One of my favorite sci-fi takes on a modern weapon that I thought you might appreciate, the modified AK-47/AKM in the movie Elysium .
The modified AK-47/AKM takes inspiration from the XM-25 experimental airburst grenade launcher. It has a fictional attachment that combines a holosight, targeting laser, and rangefinder into an advanced targeting system. This targeting system links up with fictional airburst ammunition, programming the distance at which the round will detonate based on the range from the target. Each round has a kill radius of 5 meters, giving each about the equivalent explosive force of your average modern day 40mm grenade round. As demonstrated in the gif, this enables the modified AK-47/AKM to tear enemies apart, whether organic or robotic.
I’m not a huge fan of the AK, but this is perhaps one of my top favorite ballistic science fiction weapons, because it takes an already iconic rifle, and turns it into an absolute monster in an time setting where it is probably almost 200 years old, but without dramatically leaving the realm of realistic possibility in my opinion.
Such an interesting concept, and so easily overlooked during the film itself!
Isao Takahata’s Grave of the Fireflies (火垂るの墓) was first released on April 16, 1988.
Produced concurrently with My Neighbor Totoro (1988). Many of the animators had trouble remembering which film they were animating. This film was initially distributed with Totoro because it was the only way that Miyazaki could have been able to make it. The reason being that the original film pitch for that film was rejected, so they pitched a double feature with Grave of the Fireflies, and the project was eventually backed financially by the original writer of the book. It often was overlooked as a film because whenever Totoro was screened first, people were left happy and did not wish to be saddened by Grave of the Fireflies afterward. (x)
honestly, I thought to the bone was the very best representation of anorexia in film history, and I really hope it gets a large viewing. there are still so, so many people who believe anorexia is a choice, for attention, a fad, a phase, what have you, and this movie shows that it isn’t.
there are problematic parts to it, don’t get me wrong. it could be triggering to people with eds, but so is every other ed movie out there. the focus on bodies is too much, and the inpatient setting is just…. wrong. a few things followed stereotypes, like eds always come from abusive/broken homes, the anorexic was a pretty white girl, etc
I chose to watch this movie through unbiased eyes, because it’s easy for us to complain about it being too triggering or what have you, but instead I watched the movie knowing this could possibly be the thing that finally makes people understand the illness better, and for that I’ll overlook the problems the film has
Aka, shoutout to the characters that are kinda overlooked in the 2017 film despite their influence in some of the scenes.
This guy was the only one–aside from Maurice–that made Belle feel at home in Villeneuve.
Also the only villager that wasn’t small-minded and we could tell.
He could see how much she loved his little library and was visibly saddened by the fact that he couldn’t offer her anything more to read
He respected her ability to read and her quirky inventive side.
He helped her when the villagers destroyed her laundry machine.
“This man needs a hospital, not an insane asylum!”
Looked visibly disturbed at Gaston’s rallying of the other villagers.
I don’t know what it is, but he also gives Belle this look during her plea for her father that to me looked like “I admire you for defending your father, and I don’t think you’re crazy. I am open to hearing what you have to say.”
He was the first cursed servant we saw when Maurice entered the castle.
He shakes the snow off of Maurice’s coat
He always seems to be one step ahead of everyone
The way he picks up Lumiere and sets him out of reach of his work when Lumiere says he missed a spot on the dishes
He’s a man of many talents which include but are not limited to:
Knowledge of fashion (he’s seen selecting the Prince’s wig for the ball in the prologue)
Overall just doing his job as an aide well
He’s always ready to help. Always.
He seems to know exactly what some people need at a specific time without needing to say anything.
He rarely talks, yet he doesn’t seem shy or withdrawn.
Oh, and HE SAVES CHIP’S LIFE. Remember that? Instead of thinking of himself during those last few moments, he stops Chip’s fall and even gently sets him next to his mother before fading away. If he hadn’t been there Chip would have died.
Epic Movie (Re)Watch #109 - Atlantis: The Lost Empire
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.
