#It's a perfect blend of romance; comedy; tragedy; controversy and feels

[citruscloudsandmoon]

Just finished watching crash course in romance and I am shattered 😭😭......in a good way 😍🤩🥰

[nitrateglow]

Favorite films discovered in 2020

Well, this year sucked. I did see some good movies though. Some even made after I was born!

Perfect Blue (dir. Satoshi Kon, 1997)

I watch a lot of thrillers and horror movies, but precious few actually unsettle me in any lasting way. This cannot be said of Perfect Blue, which gave me one of the most visceral cinematic experiences of my life. Beyond the brief flashes of bloodletting (you will never look at a screwdriver the same way again), the scariest thing about Perfect Blue might be how the protagonist has both her life and her sense of self threatened by the villains. The movie’s prescience regarding public persona is also incredibly eerie, especially in our age of social media. While anime is seen as a very niche interest (albeit one that has become more mainstream in recent years), I would highly recommend this movie to thriller fans, whether they typically watch anime or not. It’s right up there with the best of Hitchcock or De Palma.

The Good, the Bad, and the Ugly (dir. Sergio Leone, 1966)

Nothing is better than when an iconic movie lives up to the hype. Clint Eastwood, Eli Wallach, and Lee Van Cleef play off of one another perfectly. I was impressed by Wallach as Tuco in particular: his character initially seems like a one-dimensional greedy criminal, but the performance is packed with wonderful moments of humanity. Do I really need to say anything about the direction? Or about the wonderful storyline, which takes on an almost mythic feel in its grandeur? Or that soundtrack?

Die Niebelungen (both movies) (dir. Fritz Lang, 1924)

I did NOT expect to love these movies as much as I did. That they would be dazzlingly gorgeous I never doubted: the medieval world of the story is brought to vivid life through the geometrical mise en scene and detailed costuming. However, the plot itself is so, so riveting, never losing steam over the course of the four hours it takes to watch both movies. The first half is heroic fantasy; the second half involves a revenge plot of almost Shakespearean proportions. This might actually be my favorite silent Fritz Lang movie now.

Muppet Treasure Island (dir. Brian Henson, 1996)

I understand that people have different tastes and all, but how does this movie have such a mixed reception? It’s absolutely hilarious. How could anybody get through the scene with “THA BLACK SPOT AGGHHHHHHH” and not declare this a masterpiece of comedy? And I risk being excommunicated from the Muppet fandom for saying it, but I like this one more than The Great Muppet Caper. It’s probably now my second favorite Muppet movie.

Belle de Jour (dir. Luis Bunuel, 1967)

I confess I’m not terribly fond of “but was it real???” movies. They tend to feel gimmicky more often than not. Belle de Jour is an exception. This is about more than a repressed housewife getting her kicks working as a daytime prostitute. The film delves into victim blaming, trauma, class, and identity-- sure, this sounds academic and dry when I put it that way, but what I’m trying to say is that these are very complicated characters and the blurring of fantasy and reality becomes thought-provoking rather than trite due to that complexity.

Secondhand Lions (dir. Tim McCanlies, 2003)

The term “family movie” is often used as a synonym for “children’s movie.” However, there is an important distinction: children’s movies only appeal to kids, while family movies retain their appeal as one grows up. Secondhand Lions is perhaps a perfect family movie, with a great deal more nuance than one might expect regarding the need for storytelling and its purpose in creating meaning for one’s life. It’s also amazingly cast: Haley Joel Osment is excellent as the juvenile lead, and Michael Caine and Robert Duvall steal the show as Osment’s eccentric uncles.

The Pawnbroker (dir. Sidney Lumet, 1964)

Controversial in its day for depicting frontal nudity, The Pawnbroker shocks today for different reasons. As the top review of the film on IMDB says, we’re used to victims of great atrocities being presented as sympathetic, good people in fiction. Here, Rod Steiger’s Sol Nazerman subverts such a trope: his suffering at the hands of the Nazis has made him a hard, closed-off person, dismissive of his second wife (herself also a survivor of the Holocaust), cold to his friendly assistant, and bitter towards himself. The movie follows Nazerman’s postwar life, vividly presenting his inner pain in a way that is almost too much to bear. Gotta say, Steiger gives one of the best performances I have ever seen in a movie here: he’s so three-dimensional and complex. The emotions on his face are registered with Falconetti-level brilliance.

