More impressive still is Richard Armitage’s instant-classic work as Francis Dolarhyde — aka the Tooth Fairy, aka the Great Red Dragon — whom he doesn’t so much play as inhabit. In a recent interview, Armitage said he patterned his (so far entirely wordless) performance on Mica Levi’s avant-garde score for Jonathan Glazer’s art-house horror masterpiece Under the Skin. That a main character on a network television show would be based not a performance but the music from one of the most difficult and surreal horror films ever made is remarkable in and of itself. But beyond that, the connection makes perfect sense. Like Under the Skin, Red Dragon concerns an individual in the process of becoming: making, and perhaps unmaking, themselves into a creature driven to commit monstrous crimes. Armitage’s Dolarhyde stares at his own hands as if only now realizing not just their potential but their existence, and mouths formless syllables as if trying to construct not just speech but the meaning behind it. It’s both easy and instructive to see the parallels with Scarlett Johannson’s nameless predator, another beast slouching toward mayhem to be born.

But there are few parallels, if any, between Dolarhyde’s brutality and that of the series’ title character. After a half-season immersion in Hannibal’s world of refined and decadent Old Europe evil, the blunt force of this new killer could not be more striking. Frederic Chilton, who as played by Raul Esparza could quite convincingly pass himself off as Armitage/Dolarhyde’s twin brother, makes a joke out of the contrast (to say nothing of Hannibal’s ratings woes). “He has a much wider demographic than you do,” he tells Lecter. “You, with your fancy allusions and fussy aesthetics, will always have niche appeal. But this fellow…there is something so universal about what he does. Kills whole families, and in their homes. Strikes at the very core of the American dream. You might say he’s a four-quadrant killer.”

Indeed, Dolarhyde kills with an urgent simplicity that’s more viscerally frightening than the elaborate installation-art, performance-piece slayings that have been the stock in trade of both Hannibal and his several serial-killing rivals throughout the series’ run. The Tooth Fairy uses a gun to commit most of his murders; he needs to end lives as quickly as possible. While he does stage his victims’ bodies in gruesome tableaux, posing them together as one big happy family with the shards of broken mirrors over their eyes and mouths (and in the mothers’ genitals), he actually puts the corpses back afterwards. He has no interest in advertising himself to the world, proclaiming his sick genius; what he does, he does for himself alone.  If Lecter is a vampire, Dolarhyde is a werewolf. He is an exclamation point to Hannibal’s ellipsis. All of this is communicated by the show through killing; this is its design. And if it is the punctuation that must end the series, so be it.

I reviewed this week’s episode of Hannibal for Decider. This show is astonishing.
John C. Reilly Confirms ‘Wreck-It Ralph 2′
The actor let the news slip during a film festival in Ireland.

“Disney itself has not yet announced the sequel, but both director Rich Moore and actress Sarah Silverman (voice of Vanellope von Schweetz) have hinted at the possibility of a sequel in older interviews. Reilly’s announcement, which according to him is based on developments from the past few days, strongly suggests that Disney is now pressing forward with the follow-up.”


Weekend Hashtag Project: #WHPhairplay

Weekend Hashtag Project is a series featuring designated themes and hashtags chosen by Instagram’s Community Team. For a chance to be featured on the Instagram blog, follow @instagram and look for a post announcing the weekend’s project every Friday.

The goal this weekend is to take creative photos and videos featuring creative hairdos and facial hair. Some tips to get you started:

  • Keep your setting in mind as you stage your shot. On a windy day, the breeze moving through long hair can lend itself to beautiful video portraits — especially if filmed in slow motion.
  • Sharpen your street photography skills and keep an eye out for interesting hairstyles in the wild. Snap from afar or respectfully approach and ask to take a portrait. Or, if you can’t find anything interesting, get creative. Grab a willing friend and break out the hairspray to see what you can create.
  • Finally, as with all photos of people, keep light in mind as you shoot. Take advantage of an overcast sky or nearby window for softer portrait light, or go out into direct sun for bold shadows.