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.
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.
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.
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.
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?
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:
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?
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.
what she means:
Call Me by Your Name (2017) directed by Luca Guadagnino starring Armie Hammer and Timothée Chalamet will be the most controversial- and possibly the most overlooked film of the 2017-2018 award season simply because a bunch of uneducated people who have never read the book are under the impression that the film is portraying a nonconsensual relationship between a 17-year-old and a 24-year-old. Also, how long do I have to wait for a fucking trailer?!
what she means:
you know i still don't understand how will smith didn't win an oscar for <i>i am legend</i> i mean he was one guy alone in a movie and kept me captivated and overlooking all the films plotholes and questionable special effects
Lmao, this trailer for the 2016 re-release of Barry Lyndon is the opposite of the
original 1975 trailer in about every way. The old trailer sold the movie as an
Oscar bait (ie dull) period piece, and overlooked the film’s subtle black humor
and satire. The new one modernizes the main musical theme of the movie and
throws a rapid series of the most intense and dramatic images from the film,
almost selling Barry Lyndon as
something of an action-paced epic/melodrama—and overlooking the film’s subtle
black humor and satire. The 2016 trailer is more enticing to be sure, but I don’t
think it reflects the tone of the movie well.
Then again, Barry Lyndon is one of the hardest Kubrick movies to sell. It lacks
the manic surrealism that makes movies like Dr.
Strangelove, A Clockwork Orange, and The
Shining popular, and it isn’t as aggressive as Full Metal Jacket. It may be the most understated of all his
post-1950s movies, actually.
Look at this. Look at this! Sure, it’s just a short tap dance, but think about what it stands for. This man is a tap dancer, in a time where the media does not focus on tap dancers like it used to. But La La Land came out, a movie musical with tap dancing. And now this man is tap dancing, following his dream, and doing an excellent job at it. The message of La La Land is for all these dreamers to keep dreaming. But not only to dream, but to work for your dream. Skills like these should not be overlooked. So many films these days are just too intense or serious, but with little work for the performance. Where are the hours of dedication? This man sure as the sun did not learn tap dancing that day. He was probably practicing it for years, or weeks at the very least (not this particular number of course, this was improvised). But that’s just the point! He developed his skill to the point where he could improvise and still look good! Slowly, this kind of live talent is shifting back into popularity. But, even with the success of Hamilton, not everyone knows about Lin-Manuel Miranda’s impressive ability for rap improv. Skills like these take time, and the products should be highly praised. It’s a building process. Thank you, La La Land.
is there any performance of hugh's you think he deserves an oscar for?
I’ve enjoyed some of his work. To be honest, I wasn’t super big on Les Miserables, but I do understand why he was nominated for it. As far as the performances I’ve liked that I thought he did really good in…I thought Prisoners was actually quite good and that film got overlooked sadly. I think he was good in The Fountain. The Prestige was fantastic, but if we’re talking Oscar worthy, Prisoners was pretty darn good if you ask me :)
I really felt his character’s pain in that movie and if someone is a parent, I think they would understand his character’s motivation completely.
Lee Marvin and Gene Hackman go head-to-head: PRIME CUT review
This is a bizarre 1970’s action thriller about a no-nonsense hit man (Lee Marvin) who is sent to Kansas City to settle a debt with a man with a woman’s name, Mary Ann (Gene Hackman), who is indebted to the Chicago mob for 500 large. Mary Ann is a cattle rancher and we quickly find out that he is a bit of a bastard who not only grinds his enemies into hotdogs, but sells women as sex slaves. Everyone needs a hobby I guess. Prime Cut is directed by Michael Ritchie (The Golden Child, Fletch) and Sissy Spacek (Carrie) debuts as a doped up hooker. It is an undeservingly overlooked film. Christ only knows why… It’s macho, violent for its time and very entertaining.
