#Movie Serial Fraud

[tartrazeen]

I am once again insisting that the "Naked guy covered in flammable jelly has to put a super long code into a safe using only a tea candle for light so he can get the antidote to the poison that Jigsaw stuck him with and also there's glass on the floor ouchie" is

✨A Good Trap✨

This was Saw 1, people. The irony was in full high-concept fever.

What was this guy's crime?

Faking a work injury to scam his insurance (aka the genius way to take a vacation in no-sick-days America)

Why does Jigsaw give a shit about insurance companies with everything we see in Saw 6?

'cause the guy was getting insurance money when insurance said no to jiggy 😞 (also jigsaw's a serial killer who preys on people already going through the shittiest time of their lives, like how he not-murders a dude for the crime of - i guess - pussying out of suicide? that's canon btw. that's the guy they show us immediately before naked-jelly-safe man)

So what's the irony in this otherwise impossible, bullshit trap?

The door's open, the guy can leave, he's not actually poisoned

Jigsaw likes to lie. Especially Saw 1 Jigsaw.

Jigsaw also likes making his win conditions exceedingly obvious in hindsight.

Sometimes it's a straightforward, "Jump into the pit of needles and find the key. No riddles. Gogogo." And then you're like, "ohhh damn, i really should've just done that faster"

Sometimes it's an uwu troll of, "I dunnoooooo detective, i guess maybe if you talk to meeee you'll find ur son somewhere................ SAFE?!?! uwu" And then you're like, "ahhhhhh (⁠☞ﾟ���∀ﾟ⁠)⁠☞ you got me with word play again"

And then sometimes he's like, "I'm gonna need you to speedrun some brain surgery. no no, on your own brain. It's ironic because you can't. Also I'm going to melt your face in an Aztec face mask 'cause i'm also like... i'm ngl, i'm a little racist uwu. plus the irony's that you live in a hot country or something i guess idk i have five these in this movie, hurry up and fail jfc"

So here, Jigsaw didn't say the door was locked. He told the suicide-guy that, so he will say it if it's actually going to happen. But here, he just said the guy had to carefully step around the glass and crack the code.

You know.

The insurance fraud guy.

The scammer.

Being - ironically - scammed.

Buddy could've left right away, but he was very, very sure he'd actually been poisoned and stayed (then burned) to try to get to an antidote he didn't need.

$5 says the safe would've been empty, too. Like that was the cure: nothing, because he wasn't sick in the first place.

... also this means Jigsaw only targeted him because he was jealous someone else was getting insurance payouts.

So who's the REAL jelly man now, John?!

[machine-elf-writes]

Baldurian Psycho

Happy Gortoween! @gortash-week

You are Patrick Durge - average human noble, and a serial killer hiding in plain sight. He has a hatred for all, but none so much as the young upstart Enver Gortash.

A very silly fic for Gortoween, category: horror movie crossover. This is a crossover of American Psycho. Canon-typical violence ahead. You can also read on AO3 if you would like to.

Your rancid blood is calm for now.

You sit at the long table in Baldur’s Gate’s High Hall while the other noblemen of the city mill about before the meeting. Your mind is distant as you ponder the last look on the beggar's face before you plunged your knife into his guts last night. How you mangled that corpse into a piece of art, the bone and sinew a beautiful tapestry. The Flaming Fists were still on the hunt for a serial killer as these macabre acts were mounting in the slums of Rivington, but they would never get far, not until people who mattered were harmed. For now, it was a nice indulgence for your deepest desires, your darkest urge.

“Oh, that’s a beautiful doublet,” the man next to you says. You don’t notice Claxer is sitting next to you until he speaks up. The dragonborn is an odd one out within the melange of human men, and he frequently disgusts you, but you smile and nod at his compliment.

“Thank you,” you say politely.

“Let me guess,” he infuriatingly continues, “Face Maker’s new autumn collection?”

You nod, again, politely. The doublet is deep green, made of the finest velvet and silk.

“I just want to touch it…”

You slap Claxer’s hand before he lays a scaly finger on you. He recoils, eyes wide as he realizes he’s offended you. “Your compliment was sufficient, Claxer.”

Suddenly, a new presence is at your other side. To your surprise, it’s Enver Gortash, the greasy suckup of rising politician. Unlike you, inheriting your birthright from your family that’s traded arms for centuries, he has become competition for your business. He does not sit next to you in a chair, but casually on the table as he looks down at you.

“Hello, Oberon,” he drawls, grinning with a forced smile. His hair is an artful mess atop his head, stubble grown in already from this morning’s shave. “How in the Hells are you?”

Gortash has mistaken you for this dickhead Miller Oberon, who you can see across the table in conversation with Baxter and Bryce. Though it is understandable. Miller is a shareholder in your family’s business and does the exact same thing you do. He has the same taste in Face Maker’s doublets, and he even goes to the same barber, although you have a slightly better haircut. Certainly a better one than this fraud. You simply smile and nod, and do not correct him.

“So how is that is that big shipment with Cormyr going?”

“Oh, it’s going well.” You know it isn’t.

“Really?” Gortash asks, with an eyebrow raised. You want to peel his skin off his skull. “I’ve heard it’s not.”

