good film with a great ending

somebodylost-chan  asked:

I'd like to ask, how do you know when fight/smut scenes are necessary? Or how to make them effective & not simply as fanservice or just for word count? Usually, I find myself skimming through fight scenes as a reader, bored. As a writer, I'm inclined to just 'fade to black' and imply stuff at the next chapters. I'm not really a fight/smut-scene writer, even though my characters know & need to fight. Thanks for keeping this blog. :D

A good fight scene (and a good smut scene for that matter) always works in the service of the narrative. It works toward the cohesive big picture.

From an entertainment standpoint, violence is boring.

You need your audience invested in the characters participating in the violence, in the actions and events leading up to the fight, in the aftermath and how this will effect the character’s overall goals.

In a narrative context, if you’re bored during a fight scene or a sex scene it’s because the build up to that moment failed. The scene itself may also have failed. However, your foundation is what makes your story sing.

Think of a story like building blocks. You’re playing Jenga with your reader on a homemade house, they’re slowly pulling out the pieces and you’re betting you built your blocks well enough to withstand scrutiny. You’ve got to keep them interested long enough to get to the end before the whole thing comes tumbling down.

A fight sequence which works in concert with it’s narrative is enjoyable, doesn’t overstay it’s welcome, and ultimately works to build up the story it’s telling. Fighting isn’t fighting, you see. Combat is a form of problem solving, the fight itself is an expression of the character’s individuality. Everything we’ve been learning about them, their goals, and their behaviors are being put in a pressure cooker and dialed up.

You should be learning about the character as the fight progresses, the fight working on multiple levels in concert with its narrative to get the story where it needs to go. Often, a first fight is like an establishing shot in film. You get a feel for who this character is when under pressure, who they are. Peril can be a great way to get the audience invested, but its up to the author to prove why they should.

Poor fight sequences don’t tell you anything. They’re there to establish the character as capable of fighting but don’t even do that because their concept of combat is generic.

The combatants aren’t individuals expressing themselves, the fight isn’t proving anything except fighting, it doesn’t have meaning except for its attempts to prove the narrative’s poor concept of badassery. This often happens with no regard for the setting’s rules, the aftermath consequences, what the character’s actions will effect in the long run.

It doesn’t mean anything and, while violence is shocking and terrifying in real life, in fiction violence has to mean more than just an exchange of blows.

How many times have you read a book where several mooks show up to get their ass kicked by the protagonist? They limp off at the end and while they’re often in a perfect position to be seen again due to their connections, we never do.

In even just a moderately competent narrative, those same mooks are characters. We’ll see them again in bit roles. They’ll play a role, either to help or hurt later as an aftermath consequence of the protagonist’s earlier actions. These are callback characters we can use to remind the audience of what happened previously in the narrative, and offer up some catharsis.

In a really well written scene, these mooks serve an important purpose when it comes to establishing the protagonist’s character in a quick snapshot. Like the moderately competent character, they come back later to the aid or the detriment of the protagonist. The mooks’ response actions are a direct result of their encounter with the character, often acting as an inciting incident. The protagonist suffers direct consequences as a result of their actions, whether its injury, loss, or the attention of the villain which causes them to lose something. In these fight scenes, you can see the story’s trajectory because it acts as another way to get to know the hero, the secondary characters, the tertiary characters, and whoever else is participating. It’s working on five different levels.

What you often see in a good fight sequence, whether it’s in a written medium or film, is the culmination of a great deal of hard work on the part of the author. A smut sequence is a reward, it’s a way to pay off on the reader’s investment in the relationship between these two characters and the narrative’s investment in them. It doesn’t matter if that’s hardcore sex, or a Victorian hand touch, or a knockout blow to the jaw, the end result is the same. It’s entertaining, satisfying, and even cathartic.

A poor sex scene is just dolls bumping bits. A poor fight scene is just dolls trading blows. Nothing occurs, nothing happens, there’s none of the underlying satisfaction or catharsis in the outcome. You don’t have any investment, no consequences, it overstays its welcome and tells you nothing about the characters.

You’ve no reason to care, so you don’t.

As a reader, you don’t owe a writer attention when reading their work. They’ve got to earn it. If they aren’t, then it may be that the story isn’t for you and that’s okay. Take into account your tastes,

It takes practice to choreograph a fun fight scene. Writing sex and violence is mostly about learning to find your limits (i.e. what you’re comfortable with writing), and overcoming embarrassment. Determine the difference between need and want.

Are you avoiding writing these scenes because you’re scared of being bad at them or because they just don’t interest you?

These are two very different issues, and it’s easy to hide from the first behind the second. Be honest with yourself. If it is fear, then don’t give into it. The easy solution if you’re afraid of being bad at something is to practice. Start looking critically at the media you consume, when you start to get bored during a fight scene or a sex scene, when you want to skip ahead, ask yourself, “why?”. Check out the sequences and stories where this doesn’t happen, and try to figure out the differences between the two.

When it comes to the mechanics of both violence and sex, the more you learn the better off you’ll be at writing it. The more you practice writing violence/sex/romance then the better you’ll be. Like with everything, it’ll probably be pretty terrible in the beginning but the more you practice, the better you get. Writing itself is a skill, but its also a lot of sub-skills built in underneath the surface. Being good at dialogue doesn’t mean you’ll be good at action, having a knack for great characterization doesn’t mean you’ll be good at writing setting description. Putting together great characters doesn’t mean you’ll automatically be good at worldbuilding.

Don’t be too hard on yourself.

All it takes to figure out whether or not the time to fight is right is by listening to your gut.

Remember, the best scenes are based in narrative cohesion and emotional investment. They’re a pay off in and of themselves for your audience, dessert after dinner. They aren’t the meat and potatoes. If you set out to just write a fight scene or write a smut scene then it’ll get gratuitous. Then the focus is on the fight or the sex itself, hangs entirely on their shoulders, and you’ve just upped the ante for how entertaining you need to be.

It’s not “how do I write a fight scene”, it’s “how did my characters get to this point and why are they fighting”. If you start from a character place, it gets easier. The same is true with romance. “How do my characters participate in a romance (sex or not)”.

Make it about the individuals, that’s when it really gets fun.

And, if you get too stuck, try writing fight scenes with characters who don’t know much about how to fight. Sometimes, it’s easier to get into it when you begin at the beginning. There’s a lot less pressure convincing an audience with a character who knows nothing than one at the top of their field.

There’s a lot less stress about “is this right?” when you’re trying to get a feel for the flow if you’re dealing with a character who doesn’t know jack shit. Fight scenes with characters who know nothing can also be really, really, really fun. They’re wild, improvisational frenzies where all you have is the character sorting through their alternative, non-fighting skills trying to figure out how to survive.

Believe it or not, this will help you because you don’t get to cheat with the idea that your character already knows what they’re doing when you don’t. It’ll help you tap into the character, seeing scenarios from their perspectives, and writing to that instead of “generic fight scene”. When you’re unsure, characters who know nothing about the subject matter they’re engaging in but still have to engage are great. They teach you how to write from the standpoint and perspective of the individual. You need those skills just as much when writing characters who are professionals or at the top of their field.

If you don’t think you can write an interesting fight sequence with a neophyte, then that might be a part of the problem. A character doesn’t need to be good at something to be entertaining. A smut sequence where everyone’s fumbling, knocking into each other, embarrassed, stuck in their clothing, cheesy, corny, and laughing can be just as fun (if not more so and more honest) than the ones that generally get envisioned.

For me, good is entertaining and the entertainment is based in humanity but you need to define “good” for yourself in your own writing. Be honest with yourself about your fears and you’ll find a way to bridge yourself to the kind of writing you want to be doing.

Freeing yourself of your own internalized preconceived notions will help a lot, and produce stories that are way more fun.

-Michi

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“I want a LGBT film that has well  rounded characters” 

“I want a LGBT film that has an interesting story”

“I want a LGBT film that has good subtext”

“I want a LGBT film that has a happy ending”

“I want a great LGBT film”

Watch.

The. 

Handmaiden.

SUPER LESBIAN MOVIE POST

 1.MAEDCHEN IN UNIFORM 1931

Basically a German produced 1930′s film that features a student who falls in love with her teacher. Some kissing/hugs in it. NOT A HAPPY ENDING.

Pretty good for the time period

2.THE CHILDREN’S HOUR 1961

A student tells a lie about her two female teachers and causes one of them to question her sexuality. NOT A HAPPY ENDING. 