PROJECT RULES: Please add the #WHPhairplay hashtag only to photos and videos taken over this weekend and only submit your own photographs and videos to the project. If you include music in your video submissions, please only use music to which you own the rights. Any tagged image or video taken over the weekend is eligible to be featured Monday morning.

How to make a good action film: 11 lessons from modern movies

Lesson #1: Create a world (John Wick)

The rules John Wick makes for itself are strict. They create context for the film’s bravura, practical-stuntwork-heavy set pieces, which come to resemble violent ritualized dance.

Lesson #2: When possible, go practical (Mad Max: Fury Road)

Most of the actual action is achieved through good ol’ fashioned stunt driving and pyrotechnics. When a car blows up, there’s a good chance you’re seeing it blow up for real.

Lesson #8: Never let up (The Raid: Redemption)

The Raid simply has the good sense to waste little of its running time on other elements, instead giving the audience an unbroken supply of exactly what it came to see.

Lesson #11: Privilege the set pieces above all else (Mission: Impossible—Ghost Protocol)

Ghost Protocol recognizes that these self-contained spectacles of suspense are the raison d’être of the franchise. And so director Brad Bird just keeps them coming, one after another, creating a daisy chain of wow.

Read the full list at

Who Does the Fox Sue?

Last night, I posted a link to part of the leaked SDCC Deadpool trailer. Sixteen seconds, in fact. It wasn’t footage I’d shot, just found on a comics news website and then linked to.

Today, I found this in my inbox:

It wasn’t just me, either; about a bajillion other Twitter users were attached to the same email over linking to various shaky phone videos of the Deadpool trailer. Said trailer was so popular that fans in attendance demanded it be shown twice. It was a hit, stealing the show at SDCC and generating a huge buzz for the film.

So, a couple things:

1) It wasn’t the footage itself; it was a link to said footage. I thought the courts long ago established that linking wasn’t a DMCA violation? Or maybe not.

2) It was a mere sixteen seconds of the whole, but enough to cause the panic button to be pushed.

3) A number of mainstream news sites still have phone video of the complete trailer up and working as I type this.

4) A trailer is an advertisement. Fox is trying to stop people from viewing *their own advertisement.*

5) The leaks caused the Deadpool film to take off around social media, the kind of viral buzz that people would sell a firstborn over. Fox’s response was to desperately kill it.

6) Savvy players in this arena know that once you show the footage at the con, you immediately release it on YouTube (See Batman Vs. Superman, Star Wars behind-the-scenes footage, etc.) As of yet, there’s no Fox-sponsored means of watching the Deadpool trailer.

I guess this is the first time in a long time that Fox has made something comic book fans are really excited about, and they’re scared and confused.

At the Deadpool panel, Ryan Reynolds credits a fan leaking video footage for the very existence of the film.

The one I got a DMCA notice over.  Because I leaked footage of its trailer.

Don’t think about it too hard, your head will go melty.

anonymous asked:

is brave not disney?

Brave was a Pixar Animation Studios film. Disney owns Pixar, but the film itself is not in the official Walt Disney Animation Studios canon, because it was not made by that studio.

Many people now refer to any Pixar film as a Disney film because of the Disney/Pixar label, but the individual companies make their own films. So, my post is going by the canon. All official Disney films are in the eras post I made.

NOLA Day 4

So, this afternoon I went to the Presbytere and the Cabildo, which sound like a pair of alien vessels in a golden age scifi thriller. 

The Presbytere is…interesting. The bottom floor is all a history of hurricane Katrina, everything from teddy bears found in the wreckage of the 9th ward flooding to film footage of the storm itself. It’s a sharp and creepy contrast to the second floor, which is entirely dedicated to Mardi Gras. I went there for the Mardi Gras exhibit and it was worth the $10 for the two museum tickets for just that exhibit alone – lots of gorgeous costumes, tons of film footage, and a great deal of really interesting history. 

The Cabildo is a more general history of New Orleans – Native American and early European colonials on the ground floor. The second floor had a good exhibit on the Battle of New Orleans but honestly my favourite part of the Battle of New Orleans is the song. 

I did find it…I’m torn between “amusing” and “inappropriate” that the third floor, which looks for all the world like an attic, is where they keep the exhibit on the Civil War and slave life in Louisiana. 