Before you can correct him, his attention is called elsewhere by another noble who looks identical to you. Your blood is running hot after the exchange, but cools once Gortash leaves you alone. He is talking to the real Oberon now about dinner reservations - Dorsia at 8. That lucky bastard. You catch something, however, when he takes out a small case and produces a paper name card and hands it to Oberon. Then he walks off to the other end of the room to schmooze some more.

You just had your own redone. Perhaps it’s time to impress upon your fellow nobles.

You open your own case and produce a card. You attract the attention of Baxter and Bryce as you slide the thick paper across the desk. “New card,” you announce. “Just picked it up from the printers. What do you think?”

The two men coo over the card, admiring its tastefulness.

“The colouring is bone ,” you say, the word feeling good on your tongue. You miss sawing through them while you decorate your kills. “And the typeface is called Evereska Bold.”

“That’s very nice, Durge,” Oberon says. “But you haven’t seen anything yet.” As he slides his own card across the table, he places it next to yours. Your face falls. The card is nearly identical to yours, but in all ways better. Sweat begins to form at your brow. “What do you think?”

You swallow the bile coming up in your throat. Your vision tints red. “It’s nice. Gods, that’s nice.”

Oberon smiles, genuinely, but with a hint of pride that he’s stood you up.

“Look at that,” Bryce says with a grin. “How did you get so tasteful?”

You cannot believe that Bryce prefers Oberon’s card over yours. Bryce then withdraws his own case and proudly presents his card. Once again, it is very similar, but perfected over the other two.

“Impressive, very nice,” you say as the tension builds in your body. You want to leap across this table and throttle the man. You want to stick your thumbs in his eyes and crush his skull. But you take a shuddering breath in before you say to Oberon, “let’s see Enver Gortash’s card.”

Oberon’s face darkens, as if he knows the defeat is immanent. Your heart races, sweat now rolls down your face as Oberon takes out the card Gortash just handed to him. He holds it up to you to show you. Your body burns with rage.

The off-white colouring is so subtle. The thickness so tasteful. Gods, it even has a watermark. How did he do that?

The group falls deadly silent as the men all look at you and your piercing gaze, as if they can sense the murderous urge within. In the distance, Gortash’s hearty false laugh cuts through the silence. You know what you must do. Gortash cannot tell you apart from the real Oberon who he is due to dine with tonight. You could easily take his place, lull him into sense of security – preferably with whisky – and dispose of him once and for all. He mocks you, mocks your status with his arrogant charm. He has ambitions beyond this court and you will dash them.

Your rancid blood blazes with hatred.

Oberon is easy to remove from the equation when you send one of your family members to kidnap him. You show up late, and Gortash is already at the table drinking and arguing with the waiter. You need to keep that glass refilling tonight if you are to do what you must do. You sit down and order your drink, while Gortash orders the waiter to bring him another double. Excellent.

“Service is awful, but the drinks are strong,” Gortash says, taking a sip of whisky. He frowns at you from across the table. “You’re late.”

“I’m a child of divorce, Enver, give me a break!” He laughs emptily at your joke, and you smile. You are technically the child of Ulis and Harette Oberon, and they have separated, but what people don’t know is your real lineage. The child of a god too foul to mention. It’s where you get this urge to kill, this need for bloodshed. And your night is only beginning. “So, you’ve been handling the crossbow sales to the Flaming Fists! How did you manage to swing that one? Heard Durge was pretty upset with that one.”

Gortash smiles slyly and leans in. “Well, I could tell you that, Oberon, but then I’d have to kill you!”

You both laugh at his joke, an added layer of irony for you. You cannot wait to see his blood tonight.

The evening stretches on and you make sure to talk at length to keep him drinking. He does not listen to a single word you say, only to occasionally cut you off to talk about himself. You allow it, so long as the waiter comes over to fill his glass.

“Where is Fiorella anyway?” Gortash asks, in reference to the real Oberon’s wife.

“Oh, Fiorella, you know,” you reply, looking for a response. You are betrothed yourself, though you feel nothing for the woman you’ve been arranged by your father to wed. You decide to incorporate her into your alibi. “She’s having dinner with Voletta Jhasso.”

“Voletta!” Gortash exclaims. “Bit of an airhead.”

You smile and nod in agreement.

“Engaged to that imbecile Patrick Durge, right?”

You smile wider and laugh. “Another whisky, Enver?”

Your rancid blood calls out for you to kill.

When Gortash is hardly able to stand, you offer to take him back to yours to sober up. You’ve prepared your main hall for such an occasion – the furniture is covered in sheets, the fine floors covered in the Baldur’s Mouth Gazette. You don’t like to make a mess in your own home, but this is the safest place for a murder like this one. You and Gortash laugh as you let him fall into a plush armchair. His crumpled posture is undignified for a man of his position, but he is right where you want him.

You catch yourself humming a tune while you prepare yourself. Gortash doesn’t notice, but it gives you an idea to distract him. You once attempted to become a bard, but your stories and songs were always a touch too violent for the college. You were expelled within your first year.

“Do you like Volo tunes, Enver?”

He shrugs. “They’re alright.”

“His early work was a little esoteric for my tastes. But when Swordsong made its way around the Bard’s College, that’s when I think he came into his own. Commercially and artistically.” You pause, but Gortash doesn’t react, and takes another sip from his glass. You are making this up completely, and then walk off to the other room where your weapon awaits. Gortash is still within earshot as you don your raincloak, a must to protect the fine doublet you are dressed in.