Again good for the time period. 

3. THERESE AND ISABELLE 1968

An old woman visits her old school and reflects on a past lesbian love she had at the school. NOT A HAPPY ENDING.

4. Just the two of us 1973

A pair of housewives fall into bed together after seeing two women hold hands in a restaurant on sunset boulevard. One is a lesbian and the other is exploring. NOT A HAPPY ENDING. 

5. WINDOWS 1980

Lesbian psycho stalker. NOT A HAPPY ENDING

6. PERSONAL BEST 1980

Two young athletes engage in sexual relationship, however, one of the girls leaves and goes off to be with a man. 

7. THE HUNGER 1983

An aging vampire dumps her boyfriend for a woman. 

8. LIANNA 1983

Lianna, a naive young wife of a professor bored with her life has an affair with another woman, Ruth and when her affair becomes common knowledge, she finds herself shunned by both her friends and family. NOT A HAPPY ENDING.

9. Desert Hearts 1985

A middle aged woman in current divorcing of her husband pursues an affair with a young woman named Cay whom she meets in Reno at a ranch. HAPPY ENDING. It is worth a watch.

10. THE BERLIN AFFAIR 1985

The daughter of a Japanese ambassador has an affair with the wife of a Nazi officer. The Japanese woman ruins it by sleeping with the Nazi officer. 

11. NOVEMBER MOON 1984

November is a french/german Jew who falls in love with a french woman in Nazi-occupied France. The two women must fight to be with each other, hiding November in the rural countryside. GUYS THIS FILM IS LIKE HAPPY ENDING ISH BUT YOU WILL CRY COS SOMETHING AWFUL HAPPENS IN END WORTH THE WATCH.

12.THE INCREDIBLY TRUE ADVENTURES OF TWO GIRLS IN LOVE 1995

A young Tina Kernard from L word plays a butch Randy who falls in love with a an upper class black girl. I dont really like it, its overhyped. 

13. GO FISH 1994

Max is a young lesbian student who meets Ely, they end up at her place and, after some flirtatious conversation, they kiss. Suddenly a call comes in from Ely’s  partner Kate, with whom Ely has been in a long-distance relationship for more than two years, which puts a bit of a damper on things. Ely decides to cut off all her hair, ending up with a very short butch style. She runs into Max in a bookstore and Max almost does not recognize her. Ely and her roommate Daria throw a dinner party and, after a spirited game of I Never, Max and Ely reconnect. They make plans to go out again and then begin kissing. They have several phone conversations, in the course of which Ely reveals that she’s “sort of broken up” with Kate. They get together for a second date but they never make it out of the apartment. Max ends up trimming Ely’s fingernails. This turns into foreplay and they have sex. HAPPY ENDING.

14. LATE BLOOMERS 1996

Two women fall in love, a maths teacher and a married secretary who works in the same school. They pursue a relationship to the dismay of work colleagues and family. The two women want to marry each other aw aw aw HAPPY ENDING. This film is a bit of a flop tho

15. WHEN NIGHT IS FALLING 1995

Camille a christian professor meets Petra who is in the circus. Camille has a boyfriend however, falls in love with Petra. Happy Ending, worth the watch. 

16. BOUND 1996

Corky, a tough female ex con falls in love with Violet, the girlfriend of a mobster. Together they concoct a scheme to steal millions of stashed mob money and pin the blame on Violet’s crooked boyfriend Caesar. Happy ending for couple, its not your romantic comedy or anything but ok

17. HIGH ART

Two women fall in love, ones straight, others got a girl, its ok movie

18. FUCKING AMAL(show me love) 1998

Agnes is a depressed teenager with no friends and is in love with the popular girl Elin. After a dare to kiss Agnes, Elin discovers she is attracted to Agnes and avoids her, sleeping with a boy to convince herself otherwise. Elin realises she loves Agnes and kiss in the schools bathroom, the entire school  see them and in turn are outed. HAPPY ENDING.

19. AMIEE AND JAGUAR 1999

Based on a true story follows two women in Berlin whilst  the Gestapo is purging the capital of Jews, a dangerous love affair blossoms between two women. One of them, Lilly Wust, married and the mother of four sons, enjoys the privileges of her stature as an exemplar of Nazi motherhood. For her, this affair will be the most decisive experience of her life. For the other woman, Felice Schragenheim, a Jewess and member of the underground, their love fuels her with the hope that she will survive. BUT ITS A SAD FUCKING ENDING U WILL CRY GOOD FILM

20. BETTER THAN CHOCOLATE 

Maggie meets a young artist named Kim. They quickly develop an intense romance and move in together. However when Maggie’s mother and brother come to stay she is forced to decide between living in secret or revealing who she really is. A tale of love, acceptance, loss and pleasure.

21. GRAY MATTERS 2006

Gray falls in love with her brothers fiance after drunkenly kissing her. Gray discovers she is gay and has to find herself in this rom com. Its not a romance film as such but it is a feel good film with a lesbian protagonist, quite campsy but a great film. 

22. FINGERSMITH 2005

Complicated storyline but the premise is basically two women who fall in love in victorian england under strange circumstance. Some sweet and passionate love scenes, Happy ending. 

23. LOVING ANNABELLE 2006

Annabelle and her female teacher fall in love, resulting in the teacher being arrested. Some nice love scenes. Ending a bit meh

24. JENNYS WEDDING 2015

This film had the potential to be good, however, the characters fell flat and you were left wanting more. The film follows Jenny who is in the closet to her parents and decides to marry Kitty her partner of five years. The film is more about her parents accepting her and going to her wedding, its a good watch in terms of its gay themed, its just the lesbian couple is not rooted for as much as you would if the love was portrayed between them more, they kiss a couple of times and thats it. 

25. CONCUSSION 2013

WOW lemme just say this film is an odd one, weirdly you root for the lesbian housewife who cheats on her wife and becomes a prostitute. Its a fantastic film with well executed love scenes. Abbey, a lesbian housewife decides to become a lesbian escort as she is in a sexless marriage. WATCH IT ITS GOOD

26. THE WORLD UNSEEN 2007

Beautiful film of lesbian love. Miriam a housewife falls in love with Amina, a cafe owner in the 1950′s and in South Africa. Optimistic ending for the two. Despite no sex scene, the love between them is elicited via kisses and looks. 

27. I CANT THINK STRAIGHT 2008

Tala, a Palestinian, falls in love with Leyla a British Indian. Tala is engaged to be married and must overcome her sexuality in order to be with Leyla. HAPPY ENDING WATCH IT, ITS CORNY BUT GOOD

28. CRACKS 2009

This film is a weird one. A teacher, the sexy Eva Green is obsessed with the new Spanish girl, she rapes her in her sleep and the ending omg watch it, Its not happy but the character Eva Green portrays is fantastic. 

29. THE GIRL KING 2015

A Swedish Queen falls in love with her Lady in waiting. Good film

30. CHLOE 2009

This film is no romantic happy film but it is so raw and interestingly poignant. Chloe is hired by Catherine to seduce her husband as she believes he is cheating on her. Chloe reports back to Catherine and in a state of sadness from what Chloe says her husband did, they sleep together. Chloe becomes obsessed with Catherine, leading to a death at the end of the film omg watch it, see Amanda Seyfried have sex with Julianne Moore

31. BANDAGED 2009

Lucille disfigures her face and is bandaged until her surgeon Father can cure her. He hires a nurse, Joan, to care for Lucille in her recovery. As Lucille begins to heal, it is clear the two are falling for each other resulting in love scenes that are v niceee. The ending is happy/sad/who knows

32. ITS IN THE WATER 1997

A cheesy comedy about Alex who tests her sexuality when old high school friend Grace tells her she had an affair with another woman. The two fall in love in a town where homosexuality is a sin. Its v cheesy but what do you expect from a 1997 lesbian film. 

33. Elena Undone 2010

Elena Undone is a tad corny and low budget but the characters are well explored and little factoid for you: it has the longest onscreen kiss in history. Elena is married to a pastor but falls in love with Peyton.

34. BLOOMINGTON 2010

Its not great, its corny and a bit of a flop but some scenes get your heart racing. Classic student teacher relationship with extra cheese on top, the ending is pants as is the whole film. 

35. A PERFECT ENDING 2012

A married woman hires a female prostitute, they fall in love but one of them dies. A bit shit this film but potential to be good.

