this movie was so overlooked

The term ‘movie magic’ typically refers to the technical brilliance of bringing dinosaurs to life onscreen or how Denzel Washington can make an entire theatre of men and women pregnant with a single knowing glance. But there’s a second type of movie magic that often goes overlooked: when movies are so good, we don’t notice when their characters’ plans’ make absolutely no sense.

All the great ones do this. In 'Return of the Jedi’, all of the main characters get captured attempting to break Han Solo out of Jabba’s palace, but it’s all good because that was seemingly their plan all along? Why wait to get captured when you can just drop in, lightsabers blazing, bust your dude out of the carbonite and smoke fools in an epic prison breakout? Seems like Luke wanted to fight the Rancor all along.

There’s a whole category of these where bad guys try to weaponize monsters. From the 'Alien’ series to 'Jurassic World’, it’s just a bad idea.

Christopher Nolan is a real magician when it comes to bad movie plans. 'The Dark Knight’, 'The Dark Knight Rises’, and 'The Prestige’ all have glaring examples of movie schemes that don’t hold up under an ounce of scrutiny.

THIS WEEK: Join Jack O'Brien, Michael Swaim, and David Christopher Bell as they discuss the failing of Nolan’s villains, why 'Westworld’ makes no sense, and how the dudes in 'Jaws’ had a bigger boat the whole damn time.

23 Convoluted Movie Schemes That Need A Second Look

anonymous asked:

Not really an ask but just finished watching "Peacock" and realised I have to stop being surprised by Cillians amazing performances. What a powerhouse! All his little mannerisms (and of course jaw clenchs) as John are superb! I shouldn't have overlooked this movie for so long

Glad you got around to it. It went straight to DVD and under the radar, but what a beautiful performance by brown-eyed Cillian. Have you watched this bit of Cillian rehearsing? When he steps out of character it’s a shocker because you forget it’s Cillian, and then he suddenly reappears.

I was watching The Lion Guard earlier and they leave a really big whole in their whole, “whos in the pridelands/whos in the outlands” spiel.

Why are there no scavengers in the Pridelands???
Like yeah I know baboons and lions, but like…spotted hyenas eat bone (and are particularly less wasteful than most predators, even known to store a fresh kill in mud or water to save til the dry season), and vultures like rotten meat (certain ones wont even hunt, turkey vultures for example), wouldnt the pridelands be filled with carrion and bones from all the predators?
Like yeah lions scavenge a lot, but they cant eat rotten meat like the animals that are banished to the outlands can.
When it comes to old skin, bones and meat thats been rotting for days, what cleans it if natures disposal units arent allowed to do their jobs?

Kinda leaves a big big hole in the Circle of Life if one of the most necessary members of it arent allowed to participate.

Like I know The Lion Guard isnt really the greatest for animal facts (even though their commercials seem to pride themselves on their animal facts-aardwolves are hyenas guys-) and its a disney junior show but like, if you keep labeling hyenas as scavengers, and then dont let any scavengers scavenge, then what is keeping the pridelands from being overrun with rotting things and flies?
At least TLK1 had vultures doing their job.


Honestly, this beginning scene of Pirate’s of the Caribbean (At World’s End) is one of the scariest pieces of cinema I’ve ever seen??

These people are all being executed. Even the poor little singing boy. All because they MAY have had contact with a pirate… at some point? There isn’t really evidence of this? but lol, evidence does not matter anyway, because they have had all their legal rights stripped from them. They are not seen as human, they’re not worthy of having rights. All those rights listed (that have been taken away), are those which protect us all from wrongful imprisonment, protect those from both the law and the government from doing wrong by the people…. and they’re just taken?

By the looks of those people in line, they’re not rich. Many are not white - many are from the West Indies, which the British colonised. They’re the ‘dregs’ of society. They aren’t considered people, to those in charge. Essentially, the British are using the probability that they’re pirates, as an excuse to get rid of them. They’re being killed, because they can be. This is a genocide.

This has happened over and over, throughout history and I genuinely don’t think I’ve ever seen it be so overlooked as it was in this movie??

(Anyone else who knows more about the history of piracy, and the history of the west indies, pls add on any comments you think were missing.)

