#Antoine McQueen

[whump-queen]

Seven Series faceclaims!

Series masterlist

Seven

A domestic servant owned by the McQueen family, acquired from a private training facility. Age: Early-Mid 20’s

Kiarra

Kiarra McQueen: Antoine’s second wife; moves to the estate after Antoine & Isabel’s divorce. Loves to torment the household's pretty servant boy <3

Wes

Weston (Wes) McQueen: Son of Antoine and Isabel McQueen. mid 20’s. Horrible terrible evil gay fuckboy.

Antoine

Antoine McQueen: Head of the McQueen household, Seven’s owner. Age: mid-late 50’s

more characters will be introduced in later chapters so i’ll update this when that happens!

but also if you’re the type of person to prefer to imagine your own versions of them go for it! this is just how they look in my head >.<

*pics are from pintrest dm for links

[guy60660]

Alexander McQueen | Antoine Seiter

[mylifeincinema]

My Week(s) in Reviews: December 17, 2023

I have a Christmas party I have to get ready for, so I'm gonna keep these short.

Godzilla Minus One (Takashi Yamazaki, 2023)

Wow. I really could just leave it at that. I don't think I've seen a Godzilla movie that nails both the human aspect and the monster mayhem quite as deftly as this one. It's an exciting and emotionally rich piece of monster cinema, and very well could be one of the very best films of the year. - 8.5/10

The Holdovers (Alexander Payne, 2023)

Genuinely hilarious and sneakily heartfelt. The tender moments play out so naturally that they pack an emotional wallop, then the brilliant Paul Giamatti or Da'Vine Joy Randolph lets out a perfectly delivered line that'll absolutely floor you. And I just love the look of it, every single piece of this film looks and feels like it's straight out of the '70s. So good. This might be my favorite Payne? - 9/10

May December (Todd Haynes, 2023)

The three stellar central performances drive this weird film about the line between fact and fiction, about the areas of grey in the fact that are stranger than fiction. Portman nails the impossible to read actress, Melton wows with his stunted victim-turned-father-turned-husband, and Moore is sneakily fantastic as the woman who has them both wrapped around her manipulatively disturbed finger. Haynes nails the tone, here. - 8/10

Eileen (William Oldroyd, 2023)

Thomasin McKenzie is wonderful, embodies the titular Eileen wholly, making every movement and decision feel completely organic. She's the reason the beats of the final scenes work despite the underwritten screenplay. Anne Hathaway is absolutely fascinating, here, just magnetic and dangerous and one step ahead of all of us. I wanted more of her, so bad. It's also a great looking film. Oldroyd fills these scenes so effectively, keeping us on our toes along the way. But still, something was missing. I blame that underwritten screenplay. Some authors shouldn't adapt themselves. - 7.5/10

The Equalizer 3 (Antoine Fuqua, 2023)

It's okay. When Denzel kicks as, he kicks ass. But there's not a lot going on, here, and what is here feels incredibly anti-climactic. Everything that happens in this movie kinda just happens. Whatever. - 4/10

Blue Beetle (Angel Manuel Soto, 2023)

I remember exactly 1% of this movie. Well, fine, 1% in addition to whatever percentage George Lopez's character adds up to, because holy shit that was an awful, annoying, unnecessarily over-the-top 'performance'. Yikes. - 2/10

Le Mans (Lee H. Katzin, 1971)

Some egos shouldn't be stroked without question, and McQueen's was clearly a major one. This whole movie was just an attempt to get him to race Le Mans. I thought I'd seen this movie, but I think I only ever actually saw the doc about the making of this movie. The racing footage is great, but everything else is either a total mess or a total bore. Except the music... that's pretty great, too. - 4/10

Enjoy!

-Timothy Patrick Boyer.

[modorama]

fashion |  DES CHEVEUX ET DES POILS at MAD Paris

   Following the success of the exhibitions La mécanique des dessous (2013), Tenue correcte exigée ! (2017) and Marche et démarche (2019), the Musée des Arts Décoratifs continues its exploration of the relationship between the body and fashion with an exhibition on hair styles and body hair grooming. Des cheveux et des poils (Hair & Hairs) exhibition, which runs from April 5 to September 17, 2023, demonstrates how hairstyles and the grooming of human hair have contributed to the construction of appearances for centuries. Hair is an essential aspect of one’s identity and has often been used as a means of expressing our adherence to a fashion, a conviction, or a protest while invoking much deeper meanings such as femininity, virility, and negligence, to name just a few.

The exhibition explores through 600 works, from the 15th century to nowadays, the themes inherent in the history of hairstyles, but also the questions related to facial and bodily hair. The trades and skills of yesterday and today are highlighted with their iconic figures: Léonard Autier (favorite hairdresser of Marie- Antoinette), Monsieur Antoine, the Carita sisters, Alexandre de Paris, and more recently studio hairdressers. Great names in contemporary fashion such as Alexander McQueen, Martin Margiela, or Josephus Thimister are present with their spectacular creations made from this unique material that is hair.