36. BLUE IS THE WARMEST COLOUR 2013

People dont give this film a chance and seek out the explicit sex scene but if you invest time in the film, you will cry at the end omg. Adele and Emma fall in love, break up cos Adele is a slutty idiot, then Adele wants Emma back. 

37. IMAGINE ME AND YOU 2005

This film is never going to win Oscars, but its a good feel good lesbian film. Its cute and you will the characters to be together, corny but good. Rachel marries Heck and on her wedding day meets the florist, Luce whom she falls in love with. 

38. LOST AND DELIRIOUS 2001

Paulie and Victoria are roomates who are seemingly in love until Victoria breaks Paulies heart by sleeping with a boy, Paulie kills herself. 

39. KISS MYG 2011

Mia and Frida fall in love after meeting at their parents engagement party. Happy ending and the sex scenes in this film are wowowow

40. KISSING JESSICA STEIN 2002

Bit of a flop, jessica tries being with a woman but doesnan’t work.

41.BETWEEN TWO WOMEN 2004

Some people might see this film as a bit of a flop but personally I love it, it is set in the late 1940′s and follows a married woman who falls in love with her 10 year old sons female teacher. watch ittttt.

42. CONTRACTED 2013 

A lesbian woman is raped and contracts a deadly disease.

43. BRIDGET JONES EDGE OF REASON 2004

Just for the laughs is the sequel to Bridget Jones where the ‘bitch’ Rebecca turns out to be gay and in love with Bridget

44.THE SEA PURPLE 2009

Angela is in love with Sara but the only way to be together is if Angela becomes a man due to the time period. Its sad omg

45. CAROL 2015

BEST FILM IN THE ENTIRE WORLD WATCH IT. CAROL IS OLDER AND SEXY AND PURPOSELY LEAVES HER GLOVES SO THERESE CAN GIVE THEM HER BACK AND INVITE HER ROUND ON SUNDAYS AND MAKE HER HEART CRY AND THEN TAKE HER ON A ROAD TRIP SO THEY CAN MAKE LOVE THEN CAROL LEAVES HER AND WRITES AN EMOSH LETTER AND THERESE HATES CAROL NOW AND CAROL IS LIKE I SHOULD HAVE TOLD HER TO WAIT THEN ASKS TO MEET HER IN OAK ROOM WHERE SHE TELLS HER SHE LOVES HER AND THE FEELS THEN THERESE BEFORE SHE CAN ANSWER COS SHE ACTING FUCKING STUPID GETS INTERRUPTED BY SOME DIK CALLED JACK AND THEY GO TO PARTY AND THERESE IS LIKE OMG DO I LOVE CAROL THEN SHES LIKE YES LEMME GO SEE HER AND SHE BUSTS INTO RESTAURANT AND SEES FUCKING BEAUTIFUL CATE BLANCHETT SITTING THEIR ALL FUCK ME LOVE ME WANT ME THERESE AND IM LIKE THERESE GO GET HER. very good film watch it

vimeo
  • Sherlock & Molly | Losing    youtube link (to like and/or comment and/or add to playlists)

dedicated to @miabicicletta & @nyah86. I admire you both so very much. This is my way of thanking you for the Sherlolly delights you always provide us with :D

Please, if you like it, take the time to like and/or comment on the Youtube Page of the video. You would make my day. This is what my little editor’s heart feeds on. Give it love. It gives love back :D 

But back to the matter at hand.

I’m a wreck. TFP killed me with feels. I AM NOW DEADED.

The video is simplistic. This is THE SCENE (subtly shortened) and interspersed with significant moments to explain how it would always come to this. I am not very clear, am I? Ugh. This is why I edit. It’s easier than writing.

Basically, I tried to illustrate that, yes, obviously, Molly always has been the outrageously overlooked pressure point that would ultimately turn Sherlock into an agonising mess. I kind of knew there would be something of that nature coming our way but, DAMN. I didn’t think the writers would be so in sync with my thoughts on the matter. Why am I even surprised? They wrote the whole thing after all. Come on, Mathilde.

The sound is decent but I would advise headphones and HD to maximise the experience. I hope you will enjoy it. 

Took me ages to finish it, but actually didn’t take any time at all. I knew where I wanted to go but Premiere turned out to be EXTREMELY uncooperative. Every time I would add something on the timeline or make a change, it would take one or two minutes to load so I could have a look. ===> #nightmare. This is the last time I’m using 1080p files. Good quality, yes. But GOD at what cost. If anyone has any advice on the matter, please, feel free to get in touch. I’m presumably not doing it right :D

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UPDATE: Thanks to @theleftpill, the problem is officially resolved. Thank you so very very much. You saved my sanity. 

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Hurray for Craig Armstrong. One of my favourite film score composers. I’ve used two of his creations. One from Moulin Rouge! and the other from The Great Gatsby. Both beautiful. Moulin Rouge! is my favourite film, as a matter of fact. An actual slap in the face when I was twelve. And I cry at the end. Every time. Not kidding.

Music:

Death Scene - Moulin Rouge!
Gatsby’s Death and Portico - The Great Gatsby

Oh, dear. The music from the two death scenes of each movie. I am a cheerful person aren’t I?

Disclaimers: I don’t own the songs or the clips used in this video. This is purely a work of fiction, no profit gained.

Go Go ‘Power Rangers’ (2017 Review)

Is this good? Is this bad? Will my inner-child allow me to judge this appropriately?

“Power Rangers” is a reboot of the classic 1990s action-packed children’s show “Mighty Morphin Power Rangers,” which in turn is based on the Japanese tokusatsu “Super Sentai Series.” It’s directed by Dean Israelite and stars a cast of young actors, as well as Bryan Cranston, Bill Hader and Elizabeth Banks. The film is set in the small, fictional town of Angel Grove, where local high school students Jason Scott, Kimberly Hart and Billy Cranston (Dacre Montgomery, Naomi Scott and RJ Cyler, respectively) are all caught up in detention. Through a series of shenanigans, they come across Trini and Zack (Becky G and Ludi Lin, respectively) as they all discover an ancient, otherworldly construct. It’s there where they meet Zordon (Cranston) and his robot assistant Alpha 5 (voiced by Hader), and attain the responsibility of becoming a powerful team known as the Power Rangers, and to stop the destruction of an ancient, powerful witch known as Rita Repulsa (Banks). 

This is the absolute perfect “what if” movie. The answer to “what if they remade ‘Power Rangers’ for adults” question. This is the film we asked for, albeit cautiously. We really owe it to franchises such as the “Transformers” series, because without them, this film would be seen as an impossible reach.

Being a millennial, I was very much a child when “Power Rangers” had its long television run, and I stayed true through each incarnation, from “Mighty Morphin” to “Lightspeed Rescue,” and considered myself a retired fan after “Dino Thunder” (I was already in middle school at the time). So yes, shameful as it is, I know my shit. As you can see, I want this to be good. But was it?

Yes. Surprisingly, it was pretty good. It’s not shockingly “I thought this was going to be shit but it ended up being amazingly amazing” good. It’s just good.

Here’s one thing that the film does better than the TV show: the acting. In a great departure from the “Saved by the Bell” mood that the 90s actors gave us, we now have grounded, realistic, rebellious teenagers. These new actors fit the “teenagers with attitude” description way better than the 90s actors ever did. You have Montgomery as Jason, playing the rebel who ends up having to deal with the most responsibility. Scott plays Kimberly, the girl who does a good job of not just being the obligatory female casting, or the fighting damsel-in-distress, unlike the original. The dialogue between these two is usually filled with charm, whether its casual banter or a proclamation of their contempt for Angel Grove. 

But they do something different with the rest of the cast, which helps to modernize them. Cyler as Billy provides the humor and keeps the grittiness from ever getting lower and lower. Of the five teenagers, he is the one with the most charisma But he also serves to represent autistic teens everywhere. Yes, unlike the television counterpart, they made the Blue Ranger autistic, which is a pretty bold and commendable step for something based off a children’s property.

To keep the ball rolling, they then make Becky G’s Trini represent lesbians and confused, oppressed teenagers everywhere. Okay, this film had me at shedding light on autism, but encouraging more LGBT representation? Hats off to you, Lionsgate and Saban. Despite this, I found Becky G’s performance to be slightly annoying until about halfway through the movie, when they developed her much more, and gave her a more integral role in the plot. 