So me and my friends were discussing something on snapchat thanks to a meme there is (the pic in spanish y’all) So let’s talk about a queer icon in movies here, he/she is so overlooked for the fact that it is a character in a rather shitty movie but it is important to acknowledge this. 

Now this is Glen, he sometimes identifies as a boy (Glen) and sometimes she identifies as a girl (Glenda)

Now imma show this picture which is in spanish but like hecking google translate or something (it ain’t hard)

so yeah glen is gender fluid, but that’s not ALLL

now the real heroes here are Glen’s parents, Chucky and Brittany accepted Glen’s identity without hesitation and they accepted their child like the loving parents they are

Here’s a family picture with Glen

and in this picture glen is now GLENDA, and the support from Brittany can be easily noticed bc Glenda is wearing similar makeup to her mother, so possibly Brittany helps Glen do Glenda’s makeup and that’s just beautiful.

So basically Chucky and Brittany were already on another level of woke 

anonymous asked:

I'll never get why people are so turned off by power rangers. I mean its teens being super hero's? Am I missing something. I mean it had a good script which if we get a 2nd one a good script is a must. So I don't know much about Lionsgate but is there a chance that they would just do a direct to DVD or only make a movie for streaming vs putting it on the big screen? I am happy the DVD sales did good. It was a good movie that kind of got lost in the crowd... thanks BATB

The box office wasn’t actually bad for the movie, it just wasn’t as big as Lionsgate wanted it to be. But the strong DVD sales could show that more fans are interested in the movie after it was released in theaters so there might be more fans in theaters to watch a sequel.

But for big budget movies, companies don’t do direct to DVD. I think they could either shorten the budget for a sequel a little bit or keep it the same as the first one.

As for your first question, people are mostly turned off by reboots and most people thought this movie was gonna be a gritty reboot but it was actually a good balance of heart, fun and a bit darker than mmpr. The marketing for the movie could’ve been better too. Most people didn’t expect much with this movie so they weren’t interested in it, but they overlooked a great movie which is a shame.

And also, some people and critics are just always too harsh on Power Rangers.

Final movie for this year’s Halloween Season With Danielle: What Lies Beneath.

Originally posted by wilhelmstrytch

While more psychological thriller than straight horror, this movie really knows how to work dramatic tension to its advantage. The tension just builds and builds and builds with little to no release, which left my friends and me squirming in our theater seats. To this day, this is one of my favorite ghost movies.

Has anyone already done an Overwatch Pacific Rim au? cause if not… Morrison being the only one able to drift with Reyes and not come out broken down and crying… And Hanzo being against drifting with anyone but his brother but then drifts with Jesse and expects him to think he’s an awful person after and hate him but instead McCree is like “we all have our shit. Did you see the shit I did? I’m in no place to judge you.” like that kinda thing and and and

D.VA and Lucio being bff drift buddies and Genji still being drift compatible with his brother but Hanzo refuses to try it because he couldn’t stand it if he had to see himself killing his brother from Genji’s perspective.

And Gabe being prickly and impersonable and seems like he hates everyone but will lose his shit if Jack gets hurt and tbh he dads at Jesse and Dva in his own way, and like 90% of the time his arguments with Jack have to get resolved by seeing each others side through drifting, even if they don’t actually do anything or go anywhere, just cause he’s so bad at talking through things.

It’s been forever since I’ve watched the movie tho so there’s probably more potential here that I’m overlooking.

kidkendoll  asked:

What’re you more hyped for? Justice League or Black Panther? Thankfully we don’t have to choose in the end.

Black Panther. Don’t get me wrong, Justice League means a lot to me. But I am way more excited about Black Panther. I’ve been ready since they announced it and I remember being heated as fuck because they had to bump it back after Marvel was able to work out a deal with Sony for Spider-Man.

I’ve talked in depth before about how great Ryan Coogler is as a director and Michael B.Jordan and Chadwick Boseman are two of my favorite current actors. But what I’m really excited about is the number of Black Women that will get prominent roles with this movie. We all know about how Black Women are criminally overlooked and under represented in movies. So it’s nice to see them be featured prominently in a movie that won’t disrespect them or turn them into eye candy. So yeah, Black Panther.