The Apartment (dir. Billy Wilder, 1960)

While not the most depressing Christmas movie ever, The Apartment certainly puts a good injection of cynicism into the season. I have rarely seen a movie so adept at blending comedy, romance, and satire without feeling tone-deaf. There are a lot of things to praise about The Apartment, but I want to give a special shoutout to the dialogue. “Witty” dialogue that sounds natural is hard to come by-- so often, it just feels smart-assy and strained. Not here.

Anatomy of a Murder (dir. Otto Preminger, 1959)

I’m not big into courtroom dramas, but Anatomy of a Murder is a big exception. Its morally ambiguous characters elevate it from being a mere “whodunit” (or I guess in the case of this movie, “whydunit”), because if there’s something you’re not going to get with this movie, it’s a clear answer as to what happened on the night of the crime. Jimmy Stewart gives one of his least characteristic performances as the cynical lawyer, and is absolutely brilliant. 

Oldboy (dir. Park Chan-Wook, 2003)

Oldboy reminded me a great deal of John Webster’s 17th century tragedy The Duchess of Malfi. Both are gruesome, frightening, and heartbreaking works of art, straddling the line between sensationalism and intelligence, proving the two are not mutually exclusive. It’s both entertaining and difficult to watch. The thought of revisiting it terrifies me but I feel there is so much more to appreciate about the sheer craft on display.

Family Plot (dir. Alfred Hitchcock, 1976)

Family Plot is an enjoyable comedy; you guys are just mean. I know in an ideal world, Hitchcock’s swan song would be a great thriller masterpiece in the vein of Vertigo or Psycho. Family Plot is instead a silly send-up of Hitchcock’s favorite tropes, lampooning everything from the dangerous blonde archetype (with not one but two characters) to complicated MacGuffin plots. You’ll probably demand my film buff card be revoked for my opinion, but to hell with it-- this is my favorite of Hitchcock’s post-Psycho movies.

My Best Girl (dir. Sam Taylor, 1927)

Mary Pickford’s farewell to silent film also happens to be among her best movies. It’s a simple, charming romantic comedy starring her future husband, Charles “Buddy” Rogers. Pickford also gets to play an adult character here, rather than the little girl parts her public demanded she essay even well into her thirties. She and Rogers are sweet together without being diabetes-inducing, and the comedy is often laugh out loud funny. It even mocks a few tropes that anyone who watches enough old movies will recognize and probably dislike-- such as “break his heart to save him!!” (my personal most loathed 1920s/1930s trope).

Parasite (dir. Bong Joon-ho, 2019)

This feels like such a zeitgeist movie. It’s about the gap between the rich and the poor, it’s ironic,  it’s depressing, it’s unpredictable as hell. I don’t like terms like “modern classic,” because by its very definition, a classic can only be deemed as such after a long passage of time, but I have a good feeling Parasite will be considered one of the definitive films of the 2010s in the years to come.

Indiscreet (dir. Stanley Donen, 1958)

Indiscreet often gets criticized for not being Notorious more or less, which is a shame. It’s not SUPPOSED to be-- it’s cinematic souffle and both Ingrid Bergman and Cary Grant elevate that light material with their perfect chemistry and comedic timing. It’s also refreshing to see a rom-com with characters over 40 as the leads-- and the movie does not try to make them seem younger or less mature, making the zany moments all the more hilarious. It’s worth seeing for Cary Grant’s jig (picture above) alone.

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

This movie embodies so much of what I love about 70s cinema: it’s gritty, irreverent, and hard-hitting. It’s both hilarious and suspenseful-- I was tense all throughout the run time. I heard there was a remake and it just seems... so, so pointless when you already have this gem perfect as it is.

They All Laughed (dir. Peter Bogdonavich, 1981)

Bogdonavich’s lesser known homage to 1930s screwball comedy is also a weirdly autumnal movie. Among the last gasps of the New Hollywood movement, it is also marks the final time Audrey Hepburn would star in a theatrical release. The gentle comedy, excellent ensemble cast (John Ritter is the standout), and the mature but short-lived romance between Hepburn and Ben Gazarra’s characters make this a memorably bittersweet gem.