While I praised the rest of the cast, I’d have to drop the axe on Ludi Lin as Zack, the Black Ranger.  Compared to all these convincing performances, Lin’s is absolutely haphazard. The way he is introduced is to set up how much of a cocky outsider he is, so naturally he’s by himself. He then starts speaking to himself, which is one of my absolute biggest pet peeves in a movie. I despise movie moments where normal-functioning people start speaking or quipping to themselves, the only sensible reason being that the writers assume the audience is too dumb to know what the character is thinking. I get it if a character has schizophrenia or another mental illness, or if the words are limited to comedic inner-banter, but not in this case. He’s someone with decent social-competence and no reason to quarrel with himself, other than provide exposition to the audience.

But like Trini, I did find him to be much less annoying when he opened up. They gave him a pretty touching backstory with his own troubles, and they make his motivations really apparent. And just to keep the ball rolling, he’s also the most foreign one of the group, being bilingual, unlike the original black ranger. Now that I think about it, many of the Power Ranger series’ casts don’t feature any overtly foreign characters, apart from maybe of an alien race. 

That is precisely why this casting works. Whether or not you find these characters annoying, you can’t doubt that they’re there for a good reason, and you might even warm up to them as the movie progresses. They also help to introduce bouts of political correctness, but they aren’t preachy or condescending about it (which is really the only good way to go about political correctness). They represent people of various colors, mental states and social capabilities, showing (but not telling) that everyone is capable of extraordinary things as long as they have camaraderie.

I can’t say much about Cranston as Zordon. It’s a great homage, seeing as how Cranston has actually been a part of “Power Rangers” since the original television show, where he voiced many of the villains they face. I do love his voice-work here, and while it took some getting used to, I ended up really liking how they presented him. Rather than a chubby, floating head in a tube, they made him manifest into a wall, kind of like one of those pinpression toys. Not to mention they could have easily made him a one-dimensional character. But they went above and beyond to give him his own arc, his own set of feelings and doubts, and a world of lore behind him.

If you thought Alpha 5 was annoying in the television show, then you can rest your worries because Bill Hader fixed him up good. The original’s voice was so high-pitched and screechy; basically in typical 90s fashion (or how the 90s thought Aliens would sound like). This time, he just kind of does the same thing he did as Fear from “Inside Out,” except less screaming. His design had me slightly worried but I got used to it.

Now, Elizabeth Banks as Rita Repulsa has me split down the middle. On the one hand, I do like that at least ONE person in this entire film is trying to recall the absurdity and campiness of the original series. At the same time, I found her to be over-the-top, and incredibly outlandish compared to the rest of the grounded cast. She is guilty of overacting here, which is both a blessing and a curse. The prosthetics on her are amazing though, from both start to finish. She starts out as an outright horror character, which is something I didn’t expect to see even in the gritty version of a children’s property. 

If you kept up with me for this long, you know that a recurring theme here is that this film takes several risks that are rather uncharacteristic of a children’s property. Sure, there are hints of silliness to try and match the youthful appeal of the original, but they also throw in more mature bits of humor, about things such as drug tests and jacking off a cow (no joke). Me personally, I welcome these jokes. If anything, this is much more of a film for the adults who grew up watching “Power Rangers,” rather than children. The maturity really shines through in the form of character development and chemistry.

I must say that if you are bringing a child to watch this, keep in mind there will be mild swearing, and several mature jokes.

A common criticism (ad nauseam, pretty much) is that this film is a forced collision between two different movies. Two thirds of the movie is essentially the origin story, which focuses mainly on character development. At the same time, this is the section that appeals to the audience the most, whether you’re fans of the original or not. No one comes into anything titled “Power Rangers” and expects to feel for the characters. But through one particular scene where all the characters develop a kinship, we develop a peculiar attachment to each of them. It was at this moment that I’m glad these people are the ones I’m spending five more movies with (Yup, that’s right).

But when it sticks to the original, it definitely sticks, and that’s where the last third of the movie comes in. If you’re looking for cool looking suits fighting monsters with martial arts and gymnastics, you will get it. If you’re looking for giant robot dinosaurs battling another giant monster, you will get it. And MOST OF ALL, if you want to, at least once, hear the iconic theme song, you will get it. In all it’s pure, epic goodness.

But this is where I have to defend my appreciation for this movie, because many people will come in accusing me of being “blinded by nostalgia.” Despite having these borrowed features from the original show, there is really nothing nostalgic about it. The action here is far better than most of the show’s episodes. There is no silliness to be had apart from what would be silly by realistic standards (as opposed to having two obligatory bully characters).

Even some elements taken from the show are vastly different. Case in point: Rita, who in this film is actually getting shit done by herself rather than sitting up in some moon tower yelling at everyone.

Even the formula of the show is broken up here. Back then, everything was so fast-paced to where every time a new series was brought in, the new team of Power Rangers would unrealistically form intimate familial connection and extraordinary abilities within 20 minutes. This film actually shows you that the Power Rangers had to train for this, both physically and mentally. They didn’t just have these abilities bestowed upon them as a result of the plot rushing it together. You see them work for it, which is something I really appreciated about it.

I had to bring that up because many of the people who didn’t like this film will be quick to see reactions like mine and guilt me for “nostalgia.” But that “tone difference” that they’re faulting this for is the reason why you can’t pin nostalgia on this. All that means is that everything I liked about this film has been on its own merits, maybe (at most) perpetuated by quick little homages to the original. 

I suppose before I wrap this up I should mention one more thing. Not really a problem, but more like something I wish happened: I wish they played the theme song more. It was wonderful hearing the iconic theme song, perfectly borrowed from the 1995 film, and at the height of its “Power Ranger-ness.” But I felt that if they really were gonna throw it in there, they should have totally owned it and at least left it playing for a bit longer. If not that, then at least make an instrumental cover to play in the background during the climax, rather than GODDAMN KANYE.

This is a film that has fans and critics alike split down the middle, but it’s pretty clear that everyone who hates it is hating it for the same two reasons: (1) It has a massive tone-clash towards the end, and (2) It caters way too much toward product promotion for Krispy Kreme donuts. I do agree with the latter, make no mistake. But when I hear people complain about this tone-clash, it reminds me of people who complained about the “slow parts” of every other superhero film, whether it’s “Captain America: Civil War,” or “Batman v Superman.” Apart from being a “Power Rangers” movie, this is also an origin story film. And for something as ridiculous as “Power Rangers,” it definitely requires a slow initiation process. To get us going on a six-movie deal, the creators will have to help casual viewers acclimate to the premise, because chances are the naysayers are the ones who skipped out on this franchise as children, and therefore missed their window of opportunity. Ironic how a movie based on a children’s property requires a mature level of patience from the audience.

As I said before, if you came into this wanting to see colored suits, martial arts, explosions and giant robots, you will get it. If you’re dragged into this film but appreciate elements like character development and chemistry, you will get that too. As someone who enjoys both, I actually would go so far as to say I loved this movie. I don’t care if I’m alone on this, but I can comfortably say that I loved the “Power Rangers” movie.

If you’re apprehensive about seeing Get Out because it’s been advertised as a horror film:

Honestly, it’s more of a thriller than a horror movie. You’re not gonna walk out of the theater afraid to go to sleep at night (well, at least, I didn’t. I mean, I got terrified of an episode of Thomas the Tank Engine when I was little, so I am a bit of a scaredy-cat).

Still, there’s a definite sense of unease and weirdness for much of it that can throw you for a loop.. As far as I could tell, there are one or two jump scares, though ultimately they’re quite tame (esp. in comparison to some of today’s horror films): the main scares come from the sense of unease shown by the main character, and ultimately felt by the entire audience. But I can assure you, that unease leads to a great payoff. And there’s also a lot of humor at good moments to keep you as relaxed as possible.

tl;dr It’s not scary like a lot of horror films, but it is terrifying in a special way, yet in the end it’s all worth it. And it’s funny.

Epic Movie (Re)Watch #109 - Atlantis: The Lost Empire

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. No.

Format: DVD

1) The early 2000s have a lot of truly underrated gems, especially from Disney. Along with The Emperor’s New Groove and Treasure Planet, Atlantis: The Lost Empire is probably one of the most underrated and overlooked films in their catalogue. Which is a true shame because it is such a great film.