Before you return to Gortash, you grab the handaxe leaning against the doorframe. This is one of his, one of the illegal ones he used to trade. You wonder if he will recognize it before it splits his skull. You rush back out to the room where Gortash now sits somewhat straight in his chair. He hasn’t noticed you were gone, but you deftly hide the axe while you make the final preparations. He turns around to give you a glance with bloodshot eyes.

“Oberon?” he asks.

“Yes, Enver,” you answer. For a moment, he looks ready to finally question the situation. Instead he gestures to the floor.

“Why are there copies of Baldur’s Mouth all over the floor? Do you have a dog?”

“No, Enver,” you answer. This stupid bleating will be all over soon. He then turns to look at you, and frowns at your attire.

You walk past him and examine the room before you, to make sure everything is in order. The newspapers are laid out to protect the floor from his splattering blood, your precious furniture safe from his brain juices. You walk behind him towards your axe.

“I had a brief stint at the bard’s college. Starstrum was rising, Volothamp was popular as ever, who didn’t want to be a bard in that time?” You grab your axe and turn back to Gortash. He still faces away from you as you complete your manifesto. “In fact, why would anyone want to be trading arms when they could be singing the sweet, sweet sounds of Old Time Battles?”

You grasp your axe, ready to plunge it into Gortash’s head. But you want to enjoy this moment. You want him to witness it.

“HEY ENVER!” you shout.

He turns around in his seat and his eyes go wide. You swing the axe over your head, screeching like a madman as you slam it into the middle of his forehead with a satisfying crack. Blood flies onto your raincloak and your face. You yank the blade from his head and blood streams down his face. You strike again, again, and again into his body until he crumples to the floor.

“Try closing that sale to the Flaming Fists now you fucking stupid bastard!” you scream, laughing maniacally as you strike over and over. Your arms tire quickly while Enver Gortash is made mincemeat at your feet. When he is well and truly dead, you finally stop.

The ecstasy of the kill washes over you and you feel whole. The bloody pulp in the middle of your floor fills you with such joy you cannot speak. You collapse on the couch opposite to where Gortash sat and breathe deeply. This kill will not go unnoticed, but you care not as you’ve finally put this bastard down.

Your rancid blood is calm for now.

[olderthannetfic]

on a bunch of socials i've been seeing so many people complain about the barbie movie (which isn't even out yet, for fuck's sake) because "it's clearly fetishistic." basically, they think that it's meant to attract people with a foot fetish because of how many shots there are of margot robbie's feet.

now, ignoring the absolute madness of that statement, how are kids playing with barbies, nowadays, if older teens and young adults are worried about this movie taking away the innocence of the little ones?

because i know damn well that my barbies were all serial killers.

i don't remember a single storyline i've played through that didn't contain someone murdering someone else, and even if i wasn't big on the "massive barbie orgies" so many other little kids seemed to have played through, there was still plenty of cheating and sometimes incestuous sisters too (either that or, because i had a single ken, i'd have complicated plots about the ken cheating on his barbie girlfriend with her sister, if not her mother).

i surely wouldn't have known what a foot fetish is, but i'm fairly sure that a foot fetish is more innocent than the insurance fraud through murder plots i'd come up with.

--

I just dismembered mine and made their parts into sculptures.

Years later, my mother sent me a NYT article about girls doing that going "It wasn't just you!" and I was like "Uh, literally any child with barbies could have told you that."

[faisdm]

So I saw Glass Onion yesterday, and then I was shown the Ben Shapiro tweets about it, and the way he misses the theme of the movie by thinking it’s about Elon Musk specifically is so funny to me.

I’m gonna have to cut here for spoilers (and length, oops), but...

Musk’s spectacular failure and metaphorically burning down all his own fortune by turning out to not be all that smart after all perfectly coinciding with the release of the movie is pure serendipity. Rian Johnson could not possibly have known it would happen with such timing.

Because the movie isn’t about Musk specifically, it’s about people like Musk. It just happened that by beautiful fate, an example happened very publicly in real life just when the movie came out. Hell, you could say the shitshow going on with FTX is the same thing. People have been saying “these guys are absolute fools” for ages, but there was always this denial like “no, but... they *must be smart* because look at all the money they have and they keep saying all these clever words and saying stuff about computers. Only a smart person could make special digital money with lots of smart words and make lots of money off it!” even though... we’ve been saying “guys, it’s just a ponzi scheme. It’s a ponzi scheme. Oh my god, it’s just a ponzi scheme with fancy computer words around it! They’re just doing really basic fraud with a veneer of cleverness!”

Because the unifying theme of both Knives Out movies is that rich people, no matter what they claim about deserving their fortune for being smarter, more hard-working, more daring than other people... are usually no smarter than anyone else. In fact, especially rich people who talk about how clever they are, they’re usually just cruel and opportunistic; they just do things other people wouldn’t even think of doing, never mind do, because most people aren’t that nasty or selfish, and then let other people fill in the space with “well, they must be really clever because they can’t have just done that asshole thing. It wouldn’t make sense.”