But then my phone was dying, and I was feeling tired and a little dehydrated despite not actually being dehydrated, so I swung past Sucre for some more gelato and then came back to the hotel. 

I’m not gonna lie, you guys, I’ve eaten a lot of good food and a lot of fancy cuisine courtesy of my company this week, and much of it has been better than the meal I just ate, but none of it has been more satisfying than the flatbread pepperoni pizza I had for dinner in the hotel restaurant tonight. 

Now my roommate for the evening and I are watching Catch Me If You Can, marveling at the star cameos in this film. I’m going to have to catch the whole thing sometime. It’s one of the few heist films I haven’t seen in its entirety.

Tomorrow, the WWII Museum and the Ogden, and thence home. I’ve upped my goals from “do not break a limb” to also include “do not get a sunburn” with a side of “no brain amoebas”. 

Even when I raise my standards I still like to keep them low. 

I was so pleased to find out that Max Riemelt does the German dub of Sense8 for Wolfgang as well as playing him with English dialogue.  I mean, it’s kind of a no-brainer given that he really is German (which in and of itself is great, I mean, everything filmed on location with people who are actually from those locations??? I am slain), but anyway it’s just wonderful to me that if you watch Sense8 in German you get to hear what Wolfgang would really sound like. <3


Hawking, twisted in his wheelchair, speaks in his computer-generated voice: “Where does the difference between the past and the future come from? The laws of science do not distinguish between the past and the future. Yet there is a big difference between the past and future in ordinary life.

"You may see a cup of tea fall off of a table and break into pieces on the floor. But you will never see the cup gather itself back together and jump back on the table.”

The film, run backward, shows the cup reassembling itself on the table. Hawking continues: “The increase of disorder or entropy is what distinguishes the past from the future, giving a direction to time.”


He knew that Hawking had once believed the universe would stop expanding and would shrink again, and entropy might reverse itself. Later Hawking said he was mistaken.


For years Lecter had teased the problem, wanting very much for Hawking to be right the first time, for the expanding universe to stop, for entropy to mend itself, for Mischa, eaten, to be whole again…Time. 

- Thomas Harris (Hannibal)

It feels like it could have been made in the 80s,” said Jackman, who chose not to score Pixels comedically because, “the comedy in the film speaks for itself.
—  Another Press Release I Just Got

beeforce asked:

Thoughts on Inside Out (sorry if you've been asked this already)?

Mn, it was alright. Honestly, I feel like it’s one of Pixar’s weakest films and it’s a shame because I really wanted this one to stand above Up and Wall-E.


  • I love the focus they give to Riley and her emotions. I love the fact that they were for a largely female cast that didn’t revolve around her having a crush.
  • I love the look of the film. I really enjoyed the layout they gave the areas and I really enjoyed some of the other sections of the brain they went through. I wish we could have seen more of that!
  • I like that the film knew it’s audience. It didn’t dumb itself down, but it also didn’t talk itself up. It knew both kids and adults would be watching so the humor found a nice middle ground.
  • I REALLY like the idea of Sadness being a legitimate thing that the body can’t exactly control, that feeling sad is perfectly alright and validated.
  • I like some of the messages they tried to get across.


  • THAT SAID THOUGH, the females in this film all face the same problem as anything Disney/Pixar produced in that they’re still following the Glen Keane formula for Pretty Disney Girls©. Riley’s mom looked like a teenager with a wrinkle added in for age. Envy, Sadness, and Joy’s designs all look so SUBDUED when they’re right next to Fear and Anger. Like, the female formula is even more blatant when you look at the storyboards and concept art featuring all of the emotions.
  • We have two weird looking aliens and three pretty girl humans okay cool.
  • Like, the female designs could have been pushed WAY MORE. I love Disgust, she my fav, but seeing her old design just tells you how much they toned it down and reduced her character to basic female formula.