The exhibition is presented in the Christine & Stephen A. Schwarzman’s fashion galleries of the Musée des Arts Décoratifs. The scenography will be created by David Lebreton of the Designers Unit agency.

In an atmosphere where shades of blond, brown and red evoke the main hair colors, the course, divided into five themes, questions what makes hair, in Greek- Roman and Judeo-Christian cultures, an attribute of the animal and wildness and explains why hair had to be constantly tamed to remove the woman or man from the beast.

FASHION AND EXTRAVAGANCE

The first part of the exhibition opens with the study of the evolution of feminine hairstyles, a real social indicator and marker of identity. In the Middle Ages, obeying the command of Saint Paul, the wearing of the veil imposes itself on women until the 15th century. Gradually, they abandon it in favor of extravagant hairstyles that are constantly renewed. In the 17th century, the hairstyle “to the Hurluberlu” (dear to Madame de Sévigné) and “to the Fontange” (after the name of Louis XIV’s mistress) are emblematic of real fashion phenomena.

Around 1770, the high hairstyles known as Poufs are undoubtedly the most extraordinary of Western hair modes. Finally, in the 19th century, women’s hairstyles − whether inspired by ancient Greece, or known as “the giraffe,” in curls or “the Pompadour” − are just as convoluted.

TO BEARD OR NOT TO BEARD

After the hairless faces of the Middle Ages, a turning point occurred around 1520 with the appearance of the beard, symbol of courage and strength. In the early 16th century, the three great Western monarchs: Francis I, Henry VIII, and Charles V were young and wore beards, which were then associated with the virile and warrior spirit. From the 1630s until the end of the 18th century, the hairless face and the wig were the hallmarks of courtiers. Facial hair did not reappear until the early 19th century with the mustache, sideburns, and beard: this century was by far the hairiest in the history of men’s fashion. A multitude of small objects used (mustache wax, brushes, curling irons, wax, etc.) testify to this enthusiasm for mustaches and beards.

During the 20th century, the rhythm of bearded, mustached, and smooth faces continued, until the return of the beard among Hipsters in the late 1990s. The maintenance of hairiness among these young urbanites has given rise to the profession of barber, which had disappeared since the 1950s. Today, the thick beards tend to give way to the mustache that had deserted faces since the 1970s.

The choice of keeping, eliminating, hiding, or displaying hair on other parts of the body is also a subject of history that the exhibition addresses through the representation of nude bodies in visual arts and written testimonials. Hairiness is rare, or even absent from ancient painting. The hairless body is synonymous with the antique and idealized body, while the hairy body is associated with virility, or even triviality. Only enthusiasts of virile sports such as boxing and rugby, as well as erotic illustrations or medical engravings, show individuals covered in hair.

Around 1910-1920, when women’s bodies were exposed, advertisements in magazines touted the benefits of hair removal creams and more efficient razors to eliminate them.

In 1972, actor Burt Reynolds posed naked, hairy body for Cosmopolitan magazine, but fifty years later, an abundance of hair is no longer in fashion. Since 2001, sportsmen being photographed naked for calendars like Les dieux du stade (The Gods of the Stadium) have had rigorously controlled hairiness.

BETWEEN TRUE AND FALSE

Hair styling is an intimate act. Moreover, a well-born lady could not show herself in public with her hair down. A painting by Franz-Xaver Winterhalter, dated 1864, depicting Empress Sissi in a robe and with her hair untied, was strictly reserved for Franz Joseph’s private cabinet. Louis XIV, who became bald at a very young age, adopted the so-called “bright hair” wig, which he then imposed on the court.

In the 20th century, Andy Warhol had the same misfortune: the wig he wore to hide his baldness became an icon of the artist. Nowadays, hairpieces and wigs are used in high fashion, during fashion shows or, of course, to compensate for hair loss.

The natural hair colors and their symbolism are studied along with what they convey. Blonde is said to be the color of women and childhood. Red hair is attributed to sultry women, witches and some famous stage women. As for black hair, it would betray the temperament of brown and brunettes. From the experimental colorations of the 19th century to the more certain dyes from the 1920s: artificial colors are not forgotten. The work of the hairdresser Alexis Ferrer who makes digital prints on real hair is also presented.

TRADES AND SKILLS

The exhibition reveals the different hair professions: barbers, barber-surgeons, hair stylists, wigmakers, ladies’ hairdressers, etc., through archival documents and a host of small objects: signs, tools, various products, and the astonishing perming machines and dryers of the 1920s.

In 1945, the creation of haute coiffure elevated the profession to the rank of an artistic discipline and a French savoir-faire. 20th century hairdressing is marked by Guillaume, Antoine, Rosy and Maria Carita, Alexandre de Paris styling princesses and celebrities. Nowadays, great hairstyling is mainly expressed during the fashion shows of prestigious fashion houses. Sam McKnight, Nicolas Jurnjack and Charlie Le Mindu were invited to the exhibition to create extraordinary hairstyles for top models and show business personalities.