The Palm Beach Story (dir. Preston Sturges, 1942)

Absolutely hilarious. I was watching this with my parents in the room. My mom tends to like old movies while my dad doesn’t, but both of them were laughing aloud at this one. Not much else to say about it, other than I love Joel McCrea the more movies I see him in-- though it’s weird seeing him in comedies since I’m so used to him as a back-breaking man on the edge in The Most Dangerous Game!

Nothing Sacred (dir. William Wellman, 1937)

I tend to associate William Wellman with the pre-code era, so I’ve tried delving more into his post-code work. Nothing Sacred is easily my favorite of those films thus far, mainly for Carole Lombard but also because the story still feels pretty fresh due to the jabs it takes at celebrity worship and moral hypocrisy. For a satire, it’s still very warm towards its characters, even when they’re misbehaving or deluding themselves, so it’s oddly a feel-good film too.

Applause (dir. Rouben Mamoulian, 1929)

I love watching early sound movies, but my inner history nerd tends to enjoy them more than the part of me that, well, craves good, well-made movies. Most early sound films are pure awkward, but there’s always an exception and Applause is one of them. While the plot’s backstage melodrama is nothing special, the way the story is told is super sophisticated and expressive for this period of cinema history, and Helen Morgan makes the figure of the discarded burlesque queen seem truly human and tragic rather than merely sentimental.

Topaz (dir. Alfred Hitchcock, 1969)

Another late Hitchcock everyone but me seems to hate. After suffering through Torn Curtain, I expected Hitchcock’s other cold war thriller was going to be dull as dishwater, but instead I found an understated espionage movie standing in stark contrast to the more popular spy movies of the period. It’ll never be top Hitchcock, of course-- still it was stylish and enjoyable, with some truly haunting moments. I think it deserves more appreciation than it’s been given.

What were your favorite cinematic discoveries in 2020?

[willow-salix]

The Seven Basic Plots and how they work.

OK, so this subject is a little controversial, and many will argue the points made, but I thought I would include it, because when I was taught them, they made perfect sense and helped the whole class to identify with the type of story they were actually writing.

This is a really important thing to discover, probably even before you start to plot out your book, because knowing the type of story, and the general structure that they usually take will make the actual construction of your story, so much easier.

The theory goes that there are only ever seven basic plots for stories. 7 in the entire world! They say that any story you can think of will fall into at least one of these categories, though more often they are a mixture of two, three or even more.

The plots are

- Overcoming the Monster

- Rags to Riches

- The Quest

- Voyage and Return

- Rebirth

- Comedy (in which they have included Romance)

- Tragedy.

Now, lets look at them in more depth.

Over coming the monster. This may have you conjuring up visions of a snarling beast looming over a fair maiden who is swooning and screaming for her knight in shining armour to come and save her.

And while that’s fine, if your story is going that way, if you do have a physical monster that is terrorising villages, you do you, dude, but as a plot it’s much broader.

Monsters can take many forms, from a physical threat, a bad guy, an evil boss, and old enemy, an ex-partner or friend, or even something more symbolic like the badness of society or even mankind itself, an organisation, or a political party.

An overcoming the monster story, as with all of the plots, usually follows a formula, although it is easily moved around to make the story your own.

It starts with the creature itself tormenting and torturing its prey, so it could be the boss picking on the young, inexperienced intern, or a nasty teacher bullying the class.

Then comes the call, when the hero hears of this wickedness and comes to save the day. This could be someone in the office overhearing the nasty things said to the poor, sobbing intern, or one adventurous member of the class that decides enough is enough, this evil teacher must be stopped.

There will usually be a brief, first confrontation where the hero and the monster meet face to face for the first time.

There is often a period within the story that is referred to as the dream state, where everything seems to be going ok for our hero, this turns into a nightmare with another confrontation, which the hero shows every likelihood of losing.

And finally, victory, usually including a lesson of some kind which is designed to make the reader think about the moral of the story.

Rags to riches and comedy/romance will often be blended together. We will often see a small, insignificant individual who will step forward and become our hero. Like the nerdy best friend in a high school drama who turns out to be the perfect person for them all along.

Our unfortunate and reluctant hero will have been treated badly by those around them, family, friends, society and is often orphaned by at least one parent. This gives them some vulnerability and odds to overcome.