I love that there’s even a line in this movie, specifically pointing out that speaking without thinking isn’t necessarily more true or clever or anything. The “disruptors/shitheads” in this movie are all people who believe that their ability to just do things without hesitating makes them superior and special; even in the face of all the evidence that they only have any of their success because they have a benefactor to bail them out. It’s brilliant. Just like with real life serial killers; they’re not geniuses who don’t get caught due to being clever masterminds and leading the detectives on a daring chase; they’re brutal, nasty opportunists, who take advantage of a system that’s biased against marginalised people while always respecting the ideas and cleverness of even a mediocre cishet white man, allowing them to kill somebody, not be seen as suspicious even when acting blatantly suspicious, and benefit from a slow response and unwillingness to trust testimony from the victim’s friends and families over his word.

The villain in this one confounds Benoit Blanc by setting up the appearance of being a mastermind. Benoit goes in with the assumption he’s dealing with a clever mastermind and jumps through all the hoops, treating the layers of artifice as if they have actual substance... and then ultimately the murderer is brought down by the person who, on receiving a puzzle box, smashed it with a hammer. Because he’s not a mastermind; he’s somebody who surrounds himself in layers of apparent cleverness with no real substance to them; the cleverness only really exists if you choose to buy into it. Fans of Musk and other “Crypto geniuses” see all these layers of tech words and the vestiges of cleverness and take them as signs they’re looking at a clever individual, even when the truth that the person is actually an utter fool is staring them in the face.

So yeah, it was a good movie and I liked it.

[jamiesfootball]

i simply must know what are you thoughts on The Dutchman

Personality-wise? As just a little dude who lives on a boat? Seems like a chill guy. I like the way he says 'gezellig'. The actor read his scenes with a wonderful, expressive earnestness and I think he did a lovely job.

Narratively-wise in the context of Amsterdam? Mixed in a few ways. I see what they were trying to do, but I don't think they executed it cleanly. The pilot / lightning clues didn't feel organic. After watching the episode, I saw a lot of people online talking about how it was clearly referencing Roman Holiday--a movie I have not seen. My personal opinion when it comes to media referencing media is that you have to be thoughtful of how someone who's not familiar with it will interpret it. In this case I think they prioritized painting the story they wanted to tell, but in doing so they forgot to take into account how an unfamiliar watcher would primarily view the scene from the pov character's logic, in this case Rebecca.

Narratively-wise in the context of Amsterdam an the finale? When the finale aired I think my response was, "Oh. Okay then." I wasn't wowed by it. The storytelling tactics they used were solid but not necessarily satisfying. Then the longer I thought about it, the more I was annoyed. The psychic storyline just wasn't very good. It started out with a strong swing, but the longer it went on the more I forgot it was happening. If I put all of the pieces of the 'clues' together, there's no single story running through the reveals, no escalation of the stakes via narrative or emotions. They just kind of happen one after the other. They introduced this tension with Rebecca realizing that she was unsatisfied with this part of her life and then she...well, aside from looking into the physical possibility of giving birth, she didn't do anything did she? Everything after that was just the plot happening to her. She finds a clue, makes a shocked face, and then goes about her day. The plot just happens to her.

This is additionally frustrating because there were many ways that plot could have gone. She could have actively decided to adopt. The narrative could have turned it back around to a 'if you're pursuing what you want, eventually it will find you' storyline and had her actively seek out the opportunities that would allow her to build a family. It could have--and here's an actual twist--actually been the first show I could think of where the main character actively wrestles with the fact that she's too old to have kids and learns to make peace with it without ever being mocked by the narrative for being less than. It could have taken the easy stance of just 'fuck psychics, they're all frauds'.

Just to be clear my gripe is not that she fell in love with a random dude on a boat. My gripe is that the narrative set this up as something not-random, something meant to happen, and then stripped all agency from the character in how to get there.

She didn't even fall in the river for a good reason! The accident wasn't even for Rebecca-driven reason! She dropped her army soldier in and jumped in without thinking! She was on the phone with Keeley, who said something like 'blargh! I'm right behind you!', and when Rebecca turned around too fast she fell in! She saw a goddamn Richmond ghost and got spooked! Even a crumb of agency would have made it seem like an experience Rebecca alone was meant to have.

The one thing I think was just lovely, absolutely heart-stabbing, was that they got the actress that played young Rebecca to also play her (implied future) daughter. But that had nothing to do with the Dutchman or the plot. That was just inspired casting.

So what to I think of the Dutch Boat Guy?

Eh. He's fine.

Additional note: I have mentioned this before that the day Amsterdam aired I had just listened to a four hour podcast episode about Jeffrey Dahmer, a serial killer who's MO was luring people back to his house and then drugging him. This made watching the Dutchman scenes WILDLY UNCOMFORTABLE. Not knowing that they were referencing another movie did not help this fact.

[denimbex1986]

NETFLIX'S RIPLEY ADAPTATION is the newest in a long line of movies and television shows bringing the thief, serial killer, and fraud to life. First off was Purple Noon, a French 1960 rendition. But audiences may be more familiar with more recent versions in film, one starring Dennis Hopper in 1977 (The American Friend), one in 2002 starring John Malkovich (Ripley's Game), and, most notably, a 1999 film starring Matt Damon (The Talented Mr. Ripley).

Now, Andrew Scott is taking on the title role, fresh off his widely-acclaimed appearance in All Of Us Strangers. Rather than a film, however, Netflix is taking a stab at a limited series; anyone expecting a one-to-one reenactment of Matt Damon's performance in The Talented Mr. Ripley will be sorely disappointed, however.