This amazing film has machine guns, titty flashing, a strong cast and a great score by Lalo Schifrin. Memorable scenes include Lee Marvin and Sissy Spacek being chased across a wheat-field by soon-to-be-dead badguys in a God-damned Combine Harvester, the making of sausages (in one of the coolest openings ever) and a guy called Weenie who attacks Lee Marvin with a… weenie. I recommend this movie to 70’s action movie buffs and especially to Lee Marvin and Gene Hackman fans. Some of my favorite films are Lee Marvin films (The Dirty Dozen is the greatest war movie of all time). Few men can play it so cool and seem to do so little, but do so much. And Gene Hackman? Oh man, don’t even get me started on Gene Hackman; The French Connection 1 and 2, Night Moves, Bat 21, The Conversation – Words can’t begin to describe just how badass this guy is.
Prime Cut Release year: 1972 Country: USA Director: Michael Ritchie Stars: Lee Marvin, Gene Hackman, Sissy Spacek
Comical spaghetti westerns aren’t for everyone. Most Italian slapstick westerns suck ass, everybody knows this, and many fans believe all these puke-worthy comedies destroyed the spaghetti western genre. But I’ve finally found one that is a little less nauseating. Dumb? Maybe. Bizarre? Sure. Cry Onion even has speeded-up action scenes à la Benny Hill, a Hitler lookalike and a guy with a robotic hand. But the film somehow manages to be really cool, believe it or not. It’s directed by Enzo G. Castellari (I rest my case, your honor), and Franco Nero (THERE, I got your attention!) plays a laid-back, onion-munching badass who arrives in town to start an onion farm. However, an oil magnate has stolen his property due to the oil under the town. But Onion won’t take crap from anybody! If you get the chance to see this overlooked film, do it. It’s not as good as the Trinity films, but Nero seems to be having fun, and he’s dubbed with a drunk James Stewart voice for some reason.
Cry Onion (“Cipolla Colt”) Release year: 1975 Country: Italy Director: Enzo G. Castellari Starring: Franco Nero, Sterling Hayden, Martin Balsam
The Concept and Representation of Villainy in Iron Man
I’ve been thinking about Marvel Cinematic Universe a lot lately (‘No!’, I hear you cry, 'We never would have guessed!’) and because my BA in English will otherwise just gather dust, I’ve decided to do a series of essays on the films. Because goodness knows I don’t write enough as it is.
The first film I will look at is Iron Man, and the representation of villainy as portrayed in the film.
Iron Man was released in 2008, by which point the USA had already been involved for several years in the second Gulf War in as many decades. Words like terrorist, weapons of mass destruction, and insurgent are now part of the American vocabulary in a way they weren’t before 2001. The Middle East has been front and centre of news reports on and off since then.
In the opening scenes of Iron Man, we are dropped into a scenario which we are expected to recognise and understand: an unnamed middle eastern country (you can tell because of the desert landscape and the random peasant with a goat by the roadside) with US military operations ongoing and armoured vehicles. And we do. This is the place where the terrorists come from, according to all the news reports, and this is where the war on terror is being fought.
Regeneration is another overlooked film from 1915. It’s an
important early gangster picture as well as a great technical achievement. While
director Raoul Walsh obviously takes a lot of nods from DW Griffith (in
particular the race to the rescue climax), his style is all his own. While the
plot is melodramatic, the naturalistic acting and real locations give
Regeneration a sense of authenticity, even grit at times. Walsh and his
collaborators don’t shy away from the nastier elements of their urban setting;
you know this is a pre-code movie when you see a guy getting ready to shoot up
in his apartment. The camera moves around quite a bit too, adding depth to the
images, and the editing is kinetic.
Stanley Kubrick’s personal copy of Stephen King’s novel, The Shining.
This well-worn book, normally housed in the Stanley Kubrick Archive in London but currently on tour in a traveling exhibition, is filled with Kubrick’s notes and comments. Many passages are highlighted, and Kubrick has filled the margins with hand-written notes that run the gamut from notating passages that inspired him, to crossing out sections he found silly.