#2022 movies

[pixiexdusts-world]

Incorrect quote

Rotxo: Who else is hiding in the laundry room trying to listen to Ao’nung and Lo’ak’s conversation?

Neteyam: Me. I’m in the laundry basket.

Tsireya: I’m in the washing machine.

Y/n: I’m in the closet.

Neteyam: We accept you Y/n. <3

Y/n: No. I’m literally in the closet.

Neteyam: Love is love. <3

[zombieparasites]

The Batman (2022)

Psychoanalyzation of Batman and the Riddler

This movie is about the corrupt officials running the crime ridden city of Gotham. Batman is trying to uncover it all, as the Riddler brings everything into public attention. He wants to show the truth of the lying, murder, and corruption that is behind public officials in their city. He wants them to pay for their sins, as he says. Batman wants to protect the city from crime, be a figure to scare it away–he stands for justice. They both want to stand for justice, unmasking the truth, and bringing vengeance–something good. They do this through secret identities, personas, scare tactics, violence, and in the riddlers case murder. In that way, Batman and the riddler both represent something so similar yet slightly different.

Bruce Wayne – a millionaire's son, parents murdered on the street, and from a young age was forced to take on the responsibility of being a Wayne. Carrying a family legacy, being part of the big public eye, businesses, etc. When he took on the role of being Batman, it was a subconscious comfort for him. Something more therapeutic than realized. It became his main identity, his life. “Two years of nights have turned me into a nocturnal animal,” he says.

Bruce Wayne is secluded, wasn’t seen often. Growing up in such a dark place, no father, no mother, no support other than money–you’re bound to be this depressive figure. It’s an interesting depiction of depression, the loss of motivation to work, to follow those forced schedules that only drain you. Like Alfred tells him, “you have to keep up appearances, you’re still a Wayne.” Depression isn’t noticed in someone like this. Growing up with so much fear, in a city like this, he developed a complex. This conversation he has with Alfred, about the Wayne family legacy and what he’s doing; “I don’t care about that. Any of that,” he says.

“You don’t care about your family’s legacy?”

“What I'm doing is my family's legacy. If I can't change things here, if I can't have an effect, then I don’t care what happens to me.” He’s enraptured in his life as Batman, but he believes it’s what is needed. His family were public officials, trying to change the city for the better–that’s what he wants as well. It’s a cycle; Losing his parents at a young age → becoming an orphan, not having a healthy childhood with key protections → learning to fight fear on his own → protecting other people from danger to feel complete → still afraid, but subconsciously unaware and trying to fight it with public vigilance and inflicting fear. “Fear is a tool.”

The riddler has a better read on Batman then is really noted by Batman’s actual character. Perhaps he did know these things, just suppressed it, or perhaps it was all subconscious. Both the Riddler and Batman grew up as orphans. The difference is one was poor, and one was very privileged. The similarities they carried sparked the Riddlers' interest in him. He said that he was inspired by Batman; “you showed me all it takes is fear and a little focused violence–you inspired me.” Batman tries to avoid the realization his actions of trying to make things better inspired terrorism and the birth of a criminal who destroyed the city, it angers him. But eventually, he realizes what he needed to do differently. It only took the near death of a father-figure, falling in love then losing that love, a demolished city, and a few crazy criminals to make him say, “vengeance won’t change the past.”

Unlike Batman, the Riddler is actually aware of the similarities in their psyche, and believes they are almost the same. “Your mask is amazing. I wish you could of seen me in mine. Ain’t it funny? All everyone wants to do is unmask you, but they’re missing the point. You and I both know I’m looking at the real you right now.” He believes that he can read him, connect to them on a level of their actions and trauma. He sees the similarity between them. Batman, on the other hand, refuses to see it that way. He recognizes that yes, they were both orphans, both grew up in a melancholic, crime ridden city, and developed trauma because they were never properly taken care of. Alongside that, the truth of his fathers death being revealed is also making him come to his own reality. But if he has to face that reality, that everything he has devoted his life, his coping to for the past 2 years was pretty much a huge infringement, he has to reevaluate everything he was afraid of.

Edward Nashton, the Riddler, is a character shaped by systemic neglect and the corruption of Gotham City. Unlike Batman, whose trauma stems from the privileged position of a very wealthy orphan, the riddler represents the unseen stuffing masses of people of Gotham. He verbalates this anger and disparity with his very emotionally charged monologues:

“Do you know what being an orphan is? It's thirty kids to a room, twelve year olds and already a drophead, numbing the pain. You wake up screaming with rats chewing your fingers, and every winter one of the babies dies because it's so cold. But, oh no! Let's talk about the billionaire with the lying, dead daddy because at least money makes it go down easy, doesn't it? Bruce Wayne.”