It is believed that Cinderella is the oldest rags to riches tale with thousands of known versions today, the oldest dating back to the 9th century.

The unfortunate hero is usually the youngest child, one that is shown during the story to be growing up and to mature.

There is usually a part of the story where there is some kind of crisis, where everything is going wrong, but in the end, everything will work itself out and change for the better.

This is often paired with romance because it’s a good formula, we as readers, like the thought of a humble hero being the one to get the love interest rather than the rich, arrogant rival.

Aladdin is a perfect example of both plots mixing together, an orphaned boy who steals to survive, getting his big break and meeting the girl of his dreams. But just when things seem to be coming up roses for Aladdin, he is knocked back down, having to find the guts and determination to keep fighting, clawing his way back to win the heart of the princess and defeat the bad guy.

The quest is often twinned with voyage and return.

No type of story is better known than the quest, some of our most beloved stories, like treasure island, lord of the rings and the holy grail are all a quest.

The story itself can take the form of a physical journey, where they hero is actually travelling from one place to another, or more of a mental journey, a voyage of self discovery if you will. Maybe one relating to their mental or physical help, self improvement or some other life goal.

When looking at the story the goals are usually pretty simple. Some fabulous treasure or mysterious mythical object, or they surround a homeward journey, be that a mental one of self discovery, back to the person you once was, or a physical one.

They often begin with the call to action, as many others do. A community in uproar, a lost treasure or even a missing person.

All quests begin with a sense of unease, a desperation which pushes them on, often the plot will also involve a time limit to make it feel tenser.

The hero will often have to leave their home and battle to find their way back, returning a better person than when they left.

These stories often involve companions of some kind who will travel with them or be picked up along the way and help them on their journey, their unique abilities making victory possible. This has a moral reason for happening, to show the reader than no one can triumph when they are alone or unsupported, trying to take on too much themselves, to not rely on others, or in the case of a more arrogant hero, thinking they don’t need help. There is no shame in allowing friends to offer a hand.

Sometimes the writer will pull a sneaky on their reader and have one of the companions actually work against the hero, instead being in cahoots with the enemy. This is a good way of involving a plot twist into the story, but it is one that has to be managed very carefully, it should not be obvious that they have been actively trying to cause trouble. It should come out of nowhere and completely blindside the reader, but, when they look back, there should be enough to make it true. It’s a hard one to pull off and it does require practice, but that’s no reason to avoid doing it if that’s how your story is worked.

Once the hero and companions have assembled, they will venture forth. Usually they will encounter their first scary or dramatic situation, entering unknown territory, facing a monster or even lack of resources or food. The possibilities in this, are endless.

Mystical intervention along the way is also a common theme, where our heroes will receive some much-needed help and advice which will save the day.

When the journey is almost over, when we think they will make it, comes the final ordeal. All is lost! Or so we think. But of course, the hero will overcome the odds and win the day.

A twist to this kind of story is the dark quest, and my personal favourite, where we see the dark, brooding anti-hero who seeks to destroy an object or person who is working on the side of good. just when it looks like darkness will overcome the light, he has his redemption.

I do love a sexy, anti-social man who needs kicking into shape, and I am usually just the girl to write them, but, enough about me, lets continue on to our last two plots.

Tragedy and rebirth are another two that are often partnered up for the sake of a story.

Tragedy comes in many forms, from the loss of a parent, a lover, a child, even a whole town or city, leaving the protagonist, our hero, as the only one left to deal with the situation.

They are obviously grieving, emotionally destroyed by the tragedy they have just dealt with, but they must soldier on.

Some stories just stick with the tragedy and refuse to have a happy ever after ending, which is fine, its your story and no one said it had to be a happy happy feel good book, but if you did want to give your hero something to strive for, some home, a light at the end of the tunnel, that’s where the rebirth plot is usually utilised.

We, as readers, love to see something good come out of a tragedy, we love to think that no matter how bad things get, there is always hope of something good just around the corner.

Rebirth stories are always popular. Think of a Christmas carol, with mean, skinflint Mr Scrooge meeting 3 ghosts who take him on a journey of self-discovery, where he will have to face up to the inevitable, if he continues as he is, he will die alone and unmourned by anyone.