2) This film opens with the city of Atlantis being washed away by a great flood, but if there was originally an alternate opening featuring vikings with the Shepard’s Journal in search of the fabled city. I prefer the opening we have, but you can watch the viking prologue if you want.

3) Michael J. Fox as Milo Thatch.

Originally posted by snowflake-owl

I saw this movie when it first came out in June of 2001. I fell in love with Back to the Future in February of 2009. So when I realized Marty McFly and Milo Thatch were one in the same my love for this film only grew. Fox brings a sincere enthusiasm to Milo, and like with the best voice acting you forget that you’re listening to Michael J. Fox. He BECOMES Milo, the guy who has to deal with everyone doubting him while still clinging true to his beliefs. It is a great character supported by an incredible actor.

4) There is a nice juxtaposition between how Helga sets up Mr. Whitmore (“Don’t worry, he doesn’t bite. Much.”) and the quirky little nut Mr. Whitmore actually is.

An enigmatic man who I would’ve liked to know more of, Whitmore is a little eccentric but comes off as a good hearted man. His relationship with Milo’s grandfather seems to be the defining thing in his life, so much so that he’s funding a multi-million (1914 million) dollar expedition to find a myth. John Mahoney (best known for the role of Frasier’s father on Frasier) gives a strong performance in his little bit of time, but this film is filled with strong voice over performances so it is no wonder his stacks up.

5) This line was improvised by Michael J. Fox:

Milo [after he throws up from being seasick]: “Carrots. Why is it always carrots? I didn’t even have carrots!”

6) Animated films tend to be short and with the added benefit of exaggeration need to establish personalities of supporting characters IMMEDIATELY. This is very true of the expedition’s crew. This starts with Jim Varney as Cookie, a hillbilly type who fits Varney’s comedic styling very nicely. Varney passed away before filming was complete, leaving some lines to have a stand in, but his life is in Cookie all the way.

Helga: “The men need their four basic food groups.”

Cookie [holding up three fingers]: “I’ve got your four basic food groups! Beans, bacon, whiskey, & lard!”

7) Oh my god Vinny.

Every line out of Vinny’s mouth is glorious! Voiced by Don Novello, Novello makes Vinny his own in the same way that James Woods made Hades his own in Hercules. I saw a behind the scenes featurette for this film way back when that said Novello improv-d a lot of lines and most of them are included in the film. Vinny is hysterical, with his penchant for blowing things up and dead pan delivery. The crew is made up of a bunch of great individuals & Vinny is no exception.

8) Rourke…

Rourke is the captain of the expedition and - after the film’s twist - turns out to be the main villain. Voiced by James Garner, Rourke is honestly at his most interesting towards the end when he can be a ruthless bad guy. Up until that point he’s a pretty good commander and seems like an honest man. But looks can be deceiving.

9) There are so many jokes you don’t get in these movies when you were a kid (just wait until I do Shrek). For example:

Mole [about his dirt from different countries]: “England must never merge with France!”

10) Although Vinny is awesome, there’s a good chance that Sweets is my favorite crew member in the film.

He’s fast talking, genuinely kind, a good doctor, and when the crew needs to start acting like bad guys he’s the first to abandon Rourke and his selfish quest (although much more quietly than the other characters). Phil Morris - like the other actors - breathes such life and personality into Sweets that you don’t even question that he’s real.

11) I love the wit in this film.

Sweets [presenting Milo with the vials presented above]: “Here, I’m going to need you to fill these up.”

Milo: “WITH WHAT!?”

12) And to round out the crew, Audrey.

Like most of the crew, we learn more about Audrey in a pivotal scene later. But when we first meet her she’s already impressive. Just a teenager, Audrey is the head engineer on the expedition and tough as nails. She knows her shit and is tough as hell, but that’s not why she’s awesome. Well, that’s not the ONLY reason she’s awesome. But more on that later.

13) The Leviathan.

Mike Mignola, the creator and artist behind the character Hellboy, is credited as a production designer on this film. Nowhere is his influence more clearly scene than the leviathan, the mechanical sea beast meant to defend the entrance to Atlantis. It is an impressive feat of imagination and animation, a creature which is truly menacing in both size and design. The leviathan and its attack on the submarine crew could quite well be the best part of this film.

13.5) Why does a science expedition have battle stations? I mean, now we know because they’re mercenaries. But did this not raise any red flags?

14) God bless Packard. I’m not even sure what her role on the ship is besides announcer, but god bless her.

Originally posted by miusix

15) The pivotal scene for so many of these characters in this film is when Milo eats with them for the first time and we get their backstory.

  • Sweets’ of mixed descent, part black part Native American (I believe he said he’s Navajo). He studied to be a doctor when he got enlisted in the army.
  • Audrey’s father wanted sons, one to run his auto shop and another to become world boxing champion. Her sister has a shot at the title.
  • Vinny’s family owned a flower shop and when the business next door blew up, “It was like a sign from god! I found myself in that ‘boom.’”

And then of course we get this line.

Milo: “What’s Mole’s story?”

Sweets: “Trust me on this one. You don’t wanna know. Audrey, don’t tell him. You shouldn’t have told me, but you did. And now I’m tellin’ you, you don’t wanna know.”

You see THIS is what fleshes out these characters. Its this one scene which makes them more than jokes or stereotypes or archetypes, but real people. We get their conflict, their history. We learn of Audrey’s family, of Vinny’s boredom with flowers, or Sweets’ history in the army. THIS is what makes the film standout in the way it does.

16) Kida.

Originally posted by heymadmoizelle

It’s too bad Atlantis didn’t do too well at the box-office, otherwise Kida might take her place among the official Disney Princess line. Along the same lines as Mulan, Kida is a warrior princess. A woman who can kick ass but also loves her father and her people very dearly. Cree Summer is an accomplished actress in the voice over world, with Kida possibly being one of her finest roles. Kida is tough but never mean, curious but never overbearing, capable but able to form a meaningful relationship with Milo (while also not being too over the top lovey dovey), and just an all around great character.

17) Hey look, its Spock!

Leonard Nimoy has had a number of voice over roles, particularly in the 21st century. Its nice hearing him in this, even if we don’t get to spend too much time with the king.

18) So you know the trope of a 100+ year old vampire forming a slightly weird relationship with a much younger woman?

Originally posted by moan-s

Well…

Originally posted by justmeandmythoughts32-blog

Originally posted by my-harry-potter-generation

19) The betrayal of the crew wouldn’t have hurt nearly as much as it does if it weren’t for the scene where we get all their backstories.

Notably we don’t get the backstories of the two most evil characters in the film: Rourke & Helga. This is when Rourke becomes REALLY interesting and when James Garner has a lot of fun as the bad guy. He’s a brute! A bully! He’s ruthless, pretty much kills the king, beats on Milo when he’s down, all while cracking a jock and flexing his impressive muscles for a 60+ year old man. Rourke doesn’t get enough credit as a Disney bad guy in my opinion.

20) I love this.

Milo [after Rourke asks him to translate better]: “I know, why don’t you translate AND I’LL WAVE THE GUN AROUND!”

I live for heroes telling bad guys who are “in control” to f*** off.

21) The entire crystal chamber scene is just absolutely gorgeous. The early 2000s were noteworthy for frequent mingling of hand drawn and computer animation, with Atlantis being one of the finest examples of it.

Also this shot is gorgeous:

Originally posted by curvecreation

22) I never got this line.

Rourke (after his crew decide to stick with Milo & the Atlanteans): “PT Barnum was right.”

Only now do I know one of Barnum’s famous quotes is, “There’s a sucker born every minute.” And I had to google it.

22.5) Fun fact: Joss Whedon worked on the story for this film! For you Whedonites out there, doesn’t “PT Barnum was right.” sound like a very Whedon-y line?

(GIF originally posted by @marshmallow-the-vampire-slayer)

23) Okay, as a child and even now I was OBSESSED with crystalized Rourke.

Like that image is just very memorable to me, especially after Rourke was supposedly killed by being encased in crystal. It’s too bad we only got a minute or so of it before the airship crashed, but damn that’s just the coolest thing to me. If there are any Kingdom Hearts fans reading this, imagine this: A Rourke boss fight, where after you beat him the first time you have to fight his crystal form and its an even tougher fight.

24) And of course Milo stays in Atlantis at the end, because it is what he and his grandfather sent their entire lives searching for. What would be the point of returning to the surface where either A) no one will believe him, or B) people will believe him and try to take advantage of this culture they found? It’s a great ending which makes a lot of sense.