A HAIRY CENTURY

Finally, a special focus will allow us to evoke the iconic hairstyles of the 20th and 21st centuries: the 1900 chignon, the 1920s garçonne haircut, the 1930s permed and notched hair, the 1960s pixie and sauerkraut, the 1970s long hair, the 1980s voluminous hairstyles, the 1990s gradations and blond streaks, not to mention afro-textured hair.

The arrangement of hair in a particular form can reveal the belonging to a group and manifest a political and cultural expression in opposition to society and the established order. More ideological than aesthetic, the Iroquois crest of the punks, the neglected hair of the grunges or the shaved heads of the skinheads are strong moments of hair creativities.

Wearing the hair of another, known or unknown, has an eerie dimension, and this superstition seems well-entrenched. Despite these apprehensions, some creators choose to transcend this familiar material into fashion objects. This is the case of contemporary designers such as Martin Margiela, Josephus Thimister and Jeanne Vicerial. The question of identity, treated lightly or more deeply, is often at the heart of the reasoning, whether the hair is real or fake.

The Musée des Arts Décoratifs has benefited from exceptional loans from the Château de Versailles, the Musée des Beaux-Arts d’Orléans, the Musée du Louvre and the Musée d’Orsay. till 17 sept. 2023 madparis.fr Andrei S.

[lighthousekeepers-burner-blog]

In lieu of the times, I wanted to shine a light on some of the films/shows I love made by black creators. Doing so, I learned how deceptively scarce their presence is as lead creators (so many of the movies I love and associate with black culture are in fact directed by white people, I’m thinking Last Black Man in San Francisco, Waves, Hustle & Flow, Half-Nelson). It’s really been a select few ‘superstar’ black filmmakers that have dominated the field particularly of black cinema, giving the illusion of at least some breadth of talent allowed to shine. I hope this changes, I hope more opportunities are afforded. In selecting these ten, I tried to steer away from the more obvious within a director’s oeuvre, while still highlighting movies I truly love. So of course Moonlight, 12 Years a Slave, Do the Right Thing (if you haven’t seen these films please, please, please see them, they are each masterpieces). Additionally want to highlight two documentary series, Spike Lee’s When the Levees Broke (up there with Dont Look Back as all-time fave doc) and Ezra Edelman’s O.J.: Made in America. If there wasn’t an image limit they would be properly included. Perhaps two of the most important films relating to the George Floyd protests of recent days, both in seeing the culture of discrimination and lacklustre government response to crisis. Both on HBO.

In order of images:

Barry Jenkins (If Beale Street Could Talk)

Antoine Fuqua (Training Day)

Richard Ayoade (Submarine)

Spike Lee (Crooklyn)

Donald Glover (Atlanta) - on F/X

Ana DuVernay (13th) - on Netflix

Denzel Washington (Fences)

Dee Rees (Mudbound) - on Netflix

Steve McQueen (Hunger)

Charles Burnett (Killer of Sheep)

[maskedinstructor]

Black Education in America- The Storytellers

Total Enjoyment!!!

I was just wondering ...” Are you enjoying television as much as I am?”. The most exciting, daring and creative storytellers have appeared on the scene. This time, reminds me of those boisterous and crazy days when I was a teenager, That was the era of the all-stars. The Fania All-Stars reigned over all of the Salsa World. When I speak of master musicians, I am talking about Johnny Pacheco, Willie Colon, Celia Cruz, Ray Barretto, Cheo Felciano. In Jazz, there were countless musicians who stepped out of conventional practice and spent sometime recording with their friends and colleagues. The results were spectacular. John Coltrane, Miles Davis, Charlie Parker, Red Garland, Horace Silver, Sonny Rollins, Ahmad Jamal, Mycoy Tyner, Bobby Timmons, Elvin Jones, ,Art Blakey, they were and are killer musicians who made you laugh, cry, think and dance as they created something original and new or embellished songs of the past. Glorious times. Made you wanna shout. Why don’t we do that in literature...story telling?

I am feasting on the inventions of Taylor Sheridan...Yellowstone, 1883, 6666 and Mayor of Kingstown. These are marvelous works of art. I wonder what would be created if we invited some of the All -Stars in the craft to sit for a moment and create a work or pieces in collaboration with other giants. If they can do it in music.  why not in literature? 

Here is my list of all stars... some 20 people.

Martin Scorsese, Larry David, Norman Lear, Ryan Murphy, JJ Abrams, Aaron Sorkin, Vince Gilligan, David Kelley, Jenji Kohan and of course, Taylor Sheridan

Tyler Perry, Antoine Fuqua, Shonda Rhimes, Issa Rae, Lena Waithe, Kenya Barris, Ryan Coogler, Lee Daniels, Steve McQueen, Courtney Kemp Agboh.

What a lesson this would be for the children of America!!!!

