. It has the ethereal pace of a dream, visually and sonically intense, reminiscent of reality but somehow detached from it. The narrative threads are simple and don’t require description, yet it is also impossible to tell you what this film is trying to say. People talk of caste, of religion, of values, yet this is not a film with a message. It is about everything and nothing. About life and death and rebirth and love and desperation. It uses modern India as a palette of colours with which to paint a mural of the giant shitstorm that is humanity. How can one film do so much? I really have no idea, but it did.

3. Premam

Is Premam a film about the male gaze? Let’s look at the character of Malar. She is the second of three love stories that we witness in our hero’s life, and she became nothing short of a real life Kerala-wide phenomenon. It’s hard to think of the last time that a fictional character dominated popular culture in such a way. She’s gorgeous of course, but not perfect (her pocked face was a major talking point). Does this satisfy some male desire for imperfection, damage limitation for potential jealousy and heartbreak and insecurity? She is unphased (though not accepting) of inappropriate, sometimes sexually aggressive behavior, and holds no qualms regarding close social interaction with males. Does she represent some deep fantasy of the repressed Indian man, constantly teased with the idea of the sexually liberated Western female? And is there anything wrong with this? The female characters are well-rounded and three dimensional and treated with dignity and respect (by the writers, not always by the male characters). For the most part, their lives do not revolve around solely men. Is it sexist that this a film about male desire, their attitudes to women and relationships? I think it’s actually mighty interesting, and it doesn’t hurt that it has some of the best casting of the year, a thrillingly uncontrollable visual force, and a tumbling free-form structure that reflects the pace of life in a way so many other Malayalam films have been nailing recently.

2. Yennai Arindhaal

Gautam Menon, master of the meta-romance, decided to dismantle the masala genre and its defining characteristic of the superhuman alpha-male, using one of Tamil Nadu’s biggest superhuman alpha-males Ajith Kumar, and in the process created one of the most sensitive, socially forward-thinking action movies I’ve ever seen. Yes, this is a crowd-pleasing blockbuster about a tough policeman taking down a criminal gang of organ smugglers, but more importantly it has an important subtext about male responsibility. The hero’s motivations revolve entirely around his daughter, but not in a mawkish melodramatic way. She is not his biological daughter. His wife had a life before him, that he completely accepts and takes with him after their marriage and never makes her feel guilty about. He is a role-model for the disgusting main characters we usually see in masala films, treating all the women in his life with unpatronising respect. At one of his first meetings with his future wife, after she has performed a dance recital, he doesn’t flirt or badger, he engages with her in conversation about her art, her interests, her passions. He wants to know her. And when he later becomes a father to her child, he does so in a beautiful way. I cried, not because these were intense emotional scenes, but because they were not. To see the most mainstream of cinema embracing single-parenthood and remarriage in such subtle, mature ways, nonchalantly embedding them into rip-roaring violent revenge thrillers with twinkling nighttime highway colour pallets and joyous song sequences and “punch dialogues”, is truly a beautiful thing.

1. Angrej

Am I giving this film more credit than it deserves because it came from the Punjabi film industry, a regional cinema that prior to this year either produced crude political propaganda or painful slapstick comedies? Perhaps. But the Punjabi-ness of Angrej is everything that makes it special. Most similar in cinematic style to the frantic rural Madurai films in Tamil from the 2000’s (Paruthiveeran, Aadukalam, Subramaniapuram, Kaadhal), with this energetic French nouvelle-vague-esque pacing, jump cut to jump cut polishing every nook and cranny of these worlds and their people, places that we aren’t used to seeing in cinema but which become effortlessly cinematic in the hands of these directors. The sheer volume of evocative images in these films makes you wonder how the hell they had enough time to shoot, but they are far from showy and gimmicky. Every scene in Angrej is beautiful, not in the way they contribute to an overriding narrative (as this is not the type of film where a story is in the least bit important), but because of the tone they establish, the hyper-specific time and place that we feel through the images, the dialogue, the music. The barely-there plot consists of a low-stakes love triangle, but through the characters and their village, their day to day lives as farmers, we think about rural India as never before. Imperialism is addressed via its absence. The story takes place during the fight for independence, but the British have no interest in this tiny community. It is of no use to them. Social norms and values are humourously satirised, a husband ashamed when his wife dares to walk so close as five paces behind him. The glorious folk culture of Punjab is documented stunningly through song sequences that melt into the very fabric of the film in a way only Indian cinema can achieve (this is not a musical), two jealous men hilariously warring through the tradition of boliyaan, melodic rhyming couplets. More than any of that, this is a film about time and society, how much yet how little we change over the years. This is cinema of the highest order. Punjabi movies have found a voice, somehow oddly close yet so thankfully far from Naughty Jatts 2.

I still feel emotional that a Punjabi movie stunned me into a wordless artistic coma. This is the thrill of being an Indian film nerd, with its boundless regional pockets, never knowing when a language or culture and its people will start a movement. I thought about movies and this list with every second my brain had to spare, and these are the ten films that lingered the longest. I really hope you enjoyed reading this, and have a wonderful 2016 where you continue to be engaged, critical and consuming plenty of art! Please let me know your thoughts, that’s what makes all this worthwhile.

Love to all xx :)

The Danish Girl - A Review

[by Amber Neko Meador - Transition Transmission - 1/16/2016]

Finally, the movie expanded its theater presence far enough for me to finally catch this at my local cinema.  So, of course, I went to see it with wife in tow.

[Caution - Spoilers Ahead]

I know my next sentence is going to be an unpopular one, but I’m gonna write it anyway.  I LOVED this movie.  Really, I did.  Yes I know, blah blah blah, Eddie Redmanye isn’t trans, blah blah blah, it does nothing for the trans movement, character, blah blah blah.  Don’t Care.  The acting was on point.  Sets were wonderful.  Costuming was excellent.  Cinematography was film school perfect.  This was great.