I love Atlantis. It’s one of my favorite Disney films, but it maybe wouldn’t be if it weren’t so underrated. If you’re a fan of action, adventure, Disney, animation, or heck, even Stargate, I think you’ll enjoy this film.

5

Ghost World (2001) - Terry Zwigoff

5 bullets on this film:

  • Let me start this by saying that Ghost World is technically a comedy movie, but it was probably one of the most depressing things I’ve ever seen. Not that it wasn’t good, but it left feeling kind of empty and sad.  Of course there are some ‘funny’ scenes, but the plot is really dark and real. 
  • Steve Buscemi freaks me out but I really liked him in this. Scarlett Johansson is also great, but Thora Birch is like incredible. By the way, where are you, Thora Birch? 
  • It’s one of those films you can watch over and over again and you’ll never get tired of it, because the soundtrack is good, the cinematography is VERY appealing, and you always end up noticing a new detail. 
  • Let’s take a moment to talk about the character development of this movie. All of the characters have a defined personality and a backstory, so they feel very real. You don’t really like them, because they’re imperfect, but then you end up identifying to them, and that’s one of the reasons this movie is so nice.
  • One of the movie’s main ‘targets’ is to show the two sides of growing up: you can be yourself, or you can change your personality in order to fit in, and that’s reality, that’s why this is one of the best coming of age films. The two main protagonists represent different ways of dealing with adulthood, so if you’re about to ‘start your life and become an active member of society’ (like me), watch this movie because it can help you decide what to do with your life. 
Pet Names & Tie Restraints

You were worn out from all of the intense roll play you’d taken part in these last few days, you were happy to have spent the full day lounging on the sofa eating ice cream and watching comedy films in your PJ’s. You thought surely the boys would give you a break today and allow you some time to get over the amazing reality of the last few days, it’s tiring being a vampire’s prey, a princess and a kittens mummy all in the space of three days you thought as you convinced yourself of sex free night. Until you got a message from cutie Hoseok;

Text Message From: Hobi

‘The rest of the boys are out for the night, could you come over and see me around 8pm love?’

-You read the message carefully, and decided that from the sound of it Hoseok wasn’t playing any time of character and therefore nothing could happen tonight. You took a deep breath and replied light heartedly-

‘Yeah sure thing! See you in a few hours’

To end your conversation J-hope was quick to reply;

’Okay great! I’m super busy just now so just head in incase I don’t hear the door.’

You finished watching your film and turned the tv off, making your way upstairs to get ready. You had time so you made yourself look good, adding more intricate details to your make up and choosing an outfit that was comfortable but also appeared classy, just because it was the funny and lovable J-hope doesn’t mean you shouldn’t make an effort to be in his company.

You headed over to the boys house, anticipating a fun night of cuddling and binge eating with your angel Hobie. You arrived seeing only one car parked outside the house. You made your way inside, almost having a heart attack when you turned into the living room seeing Hoseok sitting in tight black suit trousers and white shirt, supported with a black tie.

Okay maybe he just had nothing els to put on? you questioned.

“Oh hey, Hobi. You scared me” you spoke with a small chuckle, scratching the back of your neck in attempt to relieve your tension.

He looked up at you instantaneously with a smirk approaching his lips. “Hey baby girl, why don’t you come have a seat on my lap?” He spoke with his legs open.

You thought carefully before you spoke, thinking through your many kinks incase this was a subtle persona J-hope had put on. It was like searching through some sort of weird database filled of your kinks, as you thought deeper about the pet name he used ‘baby girl’ you knew it could only be one thing, you spoke quietly and sensually;

“Fuck, Hi Daddy”… J-hopes face instantly darkened, thankful that you caught on to what was going on. You dropped your bags and slowly walked over to him. You put your legs over either side of his, and slowly began grinding, ever so close to his crotch. His hands instinctively grabbed your waist, helping you to move against him.

“How has my baby girl been?” he asked as he lay kisses and bites from your jaw, all over your collarbones and your chest. You stopped what you where doing for a second and looked at his stunning facial features, he looked at you with lust in his eyes. You grabbed his tie and pulled him closer, kissing his lips harshly in an attempt to finally taste the delicious boy.

“And who says you’re allowed to go around kissing Daddy whenever you like?” He spoke seriously with a sensual tone dripping through like a leek in the roof. “I’m sorry Daddy, I’ve been a bad girl” you spoke with a sly smirk on your face, “You’ll have to take Daddy’s punishment then, wont you?” He spoke as he gripped your ass tightly. “I guess I will” you replied, kissing his jaw.

He gripped onto you tighter, throwing your arms around his neck as he stood up kissing you, making his way upstairs. He got into his bedroom, throwing you on the bed. “Strip.” He spoke, a definite command rather than a question. You removed your jeans slowly, followed by your shirt, leaving you in just your underwear, “Go on baby, show Daddy what you’re hiding under those cute little panties of yours.” You blushed deeply, removing your bra and panties, standing totally helpless in front of him. Something about it made you feel vulnerable, however it also left you with a churning feeling in your stomach and a pooling sensation between your legs.

“Do you trust me?” were the next words to leave his mouth as he looked at you seriously, “Of course I do” you answered as you watched him move over to you, he turned you round so you where sitting on your knees facing the headboard, he pulled of his tie, wrapping it around the headboard and locking your hands in place. He raised your hips, and lay on the bed, sliding underneath you. “Okay baby girl, sit down.” You took a deep breath, lowering yourself to his mouth. He grabbed your ass before running his slightly rough tongue over your soaking slits, your breathing was sharp as he moved his head closer to your heat, he used his tongue in fast and slow periods, dipping in and out as if he were a dog drinking water, as he moved one of his hands round, using his thumb to rub over your sensitive clit, you moaned out at the overwhelming sensations he was giving you, “H-Hobi i’m so close..” you whispered out, and like that he came to a stand still, “that’s Daddy to you.” he spoke firmly.

He removed himself from between your legs and untied your hands, “Lie down flat and put your hands above your head” He spoke, you followed his instructions carefully and slowly, he again used the black tie to restrain your hands, he climbed in between your legs, and began kissing you all over your jaw, downwards to your chest. His hands traced over your breasts and down your sides, leaving his mark with his lips and his teeth whenever he could. He stood up, removing his shirt, trousers and boxers revealing his towering member, before kneeling in between your legs.

“Are you going to be a good girl?” He asked forwardly, “Y-yes Daddy” you replied. He nodded as he slowly slid into you, your head hung back at how good he felt inside you, he used slow thrusts with the faint used of his fingers over your clit, so you could feel how close you where but never reach your high. He continued to build you up and stop right before you got your release as a way of teasing you, then he slapped the side of your ass and with a growl began thrusting hard and fast, as you screamed out “Fuck! Daddy, you feel so good!” your hands gripped onto the sheets for some sort of support as your legs began to shake and your breathing became heavy moans. “Ugh I’m gon-“ your body became silent as you released over him, after feeling his release.

You lay completely helpless and unable to move, you where totally exhausted from what Hobi had just done, you had never felt so fucked out. “That was amazing” you panted as you watched him get up, he untied your hands from the headboard and took his cooling moisturiser from the bedside table, rubbing it over where your arms seemed irritated from the tie restraint. “I’m glad you enjoyed it” he spoke, now completely back to his normal character. “Thank you for doing this for me Hobi, It was out of this world.” you said as he joined you, now under the cover. “It wasn’t all for you ya know, I’ve wanted to try this Daddy thing on a girl for a while now and it’s fucking amazing!” He spoke teasing you, “Come on baby girl, you look exhausted, lets have a sleep” he said wrapping his arms around you and pulling you close.

“Goodnight, Daddy…”

Originally posted by morekpopmore

-END-

Andrei Tarkovsky
“And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny.”

Buster Keaton
“At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived.”

François Truffaut
“My religion is cinema. I believe in Charlie Chaplin…”

Jean-Luc Godard
“He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo.”

Jean Renoir
“The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith.”

Jiri Menzel
“All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal.”

Luis Buñuel
“When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff.”

Masaki Kobayashi
“Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius.”

Ousmane Sembène
“Did other filmmakers teach you anything? There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”

Pier Paolo Pasolini
“You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential.”

Satyajit Ray
“If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal.”

Stanley Kubrick
“If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”

Vittorio De Sica
"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions.”