Movie suggestion

If you like Disney movies and enjoyed Beauty and the Beast, you should give Strange Magic a shot.

The animation is amazing in my opinion, there is not much there from a plot standpoint but it is a fun move to watch. There are lots of cool songs in it as well. They are covers of songs, but they are wonderfully done. It is a very overlooked Disney movie, so please give it a shot

Now I have to utter a futile howl of rage and pain on behalf of that wonderful film Carol, directed by Todd Haynes, adapted from the Patricia Highsmith novel by Phyllis Nagy and with sublime performances from Cate Blanchett and Rooney Mara. How on earth has this superb movie been so overlooked by the Academy? I now hope that Carol has a kind of One Direction career: snubbed by the awards establishment, it may get an underdog bounce as everyone realises that it is better than most of the films being showered with praise.
—  Peter Bradshaw on Carol getting snubbed at the Academy Awards
Now I have to utter a futile howl of rage and pain on behalf of that wonderful film Carol, directed by Todd Haynes, adapted from the Patricia Highsmith novel by Phyllis Nagy and with sublime performances from Cate Blanchett and Rooney Mara. How on earth has this superb movie been so overlooked by the Academy? I now hope that Carol has a kind of One Direction career: snubbed by the awards establishment, it may get an underdog bounce as everyone realises that it is better than most of the films being showered with praise.

Director: Guillermo Del Toro
Cast: Tom Hiddleston, Jessica Chastain, Mia Wasikowska


In what may be an echo of one of Del Toro’s earlier works, Crimson Peak is a ghost story incarnate. The floors of an old, decrepit house literally ooze red mush from the earth underneath the foundation. The gothic architecture with its sharp edges and encroaching dread that creep their way into your mood. Candlelit hallways, dark manifestations in the basement, wisps of mist that may in fact hold something far more sinister than the air. This is a film that positively oozes atmosphere, which is one of the very fine skills in director Guillermo Del Toro’s repertoire. Let’s get this out of the way: Del Toro knows how to show a good story, those vast and foreboding sequences of terror and dread, but here with Crimson Peak, he does not know how to tell a good story.

As referenced earlier, Crimson Peak seems to be a quasi companion piece, a furlong echo, to one of Del Toro’s earlier films: The Devil’s Backbone. In Backbone, Del Toro also told a ghost story. A ghost story set in a children’s orphanage far away from civilization during the Spanish Civil War. But whereas there was a director’s sentimentality with his story in Backbone, there seems to be none of it, or barely any of it, here in Del Toro’s latest.

Mia Wasikowska plays Edith Cushing, an aspiring author who wishes to follow in the same steps as Mary Shelley, as she so eloquently declares to a group of older aristocratic women who do nothing but constantly berate and dissuade her from what otherwise, in this day and age, only be a man’s duty. Her first novel-to-be is a ghost story, handwritten, and given to publishers only for them to shun her work for she is a woman. Unsightly that a woman would write a ghost story, much less leave out a romance, so her publishers tell her. Her capitalist father oversees business investments, and his next likely investment may be to a young, English baronet seeking funding for his newly designed mining machine. Sir Thomas Sharpe is his name, and he is played rather wonderfully by Tom Hiddleston. But in the shadow of Thomas is his sister, Lady Lucille, played by Jessica Chastain in what may be the best performance of the film. There is something off putting about Lady Lucille, this aura of disquiet and alarm. The film also stars Charlie Hunnam as a doctor who has long sought the hand of Edith in what sadly is a forgettable performance and character. Hunnam can, indeed, act, but there seems to be little effort in him in his roles as of late. But it is not wholly to blame on him, much less the other players of the film. The cast is of great quality and skill with a few players being of a rather dull affair. Hiddleston and Chastain are of true skill here, and it shows.

The story is maddeningly simple and cliche. With a plot that has been seen many times before, more over in television dramas as well, and with a reveal that can be seen from miles away, Crimson Peak does not excel in storytelling from a narrative standpoint, but what it does excel at is mood, sound and atmosphere - all of the things that Del Toro does extraordinarily well.