The Riddler discreetly confronts the hypocrisy of Gotham's social and societal hierarchy. His hatred towards Bruce Wayne is just personal jealousy—it's ideological. He sees Bruce Wanye as a symbol of the privileged elite who willingly remain ignorant to the suffering of those less fortunate than others. Unlike Batman, the Riddler has no moral code to limit his actions. His belief in vengeance is absolute which leads him to enact what he sees as justice through sadistic and almost theatrical murders. The quote, “It can be cruel, poetic, or blind. But when it is denied, it's your violence you may find.” really encapsulates his perspective that justice is an obligation and when it's absent, chaos and discretion are the only recourse.

Despite their big ideological differences, the Riddler and Batman share a lot of disturbing similarities: they are both productions of Gothams’ corruption, both operate in the shadows, and both seek to expose the city's darkest and most corrupt secrets. The Riddler takes Batman's methods to an extreme, demonstrating how close the line between villain and hero can be. One of the most chilling moments in the film is when the Riddler expresses admiration for Batman, claiming he was inspired by him: “You showed me what was possible. You showed me all it takes is fear and a little focused violence. You inspired me!” This statement forces Batman to confront the possible consequences of his actions. His presence in Gotham, meant to be a force of good and a beacon of hope, has bred figures such as the Riddler, who takes his ideology and distorts it into something more sinister.

While Batman is known to only work alone, he does surround himself with allies but he keeps them at arm's length, while the Riddler is defined by his isolation. He is a man who has spent his whole life feeling invisible, his pain is ignored by the very system he tries to dismantle. His belief in his cause is so strong that he assumes Batman will join him in his big plan and mission, further emphasizing his detachment of reality and his furtherment into delusion. In his final monologue he says: “Oh, if only you knew how long I've been waiting for this day, for this moment. I've been inisale my whole life. I guess I Won't be anymore, will I? They remember me now. They'll remember both of us.” This moment really cements the Riddler as a tragic figure. His entire life has been consumed by the needs for recognition, and in his mind, his grand plan has finally achieved that. He doesn't want to be remembered—he wants to be understood.

The Riddler serves as a reminder of gothams failures. Where Batman chooses to fight against corruption while adhering to a strict moral code, the Riddler embraces the city's darkness. He forces both Batman and the audience to confront the uncomfortable truths about systemic inequality. In the end, the Riddler stands alone, not because of his lack of purpose, but because his means of achieving justice are too extreme even for Gothams dark savior.

By the end of the movie Batman won the battle, but the Riddlers message still stands—justice in Gotham is not just about vengeance; it's about understanding who is allowed to suffer and why

Notes - This is our first essay we have written together!! Half was written by me (scout) and half was written by maddie. We love watching these movies and digging deeper into the characters and plot. If you have any recommendations—please share! - S+M

[illiana-mystery]

Throwback Thursday: Dead for a Dollar (2022)

[hug-kiss-marry-kill]

[filmlogz]

Aftersun - 2022

[cloudtinn]

Close (2022), dir. Lukas Dhont.

[cressida-jayoungr]

One Dress a Day Challenge

November: Oscar winners

Wakanda Forever / Angela Bassett as Queen Ramonda

Year: 2022

Designer: Ruth E. Carter

After the success of Black Panther in 2018, Ruth E. Carter and Angela Bassett both continued to knock it out of the park with Queen Ramonda's costumes in Wakanda Forever. The queen wears this two-toned purple velvet gown to address the UN in the opening sequence. As with many other onscreen purple dresses, it looks considerably deeper in color in the movie than when seen offscreen. According to Ms. Carter, it took four to six months to create.

As in the first film, a 3-D printer was used to create the collar and crown. I found out the crown is modeled on a style of headdress worn by Zulu married women, called an isicholo.

[pixiexdusts-world]

Incorrect Quote

Neteyam: Did you just refer to a knife as a “people-opener”?

Y/n:

Y/n: …Should I not have?

[daisyfilmm]

maxxxine headers

[illiana-mystery]

The Sexy Outlaw

[astolfocinema]

Three Thousands Years of Longing (2022) ----------------------------------------------- dir. George Miller cin. John Seale cs. USA, Australia

[honkelsie]

i love a good weird romance, freak for freak if you will

[cloudtinn]

Skinamarink (2022), dir. Kyle Edward Ball.

[389]

Triangle of Sadness (2022), Ruben Östlund

[tinyreviews]

Tiny Review: My Father's Dragon 2022. My Father's Gaten Matarazzo.

Fans of Gaten Matarazzo should not miss this one. Even if it's a kids show. His scenes are comedic as heck.

The simple conflicts and complications, artstyle and characters, actually would make this a good sidescrolling story-based game.