The adventures of Tom Ripley all come from not one, but five books from famed writer Patricia Highsmith. She also wrote The Price of Salt (adapted into the Oscar-winning filmCarol) and Strangers on a Train. Over the course of Highsmith's career, she wrote 22 novels, and was best known for penning psychological thrillers (meaning they were perfect for television and movie adaptations).

So far, only three of the Tom Ripley novels have actually been adapted into a show or film. Still, that's three different parts of Ripley's life, each with their own various live-action versions. It's a lot to make sense of if you're coming in after watching Ripley...'

[themovieblogonline]

Saw X Review: One of Jigsaw's Best Games Ever

Saw X weaves a complex tapestry of suspense, redemption, and betrayal, marking a riveting addition to the iconic horror franchise. Directed and edited by Kevin Greutert, and penned by the talented duo of Josh Stolberg and Peter Goldfinger, this installment bridges the narrative gap between the original Saw and its sequel, Saw II. The film's storyline ventures into uncharted territory, injecting fresh blood into the series while retaining the signature elements that fans adore. https://www.youtube.com/watch?v=t3PzUo4P21c In Saw X, John Kramer travels to Mexico for a risky and experimental medical procedure in the hopes of receiving a miraculous cure, only to learn the entire procedure is a fraud intended to take advantage of the most helpless. The notorious serial killer, now motivated by a new goal, uses bizarre and clever traps to defeat the con artists. The Good: Tobin Bell's portrayal of John Kramer, the enigmatic Jigsaw, is nothing short of magnificent. While we've obviously seen him in every single Saw movie except for Spiral, he is relatively a side character in his films. Most Saw films follow the person who is trapped in his game, while we occasionally cut to some detectives trying to put the pieces together and hunt down Jigsaw. But not here. Tobin Bell's Jigsaw is put front and center of this story, which is one of the wisest choices they could've done. His performance transcends the screen, delving deep into the psyche of a man grappling with his mortality. Bell's nuanced delivery captures the essence of a character torn between his principles and the grim reality of his own impending demise. His performance is, without a doubt, Oscar-worthy, capturing the torment, resilience, and twisted morality that defines Jigsaw. Will he actually receive an Oscar nomination for his role? Unfortunately not. But in a perfect world, he would. The film's strength lies in its ability to make audiences empathize with Jigsaw, a feat achieved through clever storytelling and compelling character development. As the audience delves into John Kramer's desperate search for a second chance at life, they find themselves unexpectedly rooting for a character previously perceived as a cold-hearted antagonist. This shift in perspective is a testament to the film's exceptional writing and Bell's impeccable acting, which humanizes Jigsaw in ways previously unexplored. Saw X excels in its ability to keep viewers on the edge of their seats. The intricate traps, ingeniously designed by the diabolical minds behind the franchise, elicit genuine tension and nail-biting suspense. Each trap is meticulously crafted, posing a moral dilemma that challenges the characters' beliefs and pushes them to their limits. The creativity displayed in these sequences showcases the filmmakers' dedication to delivering a visceral and heart-pounding experience. The film's supporting cast delivers commendable performances, with Shawnee Smith reprising her role as Amanda Young, Synnøve Macody Lund portraying the cunning Cecilia Pederson, Steven Brand embodying the desperate Parker Sears, and Renata Vaca bringing depth to the character of Gabriela. Their collective efforts enhance the film's emotional resonance, adding layers to the intricate web of deceit and desperation. But it's Smith who gets the meatiest supporting role here as Amanda. She is one of the most fascinating characters in the entire franchise, and while she was quite intriguing in Saw II and Saw III, it's safe to say that she has never been better in Saw X. A large portion of the film focuses on Amanda's doubts on taking over for John once he inevitably passes away from cancer, and we frequently see John reassuring her, telling her that she has what it takes and is ready. In a way, it's weirdly beautiful and heartfelt even though we know we're watching two psychopathic characters who put people in deadly traps. It's hard to think of another film that makes you care for the villains so deeply. By making a handful of characters in Saw X that somehow feel even more sick and twisted than Jigsaw and Amanda is truly brilliant screenwriting. If they do ultimately decide to make another Saw film after this one, they surely need to bring back Goldfinger and Stolberg, as they've shown that they absolutely know what they're doing with these characters. And, no spoilers of course, but this film does contain an extraordinary end-credits scene that will have longtime Saw fans giddy, myself included. The Bad: However, Saw X is not without its flaws. At times, the plot becomes convoluted, requiring viewers to piece together fragmented information to fully grasp the intricacies of the story. While the complexity adds depth to the narrative, it may leave some audience members feeling slightly disoriented. Additionally, some character motivations, particularly towards the film's climax, might appear slightly contrived, requiring a suspension of disbelief to fully invest in the unfolding events. Overall: Saw X stands as a magificent entry in the franchise, skillfully blending elements of horror, suspense, and psychological drama. Tobin Bell's exceptional performance elevates the film, making it the second best entry in franchise that's been going on for nearly two decades now. The film's ability to evoke empathy for its iconic antagonist is a testament to the filmmakers' storytelling prowess. While it occasionally stumbles in its complexity, the film's gripping traps, stellar performances, and unexpected twists make it a must-watch for both longtime fans and newcomers to the series. Saw X is a thrilling rollercoaster of emotions, reminding audiences why the Saw franchise continues to captivate and terrify audiences worldwide. Read the full article