This is a beautiful film to look at. With horror films of late retreating to incompetent tropes and direction, stories riddled with inept scares and with but a bit of creative zeal, it is a wonder to see a horror film that bleeds dread and a mood most stark. And it is no small claim to say it is of thanks to the eye and imagination of Guillermo Del Toro. His past movies include the aforementioned The Devil’s Backbone, the masterful and sublimely exquisite Pan’s Labyrinth, the Hellboy franchise, among many other of his films that revel in suspense and horror. But what makes these films stand apart from most others is in how they look and in how they are made. Del Toro loves gothic imagery, his own house is riddled with gothic and morose designs, figurines and sculptures. His love for the macabre is increasingly evident and it seeps through into his movies creating a layer of anxiety and strain. What also is unique about his work is in his makeup and creature design. Pan’s Labyrinth had the pale and deathly skinny man who hungers for the flesh of children, not to mention the titular fawn. The Hellboy franchise depicted a wonderfully grotesque angel of death. His feature film debut, Cronos, showed his early ventures into this realm depicting vampires most deadly. In short, Crimson Peak carries on the imagery that we come to expect from Del Toro. He is a man known for his set and creature design, and most definitely goes unnoticed over the years. 

The ghost themselves are, indeed, people in makeup and prosthetics, albeit enhanced by computer imagery. It seems there has been a lot of criticism with Del Toro’s use of computer imagery when creating the ghosts of Crimson Peak, but fret not, forlorn fans, for these are most certainly real ghosts. Never once does it seem this is a misstep in direction for Del Toro, as some may see it as, but is does not seem a such, and should not be seen as such. 

There is a wonderful, teeth-grinding moment in the film when Jessica Chastain’s character is spoon feeding Mia Wasikowska’s character porridge from a bowl. Chastain scoops up a bit of porridge then drags the spoon’s underside slowly against the edge of the bowl’s lip, removing any excess that may otherwise plop off. It creates this awful screeching sound. Something so small, and perhaps something that may not have been given attention to in any other film of this kind, is given so much thought into it. This screeching of the metal spoon against the bowl. Does it hold an unseen malevolence just as much as the house itself?

Which brings me to the wonderful set design and costume design. As said before, Del Toro knows not only how to produce great creatures and grim atmosphere, he also knows how to produce amazing sets and costumes. I do not often think of the costume design in movies. A mostly overlooked affair, perhaps so in the eyes of other film enthusiasts, but here they are wonderful and maybe a character unto themselves, extending to the ghastly veils and dress of the ghosts themselves. And whereas the costumes are great, so too is the sets themselves, particularly the titular mansion itself. 

A lone mansion in a lone field, the countryside sapped and dried from the oncoming winter. A large mansion whose roof is open to the elements, letting down snow and flaky debris all the way down through the main foyer. The hallways lined with spiked archways. The floor and the walls cracking in response to the wind, the foundation settling. It is simply awe inspiring just how effective the surroundings of the film are. 


With the look of dark and dreary architecture, and the creak and moans of a large estate, Crimson Peak almost surpasses the mundane plot solely on how the film looks and sounds. But it regrettably does not. This is not necessarily a ‘scary’ movie, but it reeks of the very creepy and atmospheric, something director Guillermo Del Toro knows all too well how to depict. This is one of those films that has a lot of style with little substance, and it’s hard to see when so much of Del Toro’s past work have that narrative creativity, but sadly, there’s little of that here in his latest work with Crimson Peak.


Writing - 3.5

Riddled with cliche, the plot is paper thin and often seen in many other television shows and films.

Directing - 8

Del Toro is wonderful as always in the look of a film, but doesn’t give as much thought to the story as he does to the imagery and sound.

Acting - 5

The only real great talent is shown from Chastain and Hiddleston. The others are either standard or forgettable.

Cinematography - 9

This is where the film truly shines. It’s been said time and again, but that mood and eeriness is greatly assisted by the camera work.

Production Design - 9.5

Simply astounding.

Score - 6

I can’t say it was either memorable or effective, but it did the job sufficiently.

Editing - 6.5

Perhaps this is where the film could have used some work, especially in the first act.