[kate-likes-this]

Pedro per Style IT (08-27/18)

Di Giovanni Grassi • Foto di Michael Schwartz • Stile di Fabio Immediato  Relazionato: servizio fotografico / elenco di articoli

Figlio di oppositori di Pinochet, Pedro Pascal ha vissuto da rifugiato in Danimarca e negli Stati Uniti. Poi l’incontro con il cinema «per conoscere il mondo» e il successo nelle serie tv, da Il Trono di Spade a Narcos.

È in un motel degno di un horror movie l’appuntamento con Pedro Pascal, l’attore conosciuto da tanti come l’ispettore Javier Peña della serie Narcos, ma che le donne hanno apprezzato in primis come il principe Oberyn Martell ne Il Trono di Spade. Non siamo lontani da Orange County, dove questo 43enne nato in Cile e cresciuto da rifugiato prima in Danimarca e poi negli Usa (i suoi genitori, sostenitori di Salvador Allende, dovettero lasciare il Paese dopo il golpe di Augusto Pinochet) ha trascorso gran parte della sua adolescenza.

Impegnatissimo, tra le riprese di Wonder Woman 2 e la post produzione di If Beale Street Could Talk, il film tratto dal libro di James Baldwin Se la strada potesse parlare e diretto da Barry Jenkins, il regista premio Oscar di Moonlight, Pascal è davvero nel momento clou della carriera perché è tra gli interpreti «latinos» più richiesti a Hollywood. Non solo lo vedremo il 14 agosto con Denzel Washington in The Equalizer 2 di Antoine Fuqua, ma uno dei suoi film più attesi per il prossimo anno è Triple Frontier di J. C. Chandor da una sceneggiatura di Mark Boal, produttore e autore di The Hurt Locker.

«Sì, il lavoro va bene e mi offre esperienze straordinarie, che quando ero studente mai avrei immaginato, anche se le sognavo passando i pomeriggi al cinema mentre mia sorella mi faceva ascoltare sino all’esaurimento Like a virgin di Madonna» dice ridendo mentre un giradischi continua a ripetere la canzone di Sia, Fire meet gasoline, nel cui video si vede Pascal al fianco di Heidi Klum in quella che è stata definita «una delle più sensuali sequenze dei videoclip». D’altronde inquadrarlo solo nel suo lavoro d’attore è limitativo: tra le altre cose, fa parte a New York di un gruppo teatrale ed è attivo anche come regista.

«Ho sempre avuto un progetto: esistere e non solo vivere, cercando un modo di esprimere le mie idee e inseguendo le mie passioni. La realtà individuale è fatta di tante tappe, crisi, sogni, conquiste, disfatte. E non dimentico mai  che, come cileno, ho conosciuto e studiato le tragedie di un Paese, dalla colonizzazione spagnola alla dittatura e alla democrazia».

Quale era, e forse è, il suo primario obiettivo? Volevo una vita interessante ed emotiva. Desideravo conquistare il senso della bellezza in ogni cosa. Sono cresciuto sentendomi parte di un albero genealogico che non voleva barriere, confini, discriminazioni: da Santiago siamo finiti in Danimarca, poi a San Antonio in Texas, quindi a Orange County in California e a New York. Sognavo leggendo i fumetti di Flash Gordon, ascoltavo le canzoni di Iggy Pop, avevo paura guardando film come Lo squalo, vivevo avventure con Indiana Jones, divoravo libri e andavo sempre in piscina perché desideravo diventare un nuotatore professionista: quando a 11 anni divenni in Texas campione statale di nuoto, mi sentii al top del mondo. Allora non sapevo ancora che la vita avrebbe preso altre svolte…

Quando decise di diventare un attore? Mi piacevano tutti i film con Steve McQueen e Paul Newman e l’idea che lavorando in Paesi sempre diversi avrei conosciuto il mondo mi stimolava. Per me i viaggi significano rottura, cambiamento d’abitudini e ricerca di nuovi equilibri.

Tra i tanti luoghi in.  cui è stato quali sceglierebbe? Camminare sulla Grande Muraglia per The great wall di Zhang Yimou è stato come trovarmi su un’altra galassia. Nel Sud dell’Italia, nelle isole della Sicilia come Lipari e Stromboli ho provato una simbiosi con la natura che mi è necessaria, anche se mi considero un uomo che ha sempre, o quasi, bisogno di sentirsi una metropoli intorno. New York resterà per sempre il mio habitat, ma un’altra delle città che prediligo è Madrid.

E cosa le piace fare nei momenti liberi? Quando ho tempo per me stesso ascolto spesso musica: viviamo in un continuo bombardamento di immagini e questo è il mio modo di smussare ogni violenza. Mi piacciono tanti compositori e band, da Erik Satie ai Gun N’ Roses, e il fare musica insieme per me è la vera democrazia.

Quale ricordo ha dei suoi inizi professionali? Allora, e ancora adesso, mi piaceva leggere, scrivere, creare storie, viaggiare con i personaggi più svariati tra realtà e fantasia. La recitazione come maniera di esprimermi è venuta dopo e via via è diventata il baricentro intorno al quale raggrumare tutte le esperienze nel mondo dello spettacolo e, in primis, delle mie giornate.