Oh! I didn't realise this is from the same producers of The Secret of Kells, Song of the Sea, and Wolf Walkers, until just before uploading this post 😂

My Father's Dragon is a 2022 animated fantasy adventure comedy film directed by Nora Twomey with a screenplay by Meg LeFauve who co-wrote the story with John Morgan. It is based on the 1948 children's novel of the same name by Ruth Stiles Gannett.  

It stars the voices of Jacob Tremblay, Gaten Matarazzo, Golshifteh Farahani, Dianne Wiest, Rita Moreno, Chris O'Dowd, Judy Greer, Alan Cumming, Yara Shahidi, Jackie Earle Haley, Whoopi Goldberg, and Ian McShane.

[adamwatchesmovies]

The Bad Guys (2022)

The Bad Guys falls just short of being an evergreen, newly-minted animated classic. The visuals are dynamic, the characters memorable, there are plenty of big laughs, the voice acting is terrific and the dialogue is a joy to listen to. It becomes a bit conventional towards the end but that’s hardly a deal-breaker; more of a demonstration of how good the rest of the movie is.

In a world where humans and anthropomorphic animals co-exist, Mr. Wolf (voiced by Sam Rockwell) is the head of "The Bad Guys". With Mr. Snake (Marc Maron), Mr. Shark (Craig Robinson), Mr. Piranha (Anthony Ramos) and Ms. Tarantula (Awkwafina), there’s nothing they can’t steal and no situation they can’t escape from. When their luck finally runs out, Wolf convinces state governor Diane Foxington (Zazie Beetz) and Police Chief Misty Luggins (Alex Borstein) they can change their ways.

From the opening scene, you know this movie will be something special. We begin with Mr. Snake and Mr. Wolf talking in a diner and their dialogue feels like a deleted scene from Pulp Fiction. From there, we meet the delightfully nasty crew. Well, I say nasty, but they’re more mischievous than “bad”. Or maybe it’s just that the characters are so charming you give them all a pass. I’m sure guinea pigs would have a very different opinion of Mr. Snake than me, for example. That brings us to an aspect of this world that’s a lot of fun: the loose “rules”. In films like Zootopia or Cars, the societies have clearly been hammered out by the development team but a part of you still wonders about food, cattle, the world’s history, etc. In The Bad Guys, there are anthropomorphic animals and “real” animals, both Mr. Shark and Mr. Piranha can breathe air and few aspects of day-to-day life are sized for Ms. Tarantula. It's like "Rules? What rules?" but the story is too funny for you to stop and think about any of that. Mr. Shark, for instance, is a master of disguise but he’s clearly terrible at it - being, you know, a big shark walking around on two legs. Somehow, he still manages to fool everyone, despite always choosing the most outlandish disguises and ridiculous characters to portray. It makes no sense, but it makes for all sorts of surprises, each funnier than the last. You can just tell everyone involved in this film had a great time thinking of visual gags and little moments that would flesh out the characters. Some are more developed than others but all of the villains feel integral to their team.

Visually, The Bad Guys has a lot to offer. The animation is sort of a blend between traditional 2D and the more recent, more experimental style we saw in Spider-Man: Across the Spider-Verse, with the action scenes being the stand-outs. Mr. Wolf is the leader, the dedicated pickpocket and the getaway driver. There are at least three big chase scenes with so many pieces moving you can hardly keep track of them all. None of the action is actually disorienting; it just distracts you enough for you to be surprised by the punchlines.

Following the Bad Guys as they come up with plans, execute them, improvise on the fly when things don’t go right, show off their charms (you can sense there’s a bit of a something-something about to go on between Mr. Wolf and Diane Foxington), and prove why they’ve never been caught before is so much fun it’s a shame the movie eventually has to follow a more standard plot. I’m not complaining that they eventually get caught, or that they have to pretend to be good to fool Professor Marmalade (Richard Ayoade). All that’s enjoyable, particularly the scenes where the thieves have to fight their animal instincts to make their ruse convincing. My criticism for The Bad Guys, my only criticism, really, is that eventually, we have to have a big, epic conclusion with a bigger, meaner villain than the villains we’ve been following this whole time. I wish the film had taken a few more cues from Ocean’s Eleven and just had them wipe the smug look off of someone’s face than use their very particular set of skills to essentially turn into conventional heroes. It’s a small gripe. Ultimately, this is a delightful picture. Fast-paced, smartly written and most importantly, hilarious.

The Bad Guys is an animated film the whole family can enjoy. Adults, in particular, will laugh hard at the way the film takes inspiration from movies children would normally have no interest in (and shouldn’t watch anyway) and makes them fit in this world of talking animals. Kids will have a blast too. If this gets a sequel (the mid-credit scene hints at more to come) and the writers decide to take a few more chances, I could see myself giving it an even better score than the 4/5 I’m awarding The Bad Guys. (July 25, 2023)