[tgirls-from-albania]

YOU CALL IT A GENOCIDE THEY CALL IT A GOYIM CULLING,,the white nationalist races call it mass murder of the white nationalist human races and these parasites will be wiped off the planet soon this is not there planet. fucken scumbag racist robber baron terrorists they want the entire planet to them self's the white nationalist races are being mass murdered this is mass murder of the entire white nationalist human races and there country.s ,,these Israeli mossad jewball demon scumbag beasts and there terrorist mafia jewball rabbi.s are the worse criminal racist terrorist land occupiers and world wide robber baron land grabbing mass murdering terrorists.this entire planet needs to stop these nasty ass narcissist racist terrorists this is mass murder of the white human races and this has gone long enough to long the planet needs to wipe these world terrorists scumbags off the face of this planet this is thee most evil scumbag beasts to walk on gods green earth they need to be removed wiped off the planet dig asap from all white governments they do not belong in white nationalist governments world wide mind you at all. they are thee most dangerous demons on earth these beasts have no authority over any white nationalist races on this planet some one better tell these criminally inbreed retards and there paid nasty ass immigrants to leave or we all wipe them off the planet.they are thee most worthless scumbags in history of mankind the cry baby race of child rapist pigs land grabbing thief's and mass murderers they steal the nations wealth and say we owe them the terrorist scumbags they need to be wiped off the planet for sure they are thee most deranged retards in history of the world.this shit needs to end or the planet will end there nasty ass lives they are thee most evil scum of the earth and thee biggest criminal mass murderers and serial world scammers of all time the con artists and cry baby acting race lying pigs.this criminal world wide lie the holocaust and there block buster Hollywood movie of thee most biggest lie in human history of mankind 6 million gassed has gone long enough,, enough of the criminal world wide bullshit sob fake ass story they use it against the white nationalist human races of this planet,point is so what and ????? and the point is what we all stop what we are doing to cater to the biggest sissy ass demons on earth ???? . and the point is what ?????? its fucken sickening and criminal at this point.point is so fucken what and we all have to stop what we are fucken doing to cater to these cry baby retards for decades ???? what the fuck does that got to do with being a white man or woman in a nationalist country this banking system is thee most criminal racist land grabbing monopolizing terrorists in human history. in what way are these parasites being tortured and they want a sissy ass cry baby anti semetic law to protect them only and no one else on this planet just them. sticks and stones may break my bones but words will always harm the scumbag racists Jews Israel mossad thee biggest cry baby race in human history and the only terrorists in world history ?????? these parasite beasts need to be stopped and executed for world treason world mass murder world fraud world financial land grabbing terrorist mass murder games mass retardation games from there get whitey news hour .mass murder of the entire white nationalist country.s as well as in our home lands,there fucken little punk ass jewboys little boys there not men of god they are thee most pathetic parasites ever to walk on gods green earth scumbag low life peace of filthy shit.,homicidal mass murdering child rapist terrorists of this planet

[andnowanowl]

I watched "Catch Me If You Can" for the first time about fifteen years ago when I was a teenager, and even then the whole "fraudster got to work for the FBI" thing rubbed me the wrong way. Fast forward to tonight, I watch it again for the first time since I was a teen. Not only does most of the story seem fake as hell (oh yeah, this dude was totally landing attractive girls left and right 🙄), but it turns out that the movie is based on a book that the real guy co-wrote. Or at least gave interviews for. So this conman and serial liar, Frank Abagnale Jr., hoodwinked the world again by first writing the book and having it made into a movie, which made him even more famous.

Because most of his exploits have either been greatly exaggerated or entirely fabricated. After the movie came out, journalists really started looking into him. They interviewed his fraud victims. He was breaking into people's house and sleeping in their beds when they weren't home like a total creep. He never worked for the FBI; the FBI denies ever working with him. The guy is like Donald Trump, only without the malignant political ambition.

Why the hell someone sat him down for interviews and took him at his word is a mystery.

[m0mmat0rtle]

FANCY FNAF MOVIE ➵ Ch. 9

"Glad to see the house is still standing."

Mike said as his little sister ran up to him. "Can I come with you to work tonight?" "No." Mike didn't hesitate. He looked to Fancy.

"Hi." He said softly. "Thanks again for watching her, like I said, I'll pay you... eventually."

"Mike it's fine." "Well if there's anything I can-" "Actually there is." Mike raised a brow at her, he wasn't expecting her to respond so fast or urgently. "You have a VHS player at work right?" Mike nodded. "Yeah why?" "Can I use it?" Mike sighed. "Yeah... yeah I guess so." he replied.

"Why does she get to go to work with you?" Abby complained with a frown. "Because... because she's weird and I have to keep an eye on her to make sure she doesn't commit some kind of felony." Fancy giggled.

"I have to get ready for work anyways." "Oh Mike, there's still some Alfredo left over from dinner if you want some." "Alfredo? What happened to Stouffers?" "If you thought I was going to feed that garbage to your sister then you're actually crazier than I am."

"Garbage?" "I made Alfredo. It was easy and I cleaned up. So you have nothing to worry about, and your sister ate something healthier than flash frozen lasagna." "Okay fine whatever."

