it's a very good film


Episode  — Twilight of the Apprentice

I won’t leave you. Not this time.

  • Princess Arete | Studio 4°C, dir. Sunao Katabuchi

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…

papabay  asked:

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 


- Well, we have - we have similar jobs in a way. I wear a uniform, you wear, uh – I suppose you could call that a uniform.

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.

Birdman (2014)

In this film, Alejandro González Iñárritu portrays the attempt of Riggan Thompson (Michael Keaton) to make a Broadway production to give his career an exciting turn. Zack Galifianakis and Edward Norton give the film a dark humored feeling and are key to the development of the plot. The film is one giant rant on film and theatre critics and how they only taint films and plays with mere “labels” and not actually judge a work by its content.

Emmanuel Lubezki offers brilliant cinematography, using a very difficult technique which makes the film appear to be taken in one shot. The screenplay is second to none, it’s a very interesting topic which has never been presented before in cinema. And to top it off an amazing soundtrack which features a single jazz drummer improvising throughout the whole film. All these features contribute to Birdman being, in my opinion, an absolute cinema masterpiece to be remembered for years to come.  

VERDICT: It’s a very good film. 

Rating: 9.8/10


Inside Llewyn Davis (2013)

Ah, the Coens. The modern masters of dark comedy. Joel and Ethan have been creating masterpieces since 1984, co-directing, co-producing, co-writing, and even co-editing such cult classics as Fargo (1996), The Big Lebowski (1998), and Best Picture winner No Country for Old Men (2007). All these feature the trademark Coen comedy we’ve come to know and love over the years, and all these include a complex crime-infused plot which always manages to involve, excite, and enamor the viewer. 

Enter Inside Llewyn Davis, the latest entry in the brothers’ already legendary filmography. While it features Coen comedy at its finest, it features none of the hilariously convoluted crime schemes that have become must-haves in Coen films. What it does feature, however, is one of the most finely created characters of the 21st century. 

Set in the early 1960’s-New York folk music scene, the story follows Llewyn Davis (loosely based on folk singer Dave van Ronk), a frustrated folk musician who desperately tries to find success in his musical career while attempting to keep his personal life in order. Oscar Isaac gives an absolutely masterful performance as the titular character, making this fantastically written character come to life perfectly. 

Llewyn Davis is not a likable character. That is a fact. He is somewhat selfish, he’s a liar, he’s irritable, he’s irresponsible, but he’s someone that, somehow, you can relate to. His frustration is something that I believe everyone experiences to some extent. However, even though I believe everyone can understand him, this is what I would like to call an “artist’s film”. I’ve seen that people who have never tried to create something truly don’t understand the film; they consider it to be slow and depressing. Llewyn’s frustration is not only due to his personal turmoil, but it also has to do with his creative ambitions. In an ideal world, Llewyn would have lived during the surging of Bob Dylan, when folk music burst on to the popular music scene. He may have been successful then. But he didn’t live in that time (well, technically, he lived about a week before that time, evidenced by Bob Dylan appearing in the final scene). He lived in a time where his creative preferences simply didn’t fit in. On top of it all, Llewyn is incredibly stubborn, which makes it so that he prefers to give up on music rather than change his style to something more “radio-friendly”. Selling out is something that Llewyn simply cannot bring himself to do, even though he has the option to; selling out is also a theme the Coens have played with in the past with 1991's Barton Fink. In conclusion, I consider this film a must-watch for Coen lovers, and for general film lovers alike as it serves as a nice introduction to the Coen modus operandi.

If you have ever tried to create something, if you have ever attempted the difficult process of art, this film will reach into the depths of your subconscious, and perhaps affect you in ways you may have thought unimaginable. 

VERDICT: It’s a very, very good film. 

Rating: 9.8/10