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

anonymous asked:

Hi, Eduardo! Now that you have already seen Beauty and the Beast may I ask... How do they deal with LeFou sexuality? The uncertainty about if they treat him and his sexuality with respect on the film it's the main thing that have me dobious about seeing the movie, so in your words... did they do a good job with their first openly gay character?

It’s very obvious hes gay but he is one of the most if not the most likeable character in the village? Seriously every line he had was gold and none of it was laughing at him but rather how funny he was. And spoiler surprise surprise he turns on Gaston and helps the enchanted objects at the end of the film he even befriends ms Potts. And at the end of the film he even gets to dance with a man in a scene where everyone is romantically coupled up. All in all a great performance and non of it deserving of the shit that was flown Disneys way for it.

Katherine Waterston - SnitchSeeker interview

Some of these are just nifty quotes that I thought were useful as an insight to Tina’s character, others are really interesting tidbits revealed!

  • Waterston, who will of course be in all five Fantastic Beasts movies (since Tina’s alive and well in 2017, retired with husband Newt Scamander in Dorset, UK)

I don’t care, I’m taking this as confirmation she’s in all five movies.

  • I know that Tina was very important to Jo [Rowling] and, like Hermione, I think there’s lots of Jo – or versions of younger Jo – in Tina, as well.

Tina is important to Jo, which I’m sure we all knew but I just love that Tina is compared to Hermione in some ways because they’re both the main female characters – and I think that using this comparison kind of proves that Tina very much is the “leading lady” over the entire series (not necessarily EVERY movie but in general)

  • She’s very much dealing with an internal struggle and I think she’s on the precipice of some big shift, but it hasn’t quite happened yet. But she’s ready for it to happen.
  • (about Graves being Grindelwald) I think she has such great instincts – that suspicion had increased basically since the middle of the film, but there was just way too much chaos at the time to deal with it
  • Well, in the goodbye scene with Newt she says, “I wouldn’t be back on the investigative team if it wasn’t for you,” which gives you the feeling that there was some interaction that happened between Picquery and Newt where he explained why I was sufficient and all the good things I had done along the way – essentially put in a good word for me at the end of the film. And so, I imagine she’s doing what she loves best, which is working. She’s back on the team.

CANON ACCEPTED!

  • Well, I don’t know the timeline of the next film, but I did know that I do some traveling at some point. But I didn’t know it was within those three months.
  • I have a feeling she’s not on a vacation though.

And then there’s talk of the demiguise and dinner scenes!

Demiguise scene:

But something very emotional and intense is going on so basically in the real scene between the real Newt and Tina he’s confessing something painful and she goes to comfort him and then when we split into all of the possible future Newts and Tinas we did one where he walked away. Or one where we laughed about it. Or it kind of turned into something romantic.

The entire dinner scene section is great, so here it is and I’ve bolded the interesting bits that we can gawk over:

I think what you see there are two characters who are confronted with their own social limitations. That the areas in their lives where they really thrive. If he’s with his animals, he’s confident and he knows just what to do.
And although we don’t really see her thriving at work in this film, at work – that’s the place where the world makes sense to her. It’s what she’s poured all of her energy into in her life. In a sense, by mistake they’ve missed out on developing the parts of themselves that would allow them to just simply enjoy a dinner
. I think in that moment they’re both confronted with their own inadequacies and their shyness, so they’re recognizing something similar in one another, but also totally too limited to do anything about the fact that they’re realizing that they’re similar.
Then it’s almost made more embarrassing by the fact that the two people right next to them have no difficulty in this area. But, I think that the whole quartet tells a story of oddballs coming together and feel understood by one another. The same thing is happening for both couples in that moment. The ones that are having an easy time talking are finding that they have things in common and a connection, and the ones that are struggling are also finding a connection in that moment.

2

“I give Sam so much credit because it was tough. I was there during filming and it was not easy for him. He had to stay in this dark headspace, and there would be times when a scene would end and I would want to go over to him and tell him how good he’d done, how great he was performing and sometimes I’d walk toward him and see the concentration and that sense of discomfort in his eyes and I would just veer away.” ~ Ira Steve Behr (Outlander Writer)

anonymous asked:

what movies would the RFA take MC to see? sorry if it's a weird request Q_Q

Author’s note: Not a weird request!! I just finished Kimi no na wa and it killed me ♥ do you guys have any favorite movies?? because I need new ones to watch ANY GENRE IS FINE

Yoosung

  • A ROM COM, 100%
  • Of course, he uses you as an excuse when people ask him why he’s watching something “so girly” 
  • Yoosung had been waiting for this movie premiere for months
  • He bought his tickets in advance, came early to get a good spot in line, and had blocked all spoilers from his phone you had even agreed to come along with him!!
  • Everything was going PERFECTLY 
  • Until he saw one of his classmates waiting outside the same movie theatre
  • Quickly, he tried to turn away, but it was too late
  • “Hey, Yoosung!! Whatcha doing in line waiting for a chick flick??”
  • “Uhhh, w-well,” he desperately looked around, “MC really wanted to see this one!”
  • “Your girl’s got you whipped, huh?”
  • “…Whipped?”
  • You overheard the conversation as you came back from the bathroom
  • Walking closer to the two, you gave the stranger a passive aggressive smile, “Come on, Yoosung, let’s go.”
  • You dragged him away from his classmate
  • “Why didn’t you just tell him you wanted to see this movie yourself?”
  • He scratched the back of his neck, “I-I didn’t want to sound lame…”
  • “Hey,” you stopped and turned toward him, “If you were lame, you would have never scored such a cute girlfriend like me!”
  • You twirled around and gave him a wink
  • He chuckled and grabbed your wrist, pulling you in for a kiss
  • “I love you.”
  • “Right back at you… now, come on, we don’t want to be late for my movie!” 

Zen

  • Normally he would have taken you to one of his movies
  • BUT
  • there was a something even better out
  • “Are you gonna tell me what we’re seeing??”
  • Nope! It’s a surprise!!”
  • You sighed and continued to cover your eyes with your hands
  • he guided you to a chair and you felt him sit next to you
  • “Okay, you can look now!!” 
  • you glanced up at the bright title screen and oh my god
  • “How he came to be: The story of Zen”
  • “You took me to a documentary about YOURSELF???”
  • “…Yeah.”
  • You tried to act annoyed, but your smile betrayed you
  • “We can go see-”
  • “No,” you rested your head on his shoulder, “I’m good here.”

Jaehee

  • If Jaehee doesn’t choose a Zen movie then assume she’s been kidnapped and replaced with a clone
  • Seriously, the only time she’ll take a break from work is to watch movies starring the white haired narcissist
  • There’s this shirt she wears EVERY TIME the two of you go to and see one of his films
  • “Aren’t you embarrassed wearing a shirt with one of your friends’ faces on it?”
  • “Embarrassed? No. I’m honored that I get to express my fondness of Zen’s artistic-”
  • Blah, blah, blah, let’s just go see the movie so we can get home.”
  • “…Are you jealous?”
  • “W-what? No!”
  • She slipped her hand into yours
  • “Good, because I love way more than some silly movie.”

 Jumin

  • THIS LITTLE PRETENTIOUS PRICK TOOK YOU TO SOME HIGH END FOREIGN FILM you don’t even know what language it’s in
  • And on top of that, the entire movie was in B&W
  • So could Jumin blame you for falling asleep????
  • When it ended he looked over to see if you enjoyed it
  • “MC?”
  • “…”
  • “MC!!?”
  • “H-Huh? Oh, it’s over! What a great movie!!”
  • You stood up and stretched, covering your mouth to hide a yawn
  • He smirked, standing up next to you
  • “Oh, you thought so?”
  • Jumin leaned in closer to you
  • “What did you think about the scene with the flock of flamingos?”
  • “It was so moving, I almost cried!!”
  • “Hmm, that’s strange; there weren’t any flamingos in the entire movie.”
  • You looked away, “…I may have fallen asleep.”
  • “Uh-huh, I saw.”
  • He put his arm around your shoulder, “That’s okay, you didn’t miss much. It was pretty boring.”
  • You rolled your eyes and leaned into him
  • “Next time, I pick the movie.”