Deve molto a Il Trono di Spade. Perché, a suo parere, questa serie ha avuto e continua ad avere un successo globale? Perché parla di regni, battaglie, povertà, classi sociali, mescola il fantasy alla fantascienza e all’horror, in un misto di riferimenti al Medioevo e all’eterno realismo della politica, dei rapporti e degli scontri umani, tra draghi con gli occhi accesi e individui che hanno coraggio, paura, certezze e dubbi.

Che cosa vuole ancora dalla sua carriera? Incontri e stimoli da parte di personaggi quanto mai diversi tra loro. Ma desidero anche dialogare con il pubblico, che per me significa socialità, contatti autentici con le persone più disparate. Voglio eleganza nella mia vita e a questa parola oggi così abusata, io do il significato di generosità.

Come vive le rivalità con i suoi colleghi attori? Astraendomi, creando ovunque io sia una porzione di esistenza dove gli amici, le personeche scegli e che ami hanno un posto preciso e non si parla solo di noi stessi, dei nostri problemi, ma del mondo. Tuttavia da sempre ritengo che la competizione, così come l’ambizione, sia una molla indispensabile nella vita: la rivalità ci impone anzitutto di battere noi stessi e, in fondo, è anche per questo che sogniamo le nostre mete, andiamo avanti o torniamo indietro e ci proiettiamo verso qualche miraggio. Se oggi che è all’apice del successo dovesse scrivere la sua epigrafe quale sarebbe? «Prendi in mano il tuo banjo e vai a suonare» perchè nella vita è importante fare quello che davvero vuoi e non diventare ricco e famoso.

[noodlesinbroth]

Scorching

(creds in captions)

[whump-queen]

Seven Series Character Guide

Seven Series Masterlist

Faceclaim || Picrews || Fanart

Will be updated as more characters are introduced! -- There are many more but I don’t want to spoil things just yet :) 

Seven: A domestic servant owned by the McQueen family, acquired from a private training facility. Age: Early-Mid 20’s

McQueen Family

Antoine McQueen: Head of the McQueen household, Seven’s owner. Age: mid-late 50’s

Isabel McQueen: Antoine’s first wife, left the estate when she and Antoine divroced. Age: 40’s

Kiarra McQueen: Antoine’s second wife, marries him and moves into the estate after Antoine & Isabel’s divorce. Age: mid 30’s.

Weston McQueen: Son of Antoine and Isabel McQueen. Age: mid 20’s.

[mtaartsdesign]

On National Maritime Day and the first day of Fleet Week we present “…the vast and endless sea” (2019), David McQueen’s newly installed stainless steel sculpture at the LIRR Port Jefferson station. The three ships - a schooner, a yawl, and a sloop - are modified re-creations of those built in Port Jefferson during the mid-1800's at the Bayles and Darling Shipyards, each positioned to curve as if sailing through the sea, and held aloft by 52 boat stands. The title of the sculpture is taken from the French aviator and author Antoine de Saint-Exupéry's writings in a passage about instilling a love of the sea, "If you wish to build a ship, do not divide the men into teams and send them to the forest to cut wood. Instead, teach them to long for the vast and endless sea." The ships are presented as if they are in the process of being built, temporarily aground, but bound for the ocean.

[10thstellium]

Hey ! I hope you're doing fine, happy new year ~ I wanted to know what are some popular movies/movies with good reviews that are, in your opinion, "overrated" ? Movies you think are bad (a waste of time !) & movies that weren't that bad, had interesting points, but weren't as good as you expected and you wouldn't watch again ?

    You always have the best questions for me regarding films. Happy New Year to you too sorry I’m getting to this question so late. Alright well, the keyword is opinion so to anyone else reading this please bear that in mind. I don’t read nearly as many reviews as I should because I watch movies kind of late anyway. That’s in reference to in-depth reviews, not the basic ones from critics that are promoted during the commercial. I try to attend/watch a movie unbiased from reactions so I don’t become hyperfocused on highlights or sore spots. You didn’t really give me a timeline or specific era to work with. So to give myself a limitation I’ll focus on films made in the past 4 years. Popular films from 2014-2018

Mild Waste of Time — these are basically films you’d leave playing in the background or even get up in the middle in just to do something more interesting.

The Interview dir. Seth Rogen & Evan Goldberg ( it was only really popular because of the controversy but still worth noting ) 2014

Godzilla dir. Garreth Edwards 2014

Transformers: Age of Extinction dir. Michael Bay ( I saw this movie 1 to many times and wondered how I ended back in the theatre.  This is more for big transformer fans if anything) 2014

Non-Stop dir. Jaume Collet-Serra 2014

Lucy dir. Luc Besson 2014

‘71 dir. Yann Demange 2014

Edge of Tomorrow dir. Doug Liman 2014

Jupiter Ascending dir. Wachowski Brothers 2015

Knock Knock dir. Eli Roth 2015

The Age of Adaline dir. Lee Toland Krieger 2015

Terminator: Age of Genisys dir. Alan Taylor 2015

10 Cloverfield Lane dir. Dan Trachtenberg 2016

Sausage Party dir. Conrad Vernon, Greg Tiernan 2016

Warcraft dir. Duncan Jones 2016

Gods of Egypt dir Alex Poryas 2016

Now You See Me 2 dir. Jon M. Chu 2016

Baby Driver dir. Edgar Wright 2017

John Wick 2 dir. Chad Stahelski 2017

Upgrade dir. Leigh Whannell 2018

The Meg dir. Jon Turteltaub 2018

Halloween dir. David Gordon Green 2018

Overrated —  everything in this category was hyped or talked to a point of misleading viewers or just general inflation due to big names or some element that didn’t quiet measure up.