Mike walked off to go find his sister who had run into her room with his vest for work. "Abby- no don't take that!" He shouted as he sped his walk into a run. "Abby-" Fancy could hear him from the living room, their banter heartwarming.

"Abby why are your polly pockets in your lizard tank?" "Fancy and I put them in there because they committed tax fraud."

"You- you what?" He sighed. Fancy giggled from the living room, overhearing their exchange. "Do you even know what that is?" "Sure, Fancy told me. It's when you don't give the government the money they want. Do you think we can tell the police that aunt Jane does that? That way we don't have to worry about her anymore?" Mike sighed again. He pulled his vest out of her hands.

"No, Abby, we cannot accuse your aunt of committing tax fraud." "Hey!" She cried. "I want the vest!" He walked out of her room. "Did you really teach my little sister about tax fraud?" He asked Fancy who was holing in a laugh. "Maybe." She replied. Mike Rolled his eyes. "Look, Max is here and I'm running late." He checked his watch. "Come on, Fancy Drew." "Did you just-" "I did. Now let's go."

˗ˏˋ ★ ˎˊ˗

"So what did you need this VHS player for exactly?" Mike asked, the two of them entering that same familiar office, this time together at the same time.

"I have a tape from the police department, it's of some kind of interview from the investigation with the five missing children. It's part of the case file, you probably aren't supposed to view it-" Fancy shrugged.

"I hardly think Officer Hayden Hurst will care." She did a fake professional gruff accent when she said the name of the officer who was supposed to be observing her internship. Mike chuckled.

"So he really is a jerk like Vanessa said?" "Oh my god, Mike you don't even know. He's just awful. Misogynistic and just ew." "Just ew, huh?" "yes! And he makes me call him sir! He's not even like thirty! And he makes me call him sir!" Mike laughed again.

"What?" Fancy asked. "What is so funny?" "Nothing nothing it's just-" "Just what?" "you're so weird." Mike said as he shook his head.

"One second you're acting like a literal lawyer, spitting out technical terms that I can't even hope to comprehend; you're researching serial killers, and now you're sitting here gossiping to me like some sort of 'it girl'. It's just, not what I was expecting." "I'm not what anyone expects." "That's for sure." Mike replied as he shook his head and Fancy pulled the tape from her bag.

"Now for the main event." She said as she wiggled the tape in the air, excitement in her voice. Was it sad that she got excited about these things? She couldn't tell anymore. She reached down and placed the tape in the player, pressed it closed, and then pressed play.

˗ˏˋ ★ ˎˊ˗

Static.

Static rushing between sides of the scream and the screaming of mushy groaning pure sound- TV static. It only lasted less than a minute but it felt like the static looked into her soul, reaching and grasping for that tiny locked box in the back of her mind.

No.

No it couldn't have it. She couldn't open that box with those memories, not here, not now, not with Mike present. He didn't need to know. He couldn't know. Shouldn't know. The static cleared and the TV showed the downward view of an interview table.

A table in a room with three men around it. On one side sat two officers and on the other sat a man that Fancy didn't recognize. One of the officers cleared his throat and tapped his stacked documents against the cold metal table. The sound echoed across the room and through the TV and straight into Fancy's ears.

"Alright, Mr. Patrick," He said, his voice sounded so tired.

Fancy imagined he was, absolutely exhausted. She put herself in his shoes, the unnamed officer assigned to the case originally when it was in it's prime days of investigation.

Every lead he followed turned up cold. Nothing had worked out for this man in 1983 and it wasn't working out for her either. She was reaching the same roadblocks that he had. No evidence.

Wait, did he say Mr. Patrick? As in Ness?

"You willingly came in for this interview, correct?" The man across from them nodded. "I just want to help my community." He said. that voice. She knew that voice. But from where?

"Can you tell us what you know about *RETRACTED*."

Seriously? They were going to play this game? Give her the interview but not the top suspect's name. Fine. she knew who they were talking about anyways. But Mike didn't. Or maybe he did? The retracting of the name was probably for the best anyways since Mike most likely wasn't even supposed to be viewing this. Private police property, confidential, you know?

"Oh I know *RETRACTED* quite well. We're poker buddies. Every Wednesday evening we used get together at my house, his house, or Henry Schmidt's place. That was our group, the three of us. We used to play poker for hours and hours." "Would you say you knew *RETRACTED* pretty well?" "Yes I would say so." "So what can you tell us about December 30th 1983?"

"I can tell you that *RETRACTED* was at my house playing poker until 11:30pm. Roughly, of course." "Was Henry Schmidt there as well?" "As a matter of fact, he was not, he and his wife were out of town for some reason. I can't remember what exactly but I'm sure he could tell you himself if you really wanted to know." "So it was only you and *RETRACTED*?" "Yes." "What time did *RETRACTED* arrive at your address?" "I'd say about five thirty, uh ish."

One of the officers wrote something something down.

"Are you aware of the circumstances under which we are questioning you?" "The missing kids right?" "yes. Do you know anything about the missing children?" "I do not." "Do you know if *RETRACTED* killed them?" "He did not. He was playing poker with me." "Do you know where the bodies were hidden?" "I do not."

One of the officers sighed and shuffled his papers as he leaned back in his chair. "Alright Mr. Patrick I think that's all we have for you. You're free to go." "Thank you." Mr. Patrick said as he stood. "Uh, Mr. Patrick, one more thing," the other officer asked as he stood.