Effects - 9

Great ghost designs (makeup and prosthetics). With the helping hand of computer imaging adding that extra layer of the surreal and ghostly.

Costumes - 8

One of merit and mention. Designer Kate Hawley does great work here.

Personal Score: 6

Although the film is a technical marvel, it can’t be overlooked that the story is routine.


Why is this movie so fucking overlooked?

I mean, apart from being funny, having a great story and a brilliant message, look at the cast:

Christina Ricci

James McAvoy

Richard E. Grant

Catherine O'Hara

Peter Dinklage

Reese Witherspoon

Nick Frost

Russel Brand


Burn fucking Gorman

If you haven’t seen this film yet, then why the hell not?

Oh, and it’s on Netflix, so you’re all out of excuses.

bucky/sebastian is so underrated in all three cap movies like i can kind of see why he wasn’t talked about that much in tfa but even in tws and cw he’s barely been talked about in reviews and it really upsets me because i think bucky is much more of a silent guy and his actions sort of rely on how sebastian moves himself and his expressions and it’s almost silent in a way and it’s easy for mainstream reviewers and critics to overlook him, especially in a movie with so many big name actors and characters like in cw. but i wish more people recognized that not everyone can put on a mask that covers 90% of your face and still look menacing and scary and still act the way seb did. i just think sebastian plays bucky so well but because his acting is in more subtle moments, in more of how he moves and directs himself and not necessarily with the dialogue or these big emotional speeches, it gets overlooked and i wish that didn’t happen i wish that more people recognized that acting with subtleness and using more of your body language than actual words can have just as much of an impact as big emotional breakdown dramatic scenes and that sometimes it can be even harder because you don’t have as much dialogue to work with.

TLDR; sebastian stan’s performance is seriously overlooked and under appreciated in the mcu and it makes me sad

To the Moon and Back (A Joshifer One Shot)

A/N: Before we dive in, I wanted to say a few things.

I’ve had three or four drabbles sitting on my computer for a while, and this one just kind of demanded that I write it. I needed a break from the endless fluff-angst-smut circle I’ve been running in, and this definitely helped to get me out of my rut to some degree. I didn’t edit it much, it’s pretty raw and a little choppy, but I decided to leave it like that since it fit the topic of the story.

This one shot does deal with some very real topics. It’s not particularly graphic but like I said, it is raw. I don’t want to spoil things just yet, but it becomes obvious what it’s about within the first few paragraphs, so I’ll leave it up to you to decide whether or not you continue on.


My wife is running in the distance.

Her long blonde hair trails behind her as she chases after our two year old daughter Kendra. She picks the girl up and nestles her into her shoulder, then looks over to see me filming the two of them. She smiles and waves, then says something to Kendra and points in my direction, prompting the girl to do the same. Jennifer comes over and says something to me, although I’m never sure what she’s trying to tell me. Probably something simple like “We should go soon,” or “Did you see her just now?” Sometimes it sounds like “I love you”. I don’t know though. I’m too focused on her face, her smile, her hair. Then the video ends and I’m faced with the choice of rewinding it or leaving the past in the past again.

Keep reading

ioujimfromit-deactivated2016123  asked:

What was your favorite scene in bvs

omg this is tough. thank you so much for asking, though!

i think it’s gotta be a tie between the GORGEOUS opening sequence and the gala scene. this is going to be a bit long, so bear with me. (minor bvs spoilers ahead!)

the opening sequence: i’m a little sad it’s overlaid with the opening credits because that means gifs are going to be weird. ANYWAY, moving on to my thoughts on the scene – say what you want about zack snyder’s directorial skills and choices but good lord, does this man have an eye for cinematography. i have to give a shoutout to the actual DP, as well, because this really comes down to him, and his name is larry fong. he’s worked on basically all of zack’s projects – no surprise there, almost all directors have a favorite DP they drag around with them – and other films like super 8, from steven spielberg and our good friend j.j. abrams.