The Hobbit: the Battle of Five Armies dir. Peter Jackson ( I can rant forever an a day about this bc I’m definitely a LOTR fan and I was just pretty disappointed with this hobbit series ) 2014

Inherent Vice dir. Paul Thomas Anderson 2014

The Man from U.N.C.L.E. dir. Guy Ritchie 2015

Batman v. Superman dir. Zack Snyder 2016

Suicide Squad dir. David Ayer 2016

Star Trek Beyond dir. Justin Lin 2016

The Magnificent Seven dir. Antoine Fuqua 2016

Passengers dir. Morten Tyldum 2016

Fantastic Beasts and Where to Find Them dir. David Yates 2016

Call Me By Your Name dir. Luca Guadagnino 2017

Atomic Blonde dir. David Leitch 2017

Kong: Skull Island dir. Jordan Vogt-Roberts 2017

Ready Player One dir. Steven Spielberg 2018

A Simple Favor dir. Paul Feig 2018

Skyscraper dir. Rawson Marshall Thurber 2018

Solo dir. Ron Howard 2018

Overlooked — everything in this category probably has an underappreciated tone/cast/storyline/cinematographic shots/score/costume/timing/ just eclipsed by other films to be appreciated 

The Drop dir. Michaël R. Roskam 2014

Ex-Machina dir. Alex Garland 2014

It Follows dir. David Robert Mitchell 2014

Whiplash dir. Damien Chazelle 2014

Boyhood dir. Richard Linklater 2014

Foxcatcher dir. Bennett Miller 2014

Black Mass dir. Scott Cooper 2015

South Paw dir. Antoine Fuqua 2015

Crimson Peak dir. Guillermo Del Toro 2015

The Lobster dir. Yorgos Lanthimos 2015 

The Handmaiden dir. Park Chan Wook 2016

Don’t Breathe dir. Fede Álvarez 2016

Hail, Caesar! dir. The Cohen Brothers 2016

Kubo and the Two Strings dir. Travis Knight 2016

The Big Sick dir. Michael Showalter 2017

Three Billboards Outside Ebbing. Missouri dir. Martin McDonagh 2017

Wonder dir. Stephen Chbosky 2017

Mother! dir. Darren Aronofsky 2017

Molly’s Game dir. Aaron Sorkin 2017

Ladybird dir. Greta Gerwig 2017

Widows dir. Steve McQueen 2018

Game Night dir. John Francis Daley & Jonathan Goldstein 2018

Annihilation dir. Alex Garland 2018

Venom dir. Ruben Fleischer 2018

Isle of Dogs dir. Wes Anderson 2018

Can You Ever Forgive Me? dir. Marielle Heller 2018

Eighth Grade dir. Bo Burnham 2018

*There are films in all these categories that I do still enjoy but I feel they are some aspects catered to my liking specifically. I also left the very big names out because I feel they didn’t fit any of the categories. 

[eggymovies]

Movies Watched in 2018

Here’s a list of every movie I watched in 2018 at home or in theaters, in order. Re-watches are listed as well so some things will appear move than one.