  • The film had way too many glaring plot-holes and inconsistencies that broke any and all immersion from me and sort of ruined the pacing.
  • “If they could recall the gum commercial, what was preventing Joy from making the system recall the core memories? They clearly show Joy replaying a core memory for Riley, plus memories always pop out of nowhere so it could’ve gotten back to base just fine with no disruption.”
  • “Why do none of the brain entities recognize Joy and/or Sadness? Surely they were given loads of manuals like the emotions were, wouldn’t it state somewhere that the emotions are the ones up in the control room?”
  • “Also, the brain entities CLEARLY have a way to get INTO the control room since they manage to show up in the last bit of the film to install the new control panel. They look to be the same job lackeys as the ones destroying Imagination Land so how do they know about the emotions, how to get into the tower, and how serious their jobs are when seemingly NO ONE ELSE in this weird brain land even knew them?”
  • “Oh hey there are brain police cool so WHY don’t they recognize Joy and/or Sadness? Couldn’t they both have simply TOLD the police officers about their situation. I can understand the brain’s blue-collar workers not knowing the emotions (barely) but SURELY the police in this brain would have known something about them. Wouldn’t this be classified as a top emergency and wouldn’t they have set to getting them back to home base pronto? Why doesn’t anyone besides BING BONG know them?”
  • “Also couldn’t Joy make Riley recall Bing Bong and bring him back to life? I mean, I’d rather that annoying fuck remain dead but yanno.”
  • also woah hey a pixar film set in san fransisco with mostly white characters oh woah no way what a total shocker hmmMMMMM


I think the film is a good step in the right direction for Pixar. It’s not trail-blazer and it’s not as well crafted as Wall-E, but at the very least it’s not Cars and they didn’t try some new territory with some of their messages.

I doubt it’ll be my favorite animated film of the year BUUUUT it’s Pixar and it wasn’t Cars so it’s gonna walk away with every award ever for animation.

Got Ant-Man Questions?

One of my non-nerd Muggle friends got a bunch of passes to the Ant-Man release. Guess which nerd he invited?

Yes, I have seen Ant-Man. 

Since several of you have no interest in watching the film itself, I am happy to answer any questions regarding characters, portrayals, or general MCU-related info. I’ll spoil the hell out of it, but will keep spoilers under the Read More cut.

IN GENERAL: Tonally, this is very much 2015′s Guardians of the Galaxy to AoU’s Winter Soldier – a massive-scale, darker film followed by an upbeat summer adventure with less focus on continuity. There are serious moments in Ant-Man, but 90% is a light-hearted heist film with a lot of gags, though more family-friendly than GotG. As a film, it’s fine. Not great (though there are a few things I quite liked below the cut), but I think it will have decent turnout due to the niche it fills.

Now, SPOILERS SPOILERS SPOILERS in the form of random thoughts and reactions.

Keep reading

Man Crush Monday: Joo Jin Mo (주진모)

Birthday: August 11, 1975

Most Likely Known For: 200 Pounds Beauty ( 2006 movie) & Empress Ki

Currently In: My Love Eun Dong

Career Info:

Born Park Jin-tae (), he borrowed his manager’s name “Joo Jin-mo” for his stage name when he began his acting career. After appearing in TV dramas and some minor roles in film, Joo was first cast as a lead in Dance Dance in 1999, for which he underwent extensive dance training. Although the film itself did not perform well, it gave Joo some publicity before he broke through with the box-office and critical hit Happy End. His role as a spurned lover in this psycho-drama attracted considerable notice in Korea, and the film itself also traveled to Hong Kong.

After taking the lead in Kim Ki-duk’s mildly experimental Real Fiction (which was shot in 3.5 hours without any retakes), Joo took a major role in the much-hyped Musa, set in 14th century China and starring Zhang Ziyifrom Crouching Tiger, Hidden Dragon. He also acted in Wanee & Junah, a melodrama about a screenwriter and an animator opposite Kim Hee-sun.

After some films he had been cast in were cancelled due to lack of financing, Joo did the 2003 boxing drama Punch with Shin Min-ah, then returned to the big screen in 2004, in the comedy Liar based on the play Run for Your Wife by Ray Cooney.