He learns the error of his ways and wakes the next morning as a changed man, determined to do better for everyone around him.

So, there you have the 7 basic plots, and as I said before, although others may disagree, I believe they are useful to know and perhaps look at in more depth, especially if you have an idea for a book but are unsure on how to structure it.

Identify the type or types of story it is and then study the formula, fit it all together and get writing.

I once did an article explaining how the 7 basic plots all managed to fit into my book, Two Minutes to Midnight, before I even knew what they were. If you are interested in reading this article, let me know in the comments or DM me and ill get it up online for you all.

That’s all for today, so ill say blessed be and happy writing.

[ramajmedia]

X-Men: 5 Best & Worst Movies, According To IMDb | ScreenRant

The X-Men universe is finally over, as we know it, after kicking off this parade of superheroes back in 2000. Thanks to some hefty source material, the franchise allowed for some interesting social issues to be explored. Because of their sheer population and ability, mutants are treated as threatening minorities rather than superheroes. Racism, ethics, governmental cynicism, and personal vengeance are ingrained throughout the mythology. In hindsight, the films were a solid run, with the majority garnering positive reception. The series was also frequently cast very well. It often featured stylish direction, great CGI, compelling music, and wasn’t afraid to embrace new creative voices. Here’s how fans rated the best and worst of this memorable, unique franchise.

RELATED: 10 Times The X-Men Movies Ignored Its Own Canon

10 Worst: X-Men: Apocalypse - 6.9

This film had a tough act to follow, but that wasn’t its core issue. It was simply a somewhat messy, overlong, and generic superhero movie. It wasn’t without its moments, to be sure. Magneto’s drama is always compelling, and his apparently never-ending tragedy is deliberately the character’s hurdle. Quicksilver gets a fantastic slow-mo scene, Wolverine wrecks a hallway, and the opening in ancient Egypt is superb. But every highlight is undone by something senseless or haphazard, resulting in a very uneven story. For example, the copout of Quicksilver withholding his secret from Magneto was an absolute letdown. The final fight is excessively overlong, and the story really jumps around.

9 Best: X-Men: First Class - 7.7

X-Men: The Last Stand made an incredible amount of money, but it wasn’t exactly a critical darling. And after Wolverine’s solo outing was a disaster, the series needed serious rejuvenation. And Matthew Vaughn, hot off of the brilliant Kick-Ass, brought bold ideas and enthusiasm that radiates from every scene.

RELATED: X-Men: The 10 Most Powerful Members Of The Xavier Family, Ranked

The young cast all fit their characters perfectly. But the driving force of the film is the relationship between Xavier and Magneto. Eric’s path of vengeance provides thrilling action and sincere drama. This story explores all of the most interesting elements of the mythology with verve, superb character development, and outstanding action.

8 Worst: The Wolverine - 6.7

Wolverine was the focus of the original trilogy, and yet he still got his own spin-off series. It’s a testament to Hugh Jackman’s unexpectedly iconic portrayal. This particular entry was certainly a vast improvement over the first attempt at these spin-offs. And the premise of sending Logan to Japan sounded very promising, indeed. The problem is that this movie had an identity crisis. It wasn’t a splashy superhero outing with countless mutants, where its predecessor unfortunately fell into an outright cartoonish tone. But The Wolverine wasn’t gritty enough to provide the truth in its titular character, either. As such, it doesn’t feel like an X-Men movie, or a Wolverine movie. But the worst offense is that the film was just terribly dull.

7 Best: Deadpool 2 - 7.7

Alright, so they killed Vanessa, which is definitely a copout move. It makes sure that Deadpool 2 won’t have the organic, superb romance that made the first so endearing. But this sequel certainly makes the most of it, because anguish is at the heart of the protagonist. The comedy is on point throughout, most of it absolute gold—again!

RELATED: X-Men: 10 Mutants Who Are Close To Being Omega-Level

The new characters are terrific, and the moral dilemmas are compelling. It’s conceptually perfect that the X-Force is what helps Wade recuperate from losing Vanessa. It really is a fantastic family movie. It also has fun, gratuitous gore, exciting action, and genuine drama.