Mr. Roosevelt (Noel Wells) Call Me By Your Name (Luca Guadagnino) Phantom Thread (Paul Thomas Anderson) Jumanji (Jake Kasdan) Split (M. Night Shyamalan) Harry Potter and the Half Blood Prince (David Yates) Harry Potter and the Deathly Hallows Part 1 (David Yates) The Post (Steven Spielberg) Good Time (Josh and Ben Safdie) I, Tonya (Craig Gillespie) Paddington 2 (Paul King) The Big Sick (Michael Showalter) Get Out (Jordan Peele) The Greatest Showman (Michael Gracey) Coco (Lee Unkrich) Black Panther (Ryan Cooler) Creed (Ryan Coogler) Black Panther (Ryan Cooler) Phantom Thread (Paul Thomas Anderson) Annihilation (Alex Garland) Thoroughbreds (Cory Finley) Before Sunrise (Richard Linklater) Before Sunset (Richard Linklater) A Wrinkle In Time (Ava Duvernay) Tomb Raider (Roar Uthaug) Justice League (Abrams/Snyder) Before Midnight (Richard Linklater) Game Night (John Francis Daley, Jonathan Goldstein) Love, Simon (Greg Berlanti) Columbus (Kagonada) Isle of Dogs (Wes Anderson) Lady Bird (Greta Gerwig) Ready Player One (Steven Spielberg) Pacific Rim: Uprising (Steve S. DeKnight) A Quiet Place (John Krasinski) Free Fire (Ben Wheatley) The Killing of a Sacred Deer (Yorgos Lanthamos) The Lovers (Azazel Jacobs) Blockers (Kay Cannon) Home Again (Hallie Meyers-Shyer) You Were Never Really Here (Lynn Ramsay) Lean on Pete (Andrew Haigh) It Comes at Night (Trey Edward Shultz) Eighth Grade (Bo Burnham) Beirut (Tony Gilroy) Avengers: Infinity War (Anthony and Joseph Russo) The Rider (Chloé Zhao) Kodachrome (Mark Raso) Tully (Jason Reitman) Rampage (Brad Peyton) Breaking In (James McTeigue) Life of the Party (Ben Falcone) Let the Sunshine In (Claire Denis) Book Club (Bill Holderman) Beast (Michael Pierce) Deadpool 2 (David Leitch) First Reformed (Paul Schader) Solo: A Star Wars Story (Ron Howard) The Seagull (Michael Mayer) On Chesil Beach (Dominic Cooke) Training Day (Antoine Fuqua) Upgrade (Leigh Whannell) Tully (Jason Reitman) The Beguiled (Sophia Coppola) The Social Network (David Fincher) Beatriz at Dinner (Miguel Arteta) Burnt (John Wells) Hereditary (Ari Aster) Ocean’s 8 (Gary Ross) Won’t You Be My Neighbor (Morgan Nelville) American Animals (Bart Layton) Hearts Beat Loud (Brett Haley) Incredibles 2 (Brad Bird) Tag (Jeff Tomsic) Faces Places (Agnes Varda, JR) Set It Up (Claire Scanlon) Jurassic World: Fallen Kingdom (J.A. Bayona) 2001: A Space Odyssey (Stanley Kubrick) Sicaro:Day of the Soldado (Stefano Sollima) Mamma Mia (Phyllida Lloyd) The Last Movie Star (Adam Rifkin) The First Purge (Gerard McMurray) Uncle Drew (Charles Stone III) Four Weddings and a Funeral (Mike Newell) Leave No Trace (Debra Granik) Ant Man and the Wasp (Peyton Reed) Coco (Lee Unkrich) Sorry To Bother You (Boots Riley) Three Identical Strangers (Tim Wandel) Skyscraper (Rawson Marshall Thurber) Killing Them Softly (Andrew Dominik) Mission Impossible: Ghost Protocol (Brad Bird) The Equalizer 2 (Antoine Fuqua) Mamma Mia 2 (Ol Parker) Don’t Worry, He Won’t Get Far On Foot (Gus Van Sant) Mission Impossible: Rogue Nation (Christopher McQuarrie) Hot Summer Nights (Elijah Bynum) Sleeping With Other People (Leslye Headland) Mission: Impossible 3 (JJ Abrams) Kicking and Screaming (Noah Baumbach) Jaws (Steven Spielberg) Mission: Impossible - Fallout (Christopher McQuarrie) A Star Is Born (Frank Pierson) Enough Said (Nicole Holofcener) Blindspotting (Carlos López Estrada) Eighth Grade (Bo Burnham) Christopher Robin (Marc Forster) Set It Up (Claire Scanlon) The Witch (David Eggers) The Spy Who Dumped Me( Susanna Fogel) Under The Tuscan Sun (Audrey Wells) Lady Bird (Greta Gerwig) The Miseducation of Cameron Post (Desiree Akhavan) Margot at the Wedding (Noah Baumbach) Out of Sight (Steven Soderbergh) Puzzle (Marc Turletaub) Never Goin’ Back (Augustine Frizzle) Crazy Rich Asians (Jon M. Chu) Like Father (Lauren Miller Rogen) Reality Bites (Ben Stiller) Before Sunrise (Richard Linklater) Gattaca (Andrew Niccol) Mission: Impossible - Fallout (Christopher McQuarrie) Please Give (Nicole Holofcener) Everybody Wants Some (Richard Linklater) We The Animals (Jeremiah Zagar) Before Sunset (Richard Linklater) Support the Girls (Andrew Bujalski) Juliet, Naked (Jesse Peretz) Operation Finale (Chris Weitz) Searching (Aneesh Chaganty) Children of Men (Alfonso Cuarón) The Wife (Björn Runge) Before Midnight (Richard Linklater) Paterson (Jim Jarmusch) Columbus (Koganada) The Predator (Shane Black) Girls Trip (Malcolm D. Lee) Madeline’s Madeline (Josephine Decker) Black Panther (Ryan Cooler) The Land of Steady Habits (Nicole Holofcener) Edge of Seventeen (Kelly Fremon Craig) Slice (Austin Vesely) Wonder Woman (Patty Jenkins) True Romance (Tony Scott) Blaze (Ethan Hawke) 20th Century Women (Mike Mills) A Simple Favor (Paul Feig) Colette (Wash Westmoreland) A Star Is Born (Bradley Cooper) The Old Man and the Gun (David Lowery) Free Solo (Jimmy Chin, Elizabeth Chai Vasarhelyi) Private Life (Tamara Jenkins) Y Tu Mama Tambien (Alfonso Cuarón) Venom (Ruben Fleischer) First Man (Damien Chazelle) Blue Valentine (Derek Cianfrance) Bad Times at the El Royale (Drew Goddard) Wildlife (Paul Dano) Beautiful Boy (Felix Van Groeningen) Halloween (David Gordon Green) Inside Llewyn Davis (Joel and Ethan Coen) mid90s (Jonah Hill) Suspiria (Luca Guadagnino) Can You Ever Forgive Me? (Marielle Heller) Bohemian Rhapsody (Bryan Singer) Boy Erased (Joel Edgerton) A Private War (Matthew Heineman) Burning (Lee Chang-dong) Green Book (Peter Farrelly) The Ballad of Buster Scruggs (Joel and Ethan Coen) Blood Simple (Joel and Ethan Coen) Border (Ali Abbasi) Widows (Steve McQueen) First Reformed (Paul Schrader) Hail Caesar (Joel and Ethan Coen) Creed II (Steven Caple Jr.) The Front Runner (Jason Reitman) A Serious Man (Joel and Ethan Coen) Thunder Road (Jim Cummings) The Ballad of Buster Scruggs (Joel and Ethan Coen) Ralph Breaks The Internet (Rich Moore, Phil Johnston) At Eternity’s Gate (Julian Schnabel) The Favourite (Yorgos Lanthimos) Copenhagen (Mark Raso) Roma (Alfonso Cuarón) Brad’s Status (Mike White) Shoplifters (Hirokazu Kore-eda) Minding The Gap (Bing Liu) La La Land (Damien Chazelle) Mary Queen of Scots (Josie Rourke) The Mule (Clint Eastwood) Minding The Gap (Bing Liu) Bumblebee (Travis Knight) Let The Sunshine In (Claire Denis) Spider-man: Into The Spiderverse (Bob Perischetti, Peter Ramsey, Rodney Rothman) Crazy, Stupid, Love (Glenn Ficarra) Love, Actually (Richard Curtis) In Bruges (Martin McDonaugh) Momentum Generation (Jeff and Michael Zimbalist) If Beale Street Could Talk (Barry Jenkins) Aquaman (James Wan) Before We Go (Chris Evans) Vice (Adam McKay) Jackass 2 (Jeff Tremaine)