Sure, I could pick at Lili’s characterization a bit, or the supporting cast, and the simplicity of it all.  But why?  Was everyone hoping for a unique, vibrant, well-rounded, intensively thought out character?  I have barely ever see that in ANY movie I’ve ever seen.  You only have so much time work with.  It’s unrealistic to hope a trans character would have any more depth than any other character I’ve seen on the silver screen.  I think that imposing what I, or any other trans person, think a good trans character should be is rather close minded when you think about it.  We want them to be role models, or break new ground, open minds, be above average, etc etc etc.  Sure we do.  Why wouldn’t we?  But, that still imposes our own ‘personal’ desires for what we want these characters to be.  I, nor anyone else, are going to get that very often.  I’ll hold with the same sentiment I’ve held many times on the podcast, and that is that if you want a ‘better’ trans character, it’s time to go make them yourself, and stop expecting other people to make them the way ‘you’ want them.  I think Nomi from Sense8 is probably the best trans character I can think of.  But, she’s a rare find, and had a lot more time to develop her story than Lili. 

I’ll be honest with you.  One reason I loved this movie is because almost everything Lili did, I have done.  Everything Lili went through, I went through.  The mirror scenes… I can’t tell you how much time I spent with a mirror, doing a lot of the same stuff.  Yep, even that first odd/awkward tuck.  Or better yet, the mimicking of the ‘show girl’.  Yeah.  Awkward moments in bed with my wife, who I married “as a guy”… lots of those.  Hoping my significant other can understand what’s going on with me?  Yep.  Calling myself by my other self’s name when that person isn’t around?  Admittedly yes, and on many occasions early on.  A ‘trans enthusiast’ trying to get himself some from me at a party early in my transition?  Check.  Wanting to have kids ‘like a real woman’?  Duh.  Hiding who I was so I could survive as what I wasn’t?  Yet another check mark.  Getting beaten up for non-conforming actions and outfit? Yeah…  Going to therapists and psychologists who told me I was crazy, who wouldn’t help me, and all sorts of other shit? …yeah, took me years to find a good doc.  Sleeping separately/divided from my wife because I wanted to be a ‘girl’ some nights? Yeah, though I never hung a sheet up.  Cried uncontrollably after sending the woman I loved away?  Of course.  Willing to go under the knife, even though it means I might die, to correct things I feel are innately wrong with my body?  Yep, gone through two so far.  Not looking forward to the next two… at all.   In short… or well, you just read that paragraph, so perhaps in long, I have lived this story.  It is very similar to what I’ve been through.  Not quite as rough and alienated, no.  But very similar.

But… maybe that’s it.  This story resonates with me in a way nothing else really can.  It hit me a lot harder than Boy Meets Girl did.  I would actually imagine that the newer generation of trans gals probably aren’t going to/didn’t marry a girl “as a man”.  So a lot of what this movie is about probably seems misplaced, or perhaps odd when measured against current happenings.  But I thought it was very representative of both my experiences and a lot of transsexuals that I knew in the late 1990′s/early 2000′s when I was going through my own version of hell.  A time before the term ‘transgender’ had really even taken hold.  I’ve heard several people say that it was a sexualized transition, but I didn’t get that at all from this movie.  The relationship between Lili and Gerda seemed very real to me.  It was also very sweet.  I enjoyed the love they shared on screen.  Hell, I’d say Alicia Vikander deserves an award more than Eddie for this one.

In the end I can see how this might not be every person’s cup of tea.  I can.  But I’d say to ignore everyone else’s commentary on The Danish Girl.  Yes, even mine.  Or perhaps use mine as something to balance out the opposite opinion.  Go see it and decide for yourself whether or not this is a good movie.  Because talking bad about something you’ve never actually experienced for yourself is basically doing what everyone else does to the trans community.

To me The Danish Girl is simply beautiful.

Overall Rating:  9.4 Out of 10  


Animation Inspiration Week- Top 10 Favorite Animated Films (Non-Disney)

1. Nightmare Before Christmas- Ok, it was distributed by Disney but not the classic 2-D studio…This movie has been my favorite since I was young, it maybe my favorite film of all time. I’m happy its gained a huge following.  Delightfully twisted, amazing songs, amazing stop motion, amazing puppets…everything is about this movie is perfection in my eyes.

2. Fantastic Mr. Fox- Another film I consider one of my favorites of all time. This movie is unlike any other animated film. Wes Anderson can do no wrong.

3. Coonskin- I’ve already talked about Ralph Bakshi so I won’t bore you with the same stuff I wrote before. Love the unhinged vignette style story-telling, the improvisational dialogue and the crude yet appealing designs.

4. My Neighbor Totoro- How can a movie be so simple and so powerful? This one is that and more.

5. Rango- Proof that live action directors can make great animated films. Everything is ugly and I love it. Being a Western is also a plus.

6. The Incredibles- I know Pixar is part of Disney but I consider their films not so much in the Disney universe. A kids movie with adult themes. Also one of the best animated actions films. Brad Bird can do no wrong.

7. Mad Monster Party- Goofy dumb spooky kooky monster madness! Might have inspired Nightmare Before Christmas.

8. Iron Giant- Brad Bird doing his thing. Great characters and storytelling. Heartfelt and powerful. Based in the 50’s is a plus.

9. How to Train Your Dragon- Dreamwork’s best movie. Chris Sanders is another hero of animation. The dragon designs could have been super generic but they’re among some of the best designed creatures I’ve seen. I also loved the sequel!

10. The Spongebob Squarepants Movie- This movie will always be hilarious.