6 Worst: X-Men: The Last Stand - 6.7

Bryan Singer got the opportunity to direct Superman Returns, and abandoned ship from the franchise he’d built. It was ultimately a very messy production, and even the most expensive movie ever made, at that time. The primary issues with the film included an overpopulation of characters, and tug-of-war screenplay. It failed to give enough time to either the Dark Phoenix saga or the “Cure” storyline. It’s a shame, because both had great promise. Further, Brett Ratner’s juvenile tone didn’t quite feel on brand. The cinematography is slick, the action is visually arresting, and certain moments genuinely deliver—Xavier’s death scene is legitimately tragic. The story was simply too messy, and its tone unwelcome.

5 Best: X-Men: Days Of Future Past - 8.0

This was a perfect blend of the new cast with the classic, and a terrific adaptation of the source material. The dystopian future instantly raises the stakes, and sustains a terrifying urgency throughout. The film is full of intriguing themes, with a climax that is entirely predicated on mercy. The time travel element is actually handled exceptionally well, and the setting in time is thematically fitting.

RELATED: The 10 Worst Things Magneto Has Done Across The X-Men Franchise

It was a turbulent decade, and the secret histories are fun. Quicksilver is a fun, well-performed addition. The Sentinels, and everything else, are visualized exceptionally well. The action is engaging, the pacing is perfectly balanced, and the character motivations are clear and interesting.

4 Worst: X-Men Origins: Wolverine - 6.6

There are very few insults left to throw at this movie, but it’s certainly a miserable time. Firstly, it’s obvious enough that the film absolutely ruins Deadpool. Reynolds had to personally shoot that iteration in the head multiple times. But worse, the story even butchers Wolverine himself. The story is boring, and the CGI is awful. Most of all, the tone is mercilessly inane. It completely compromises the entire conceit of the story because it is wholly antithetical to Wolverine. There’s a ridiculous fight with the Blob, Sabretooth is a joke, and we learn the origin of Logan’s jacket. Ultimately, the film never provides a reason for its existence.

3 Best: Deadpool - 8.0

It’s fascinating that the spin-offs took three of the top five rankings on IMDb. But Deadpool was successful because of its fearless depiction of the titular character. Sure, it’s over the top, but the story is grounded in a very sincere romance. Wade’s new relationship informs absolutely everything in the film. Also, his origin is uniquely rooted in illness, which is handled well. But the comedy is non-stop, and is still well-balanced, without a single miss. There’s just the right blend of pop culture, meta humor, and creative slapstick. The action is addictive, and inventive. It is the most truthful portrayal of Deadpool imaginable, and more so than most other comic book characters have received.

2 Worst: Dark Phoenix - 6.0

It may be a controversial view, but perhaps this movie received undue hatred. Audiences had tired of the franchise by this point, and were keen for Marvel’s interpretation. Arms were crossed after the third entry, and Apocalypse. But truthfully, this was a surprisingly intimate story. The ethics of Xavier’s secret is stressed, and Mystique’s death inspires some solid drama. It’s certainly the catalyst for many motivations. The serious tone is appropriate, and McAvoy and Fassbender always give gripping performances.

RELATED: 10 Heroes Powerful Enough To Take Down The Phoenix

The movie has more going for it than most would probably think. However, the aliens and their goals were generic, to be sure. This resulted in a formulaic plot, which is actually much slower in comparison to previous films. So, if you aren’t invested, you’ll really feel that runtime. Unfortunately, Sophie Turner’s performance doesn’t feel especially engaged, and Jean’s epiphany about “emotion” is totally misplaced.

1 Best: Logan - 8.1

The success of this film is further proof that fans truly understand their comic book characters. Because, just like Deadpool, this movie captures the absolute essence of its protagonist. Logan is a tough, gritty character with surprising empathy and adamant principles. True, the story incorporates some tired ingredients, regarding its villain and tropes from the Western genre. But it’s a relentlessly bleak, bloody story that is unique amongst fellow superhero conventions. It is also strongly character-oriented, with stunning, nuanced performances. The action is also very striking because of its practical stunts, and the intimate motivations behind it. It’s a tale of redemption, and a perfect sendoff for the series’ most beloved mutant.

NEXT: Every X-Men Movie, Ranked By Rotten Tomatoes Score

source https://screenrant.com/x-men-best-worst-movie-imdb-rating/