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Black History Month Filmmaker Celebration!

From top left: Barry Jenkins (with Mahershala Ali), Gina Prince-Bythewood, F. Gary Gray, John Singleton, Gordon Parks, Spike Lee, Ryan Coogler (with Danai Gurira), Lee Daniels (and Queen Latifah), Malcom D. Lee, Dee Rees, Melvin Van Peebles, Steve McQueen (with Lupita Nyong'o), Ava Duvernay, Jordan Peele, Antoine Fuqua, Tyler Perry, Amma Asante, Hughes Brothers, Tim Story (with Kevin Hart and Ice Cube) and Denzel Washington.

Bonus Facts - Firsts:

Gordon Parks who got his start in US documentary photojournalism (particularly in civil rights), was the first African American to produce and direct a major motion picture with his film debut, “Shaft” (1971). (x)

Oscar Micheaux was the first major African-American feature filmmaker.  He founded the first movie company owned and controlled by black filmmakers in 1916. Micheaux has been described as "the most successful African-American filmmaker of the first half of the 20th century.” (x)

‘Mudbound’s Dee Rees is the first black woman in history to be nominated for an Academy Award for Best Adapted Screenplay. (x)

HAPPY BLACK HISTORY MONTH!

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My Sister Has Got The Best Sister In The World T-shirt

Kering, the parent company My Sister Has Got The Best Sister In The World T-shirt . that owns Gucci, Saint Laurent, Balenciaga, Alexander McQueen and more, has announced a new company policy that all models hired must be over the age of 18, effective 2020. The undeveloped bodies of teenage models have long been viewed as aspirational within the fashion industry (creepy!) and this appears to be a step in the right direction towards representation that more accurately reflects the brand’s customer base.My Sister Has Got The Best Sister In The World T-shirt, hoodie, sweater, longsleeve and ladies t-shirtWe believe that we have a responsibility to put forward the best possible practices in the luxury sector and we hope to create a movement that will encourage others to follow suit,” François-Henri Pinault, CEO of Kering told WWD My Sister Has Got The Best Sister In The World T-shirt . Then, in a bizarrely catty move, LVMH announced they “would not be following suit.” Antoine Arnault, the LVMH’s head of communication and image, said “Let’s not kid ourselves: It’s not because one group bans these models that they will stop working. On the contrary, we provide them with a protected environment, so I am totally against this ban on models aged under 18.” He then cited Kaia Gerber as a reason to continue employing 16-year-old models. Okay, bro. Read the full article