I just saw a pre screening of Dunkirk and I can say 100% very historically accurate, very stressful and so much tension I was always in the edge of my seat and the music of Hans Zimmerman
JUST WATCH JT WHEN IT COMES OUT FOR YOU
Princess Arete lives a solitary life in a castle tower, occasionally sneaking out for glimpses at the outside world. Suitors from across her father’s kingdom bring treasures to win her favor, and Arete grows up without ever being truly free. Her isolation only grows worse when she is enchanted and whisked away by the wizard Boax…
your comments about the storyboarding remind me of the time the anime team stretched out that Nejiten catch during the Kisame fight, as well as slowed down the music~ HUEHUE
OMG N E V E R FORGET. now you got my mind reeling so here we go, get ready for the lamest thing ever.
amazes me that the tiny little panel:
got turned into this whole scene:
(FRACTION EYE WIDEN THAT DIDNT NEED TO GET ANIMATED WHICH COSTS EXTRA MONEY BTW even tho it’s probably not that much lmao but still)
the music gets all slowed down and everything, neji practically exhaling “are you alright, tenten?” tenten slowly getting up and saying, “thank you…neji.”
^ Like lmfao they could’ve done all the action in that last shot right there and finished with that, b/c it’s. two lines.
but naw, let’s get in like HELLLAAA CLOSE, like not even some med-shot shit but like FRAME DAT SHIT AT THE FOREHEAD AND DRIFT PAN 2 THE LEFT AS TENTEN SLOWLY GETS UP also they’re both drippin’ wet and white clothes??? :3c
so. y’know, they could’ve easily saved like 20 seconds or something of animation, but naw, bet they were like ‘let’s have some fun with this’ ‘also these characters are cool’ also sometimes shows are like hm we’re short on content let’s add in some stuff but it’s not like….this episode was short on content lmfao we got Gai vs. Kisame and some dope fighting scenes and all.
TLDR; urs truly ghostbananas kind of loves this meta shit and the OTPs so when the opportunity arises to text dump with both then i’ll rise from my ghost-ass grave for this
This is for anyone who’s watched Fried Green Tomatoes and wondered if Ruth & Idgie are supposed to be read explicitly as a couple or just as best friends. The film does a weird job of both showing them as a couple raising a kid together, but keeping it ambiguous enough that they could still be mistaken for good friends. Every description of the film, including the back of the DVD calls them “friends” and it’s bullshit. They’re a couple. They are in romantic love with each other. Don’t ever doubt it.
From Fannie Flagg’s novel itself. Idgie’s POV (of the bee charmer scene) followed by Ruth’s POV of her decision to marry Frank Bennett:
I rest my case.
(There are obviously many other examples from the novel - including Idgie’s own mother telling Idgie’s siblings not to tease her about her crush on Ruth; and lovely Sipsey teasing Idgie that she’s been bitten by “the love bug”. But rather than me including every example, you may as well read the novel yourself!)
Despite being a rather robust franchise that’s endured 6 films over the course of nearly 40 years, I’ve never been a fan of the Alien series of movies in the same what that I have other series, like Star Wars, for instance. Ridley Scott’s Alien is a perfect movie, with an incredible cast, nightmarish designs, and precise pacing. Subsequent films have been diminishing returns, though Aliens is still a very good film in its own right. So what better way to reinvigorate a moribund franchise that barely survived two crossovers with Predator (to be fair the first one had its moments) than to bring back Ridley Scott as director?
Scott’s second outing, Prometheus, was a heavily flawed prequel story that was redeemed by a number of outrageously wild sequences and ideas, like the head autopsy or the alien abortion. Further, it displayed a shockingly misanthropic approach to its characters, killing most of them off with the same level of emotion that you’d find in a teen slasher. All in all, it was a happy mess that featured a really great Michael Fassbender performance as the android David, who engineers the bonkers plot with the mentality of a child burning an anthill with a magnifying glass.
Which brings me to this year’s Alien: Covenant, a sequel prequel that partway bridges the gap between Prometheus and Alien. Back are both Scott and Fassbender, suggesting that this film might reach some of the outlandish heights of Prometheus while the marketing suggests a return to the claustrophobic horror of Alien. However, what we end up with is somehow even more disjointed than Prometheus, but also more out-there in terms of some of its scenes, which makes it both better and worse than its predecessor.
There are some truly great moments in this film and it should come as no shock that Fassbender is at the centre of them. He returns not only as David, but also as a new and improved android, Walter, who’s had all the kinks worked out, like curiosity and creativity. They don’t meet until about halfway through the movie, but once they do, Scott’s intentions behind not only this movie, but also Prometheus, become clear. He’s not really trying to make an Alien movie. Rather, Scott is stealthily trying to make a new sci-fi franchise that distills the iconography from Alien and the themes of Blade Runner into a B-level thriller. With that in mind, you realize that the horror scenes with xenomorphs are afterthoughts to Scott’s actual interests: the nature of creation and our understanding of why we’re here. This explains why the best scenes in the movie aren’t the alien stalking the halls of the Covenant, but rather a scene where David teaches Walter to play the recorder.
This scene alone is worth watching the movie for. In addition to being a manifesto of sorts for Scott’s prequels, it serves as a showcase for Fassbender’s incredible dual performances. Both David’s knack for learning and creativity and Walter’s programmed obedience get a lot of play in a scene that features not only ruminations on life and its creation, but also on the role of art as it relates to defining the soul. And while the discussion is fascinating in its own right (despite being a bit trite), that it occurs during an overtly homoerotic scene featuring one actor playing two different androids is enough to make this one of the single best scenes in cinema this year. It’s completely bonkers. If the film were entirely scenes like this, without the xenomorphs, it would be a no-brainer recommend. As it stands, Alien: Covenant is as flawed a film as Prometheus, but still worth watching for all the really weird character scenes.
I really want to watch Ghostbusters and I really want it to do well but now that I know Kate McKinnon is a transphobe I don’t want to support her or validate anything she’s in and I don’t know if the “overall good” achieved by this movie is enough to overpower the fact that there’s a fucking transphobe in it.