we’ve been thomas and martha wayne die what feels like a thousand times before, but never in such a tragically beautiful and downright symbolic way. when i talk about bvs watching as if one was reading a comic and i mention each shot feeling like a panel, this scene is really the one i’ve got in mind. the one shot in particular of the gun catching on martha’s pearl necklace, which snaps in slow-mo when the gun kicks? as a film student i was literally drooling. unfortunately i can’t remember who, but someone also pointed out that there is a strong focus on martha in this scene – which comes into play later on, and those who have seen the movie know why – which is beautiful because she is so often overlooked (i’m looking at you, nolan), even in the comics.

then, of course, there’s those shots of baby!bruce running through the forest; including one where he falls, and as he gets backs up to keep running, the shot seamlessly turns upside down. it’s intentionally disorientating, and i love it. this is really our first clue that this scene isn’t just what it looks like. the first time i saw the movie, bruce levitating just about gave me a heart attack, but then the VO came in and assured me it was just a dream. i think everyone’s collective sigh of relief could be heard from across the pacific ocean, tbh.

the gala scene: this scene i love for character reasons. we’re effectively introduced to bruce’s public persona, we see more of lex on the verge of complete, uncontrollable madness, clark has a real superman moment, and then of course we meet diana, owner of my heart and soul.

i’ll start with lex – i know jesse eisenberg’s performance has been incredibly divisive, but i enjoyed it immensely. there’s no denying that this is the kind of character that he plays well, and i’m sure that’s why he was cast in the first place. this lex luthor is NOT the lex luthor from the comics of today. he’s more of a modern interpretation of golden age lex – a red-haired mad scientist type. he gets up on stage and starts off somewhat charismatically – “big speech, blah blah, open bar, enjoy!” but then when he attempts to actually speak at length, he rambles about having knowledge but no power and the greek gods and then loses his train of thought. i feel like this draws an unavoidable parallel to bruce, in a way – lex, too, has a public persona that conceals the true mastermind beneath; but unlike bruce, he is so far gone that his facade has begun to crack and crumble, hence the all-over-the-place speech.

clark is playing reporter – i’m still not sure whether i think he just genuinely didn’t know who bruce was or if he was acting ignorant to try to get more information – and overhears alfred on bruce’s comms, because super-hearing. (i laughed out loud at this. bruce is in so far over his head and he doesn’t even realize it.) we get that beautiful bruce/clark interaction, and then when clark follows bruce downstairs to find out just what the fuck this dude is up to, he catches the news and sees that one girl – just one girl – is in danger in an entirely different country, and we see him loosen his tie. i adored this moment. i would’ve loved to be able to see more of clark being the superman we know and love; saving people, like he did in the prequel comic and the brief montage we got while everyone and their mother was discussing what to do about the kryptonian elephant in the room.

this is the first we see of diana, and she immediately catches bruce’s attention (and mine). clearly she has a unique presence, because bruce is an observant motherfucker (despite the super-hearing oversight, lmao). she rolls her eyes when lex talks about the gods and then proceeds to steal from bruce fucking wayne. then she bounces, after a smug glance over her shoulder that obliterated me. diana of themyscira, everyone.

now bruce. god, i love this scene for bruce. his public persona is entertaining as all hell – “the wayne foundation has already issued a statement in support of, uh, books” – and we get to see that in this universe, bruce is tired of keeping up appearances. this was not his first option. his first option was grab the suit and break in. but alfred, god bless him, wants bruce to play nice, and so play nice he does – as bitterly as the man possibly can. he makes snide remarks about being distracted by pretty girls and then literally tells clark not to quote him on that. he spits one of the most savage burns i’ve heard in a movie in a long time when he compares supes to the joker and pretends not to know whether he owns the daily planet. ya boy does not give a FUCK.

my favorite moment, though, is just after bruce sets up the drive that copies all of lex’s data. mercy pops in to ask him what the ever-loving fuck he’s doing down there, and he says he thought this was where the bathroom was, and that he “must’ve had one too many martinis.” as mercy turns to leave, he calls, “love those shoes!” and then immediately his face falls. i can’t even explain the expression that ben affleck pulls off, really, besides to say that it’s a bitchface of epic proportions. bruce wayne is a mask that he’s tired of wearing, and he’s almost getting reckless with it – almost, but not quite.

i don’t know if you expected such a drawn-out answer, but there you have it, haha.