 707

  • He chose a scary movie without hesitation
  • whY DOES HE INSIST ON TORTURING YOU
  • and when you get home you can BET YOUR ASS he’ll try to scare you
  • “MC, I think I just saw something outside!”
  • “Yeah, right.”
  • “No seriously-”
  • CRASH
  • “EVERY MAN FOR THEMSELVES!!!”
  • He watched as you ran down the hall and into the bedroom
  • Seven had to hold onto a wall he waS LAUGHING SO HARD
  • “…I still don’t approve of this.”
  • Once he caught his breath, he turned around
  • “Thanks, Saeran, she was SO scared!!”
  • Seven turned to look down the hall again
  • “…Actually, I think I should go check on her.”
  • Saeran watched his brother wipe away another tear and slowly make his way down to his bedroom
  • He rolled his eyes and walked into the kitchen
  • He peaked his head into the fridge to find something to eat
  • “I guess Saeyoung hasn’t realized MC knew he was going to try and scare her.”

Earlier that day

“Hey, Saeran, wait up!!”

He was on his way outside when he heard his brother’s girlfriend call out.

“What do you need?”

MC ran over to the twin and leaned in close, lowering her voice.

“So, tonight, Seven and I are going to see a scary movie, and I know that every time I see one with him, he tries to prank me when we get back home…”

“This is true.”

“And I was wondering if you would be willing to help me exact some revenge on him. It won’t be-”

“I’m in.”

“But-”

“You had me at revenge. Just text me the details, I’m going for a run.”

Saeran turned back around and left, a smile plastered on his face.”

  • He felt that same smile creep back on his face as he thought of what MC had showed him
  • “ I wonder if she finished setting up-”
  • “WHAT THE HELL, MC??”
  • “-her other prank.”
Fools: a Mark fic

Chapter 1

AN: This one is for @annetle, @itchickadee, and all my Mark girls.

Only fools fall for you.

Originally posted by jordragon

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anonymous asked:

That jimon superhero idea is really cute do you think you could do like headcanons of when simon ask jace to teach him self defense and jaces teaches him/they spend time together

hi!! sorry this is almost 24hours later. D: this verse - which is essentially about jace being a superhero and simon being catnip for evil and therefore jace’s frequent rescuee - may or may not go anywhere because i have 0 execution skills but if it ever does, these are some of the events that i’d want to happen as simon falls in love with jace / angel:

  • the very next day, simon runs into jace at their building lobby putting up flyers for a self defence class he teaches for free every tuesday and thursday. what a strange and serendipitous turn of events!! but, “oh man,” says simon, crestfallen, “my work schedule’s kind of all over the place though, i don’t think i can make it?” and jace’s gaze lingers on the bruise on simon’s jaw, the discolouration suggesting it was from the night before, and he says, “anytime you have an hour, just pop by to see if i’m home - looks like you needed to learn how to make a quick getaway years ago,” and simon is bewildered by the generosity of this offer but (obviously) he accepts 
  • jace is a brutal instructor and doesn’t cut simon any slack each time he takes simon down. “again,” he demands, “get up.” at first simon’s embarrassed by how easily jace kicks his ass, flustered by how jace is even more attractive when he’s covered in sweat and pinning simon down, face so close that simon can clearly see the darker roots of his eyelashes and follow the curve of the individual lashes to their delicate golden tip. but as their sessions keep going, simon stops seeing jace as someone he wants to make out with and instead as a threat he needs to take down. it shakes simon to realize what an easy target he is, how he might be dead if angel hadn’t saved him all those times and the reality is that if someone devastatingly sexy was trying to murder him - well, he can’t just let them because he’s too distracted by their beautiful eyes

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DAY 3259

Jalsa, Mumbai                     Mar ½,  2017                   Wed/Thu 2:15 am




this be the scenario by the afternoon of the day, today .. and the happiness of it all in coming to the event and giving me an opportunity to respond in a public manner .. 

Of course I speak of the many Ef that came along to view the trailer launch of the film SARKAR 3 and to give it the support and love that was so evident at the theatre .. my love and my gracious thanks for doing this and making us feel like one big family ..

the love and the respect given is remembered ever and in these times recorded for eternity .. it is the norm today for a record and a selfie for intimacy .. fine ..

Ef Sudhir gave a comment to me and it was a delight to start the PC today for SARKAR 3, with his observations .. more so for a film PC to have references to Ayn Rand, her philosophy of ‘objectivism’ and the bluntness of her contribution to the world, of the right of an individual, was quite extraordinary .. 

SARKAR is rightly objectified either consciously or accidentally, by many of the academic considerations, that have plagued social comment .. and Ayn Rand seems to have done great justice to it .. if RGV was conscious of it or just fluked it needs to be addressed by Ram Gopal Varma ..

One of her favorite quotes :

“ the question isn’t who is going to let me ; it’s who is going to stop me “, spells Subhash Nagre from end to end and I wonder if RGV was aware of this great coincidence, in the writing of the film .. ‘main ye nahin karunga .. aur tumhe karne bhi nahin doonga .. ‘ are strong representations of a man that is bent upon running his life on his own terms, critically negative, but still coming out looking clean and good .. its a difficult task to construct such a film character. But as rightfully, one of the lady journalists pointed out, RGV is a ‘smart guy’ ..

the folded hand again .. it beckons it answers it requests it sublimates itself it greets and bids the departure .. its simply the best .. and I fold my hands to it ..

The office of the public servants that promote various campaigns are keen for this .. and so I do it .. though talking about it and exhibiting its plea is hesitating for me ..

Amidst all the awakening and the joys of celebration of a content to be aired, is also the other side of the coin .. the balancer of life .. that thin flute in a Beethoven Symphony signifying free lifelines and the sudden thunder of the orchestral denseness, signifying fate .. pleasure and excitement has a rapid vice versa of concern and sadness .. it is the balance .. and whoever does it, knows what he or she is doing .. entire eternal joy and entire eternal sadness, would ruin the human .. and so ..

We feature in it each hour of living .. better to be not too exhilarated or too depressed .. happiness shall come , depressions shall come and neither shall last long enough .. or so the pessimist element in me demands !!

the optimist element in me demands right now to retire .. the pessimist wants to stay .. and the balance keeps it unknown .. that is how it should be .. 

Love ..

Amitabh Bachchan

10

“A bitter ending is better than an endless bitterness.”

About Elly (dir. Asghar Farhadi, 2009)

One of the best film I’ve watched in a very long time. Farhadi’s control over his script is praiseworthy and allows him to build a constant state of tension and confusion until the very last shot of the film. And what a great cast too.

In defence of Jyn Erso and the characters of Rogue One [SPOILERS]

Rogue One has elicited some heated debate among hardcore Star Wars fans. Considering it’s the first standalone film in the Star Wars canon from Lucasfilm, it has raised one big question: what constitutes a Star Wars movie? No doubt, it’s a very personal question and it’s difficult to divorce new and upcoming Star Wars films from the old ones that dominated many of our childhoods. Is it the swashbuckling adventurous tone that evokes a sense of wonder? Is it the narrative satisfaction that’s baked into a hero’s journey? Is it the larger-than-life characters? Is it simply a matter of a John Williams score? Or the iconic visuals of X-wings and TIE fighters engaged in battle? While last year’s The Force Awakens apes the spirit of A New Hope (with MANY caveats), the brains trust behind Rogue One, which includes director Gareth Edwards and writers Chris Weitz and Tony Gilroy, opted for a different approach. One that took inspiration from real-life wars, one that shined a light on the ordinary people who worked on the fringes, one that was a grounds-up view of the galactic conflict.

One of the most consistent criticisms of Rogue One concern the characters, with lead Jyn (Felicity Jones) bearing the brunt. Some would call our protagonists underwritten, some would say understated (disclaimer: I’m with the latter, if you hadn’t noticed from the title of this piece). Regardless, the light touch here has divided people. It’s a pretty big deal, considering characters are the vessels through which an audience experiences a story. We need to be able to empathise with them. For some people, they could not latch onto Jyn, or Cassian (Diego Luna), or Bodhi (Riz Ahmed), or Chirrut (Donnie Yen) or Baze (Jiang Wen). They spent the film not caring for our band of Rebels and felt the big, powerful moments were unearned and hollow. But for some, the characters clicked. They felt these characters had a lived-in quality, despite the lack of backstory and no great, showy arcs in the film, and which were bolstered by the performances of the cast. I, for one, bought into the emotion of each of the characters and got pretty invested in them despite the flaws (I cried like 3 times the first time I saw Rogue One, don’t @ me).

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