From 2004 to early 2005, Joo filmed the epic wuxia historical drama Bichunmoo (“Dance in the Sky”), but due to copyright issues with Korean broadcasters, it aired first in China and Taiwan in 2006. It was finally shown on Korean television in 2008, though SBS edited down the original 33 episodes into 14.

Meanwhile Joo and Lee Yo-won’s 2005 TV series Fashion 70’s received good ratings of 30%. In 2006 he starred in Puzzle about a bank robbery gone wrong, and opposite Kim Ah-joong in the hugely popular romantic comedy 200 Pounds Beauty. The Kwak Kyung-taek gangster romance A Love co-starring Park Si-yeon followed in 2007.

A Frozen Flower, Yoo Ha’s controversial 2008 film which revolved around the love triangle between a homosexual Goryeo king (Joo), his queen (Song Ji-hyo), and the royal guard (Jo In-sung) they’re both in love with, won Joo his first Best Actor trophy at the 45th Baeksang Arts Awards.

He played a sports agent to a K-1 fighter in the 2009 TV series Dream, but it received low ratings for sharing the same timeslot as Queen Seondeok. The year after, Joo and Hallyu star Song Seung-heon appeared in A Better Tomorrow, the 2010 Korean remake of John Woo’s classic Hong Kong noir film. Joo was ranked fourth in CNNGo’s “South Korea’s Top 20 Hottest Male Celebs.”

Joo first sang “Like Rain, Like Music” by late singer Kim Hyun-sik during his first fan meeting in Japan at the Nakano Sun Plaza in Tokyo. He later released his cover of “Like Rain, Like Music” as a digital single in September 2011. Joo also starred in the accompanying music video with Go Joon-hee.

In 2012’s Gabi (the antiquated local term for “coffee”), he played a late 19th-century international con man who becomes embroiled in the espionage and political conspiracy surrounding King Gojong. In making the role his own, Joo said he enjoyed the depth of his participation in the creative process with director Jang Yoon-hyun.

He said he is still waiting for a new role, a complete departure from the brooding masculinity he has come to be equated with. “All male actors dream of playing macho men at one point or another, but they also dream of playing emotionally complex roles. I’m the same,” Joo said at a press conference.

Joo and Ruby Lin starred in the 42-episode Chinese TV drama Flowers in Fog based on the novel by Qiong Yao (the title 花非花雾非雾 literally translates to “Flower is Not Flower, Fog is Not Fog”). It was shot in France, and aired on Hunan TV in 2013. He then returned to the Goryeo era to play a fictional character based on King Chunghye in Empress Ki, a historical drama with Ha Ji-won in the title role.

On the big screen, Joo reunited with director Kwak Kyung-taek for Friend: The Great Legacy, the sequel to the 2001 hit film. Joo plays a gangster in 1963, the father of Yoo Oh-sung’s character in the original movie.

He made his theater debut in a 2015 staging of the musical Gone with the Wind, adapted from Margaret Mitchell’s novel. Joo said, “Rhett Butler is a character every actor would dream to play.“ This was followed by melodrama series Beloved Eun-dong on cable channel jTBC.


I really like Chris Hardwick’s moderating on this panel. He’s excited, he’s interested, he’s fully aware of the fandom aspect (he understands Tumblr, of course), but he still managed to ask some real questions and not get lost in fanservice.

I had no idea who Chris Hardwick was, I just googled because I really enjoyed his moderating this Victor Frankenstein panel. Apparently he moderated the X-Men panel as well, but this one is definitely better, in terms of moderating.

Not too sure about the film itself but will definitely see it because of the two main talents, and also because the writer wrote Chronicle, which was brilliant.

Thanks to all who joined us tonight protesting and then showing earthlings to people. And thanks to all that have been going out and doing this themselves. Have you tried this yet? This is something anyone can do. You don’t show your face or talk to people, you just let the film speak for itself and people can form there own opinions about what they have seen. We would love to hear about your own experiences doing this… :) #LondonVeganActions

If you’ve never seen ‘Barefoot’, you really should. It’s such a sweet movie, so innocent and heartwarming. And so uncomplicated really, it’s beautiful in its simplicity.
It’s a love story but it’s almost about finding yourself, your soul, your heart, in the purest way imaginable.