"Would you say that *RETRACTED* has a good poker face?"

"Yes."

Masterlist

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[welcometohighwater]

my favorite halloween movie is about little old ladies who also happen to be serial killers

my (third) favorite christmas movie is about three escaped convicts orchestrating two deaths and committing fraud to ensure a happy christmas for a family who treated them with kindness

[smokeybrandreviews]

Upward and Onward

I finally sat down and watched Indiana Jones and the Dial of Destiny. I took in that entire two and a half hour run time, in one sitting. Now, i like the Indy films. I can't say they're my favorites but they are more than enjoyable. Crusade is, obviously, the best of the bunch, but i have a soft spot for Skull. What i don't have a soft spot for, is the goddamn vitriol Dial has gotten. It's weird to say but thus film didn't suck near as bad as everyone made it out to be. Now, take that with a grain of salt because, and i have to be honest here, Indiana Jones films are not top tier cinema. They are nostalgic love letters to the serial George and Steven watched as children. That's it. They were never supposed to be high brow cinema. Indiana Jones is never going to win any Oscars. It's weird as f*ck to me that, because Fleabag is in this one, every one lost their collective sh*t about it. Dial is a perfectly serviceable Indiana Jones film that is, arguably, the third best of the five. Dial is definitely better than Skull and i think more entertaining than Temple. It hits all the beats an Indy film should and Mangold directed his ass off to get that cohesion. Indiana Jones and the Dial of Destiny does not suck. It is good. It is a decent Indiana Jones film. There is nothing wrong with this perfectly serviceable entry into the franchise. Watching this movie, and having a pretty solid time with it, really put into perspective all of the noise fandom has been making lately.

I got a hint of this, too, while Ahsoka was airing. Sure, those first few episodes dragged a little more than they should have but, once it started picking up steam, it really went places. I've written essay after essay about episode five and the ramifications it had in terms of the mythos. As a fan of Star Wars, you couldn't help but love that action and yet, so much discourse. So much whining. So much forced vitriol. Ahsoka was good. It was fun. it was the closest thing to Star Wars we've gotten since the first season of Mando. Why all the f*cking hate? Because Kathleen Kennedy has poisoned the well. I can't stand what that dizzy, egotistical, arrogant, fraud has done to my darling Skywalkers either but her reign is at an end. Dave Filoni is now in charge of all things creative at Lucasfilm, as he should have bee in the very beginning. That needs hit me like a ton of bricks I rejoiced because we were about to get a ton of good content, in terms of narrative, going forward. Was the Fandom Menace happy? Of course not. Bro, when we all realized Kennedy was f*cking sh*t up on purpose, Filoni was who we wanted in charge. It was the only option, outside of Lucas, which made sense. Now that he is, y'all still have a problem? Really? See, now, this sh*t just sounds like a grift rather than a proper rebellion.

In all honesty, Lucas film has mad nothing one would consider great cinema. Star Wars, Willow, and Indiana Jones aren't winning awards outside of technical or costuming. You're not getting Academy Award winning performances out of a galaxy far, far, away. Being upset because there's politics in a franchise called Star Wars or that Fleabag is riding shotgun with Indiana Jones, is f*cking dumb. Being upset because there is mad disrespect to the content which came before, or that the quality of writing has fallen considerably, or that character development went out the window in favor of hamfisted virtue signaling, are things one should get the pitchforks out for. A disillusioned Luke is an interesting take on the character. Not exploring why he was disillusioned in favor of assassinating his character to "develop" Rei, was the critical misstep in that film. From what i heard about Dial's production, something similar was to happen to Indy but Iger nipped that sh*t in the bud. Obviously, sabotage the last of Kennedy's projects on principal but sitting here pretending that Dial was the worst Indiana Jones film when Crystal Skull exists, or that Ahsoka was the best thing out of Disney Star Wares since Rogue One, or that Filoni taking over the reins of Creative at Lucasfilm isn't exactly what everyone wanted, is both damaging to the cause and disingenuous to out intent.

The problem was never the woke. Marvel was chock full of that sh*t from the very beginning. It was the gender and race bending that ruined our beloved franchises. It was poor writing and Corpo greed. it was Marvel and Star Wars expected to prop up Disney plus. It was Kathleen Kennedy upset she never got undue credit for her contributions to Star Wars. No one cares that Rei is the lead of the sequels. We were upset because none of that sh*t was earned. She was a poorly written character who was increasingly unlikable as her set of films progressed. Lightyear and Strange Worlds failed, not because they were gay, but because they were a boring watch. You can write Woke sh*t and have it be recognized as brilliant. Look at everything Jordan Peele has made. Black Panther. You can have strong female leads with no problem. Promising Young Female comes to mind. Everything Everywhere All at Once. You can even do the Rei thing correctly, which Filoni already did, with Ahsoka. Go back and watch those early appearance in Clone Wars then juxtapose them against that last season. Tell me Ahsoka Tano isn't one of, if not the most developed character in all of canon Star Wars. All of this started with strong writing and purposeful character development, sh*t Corpo Disney and Kathleen Kennedy couldn't be bothered with even attempting. The MCU used to have that, too, but because they were supposed to drop forty TV shows and six movies a year just to prop up Pixar and Lucasfilm's failings, sh*t took a tun with quality anything over there.

It's wild to me that we, as fans, finally get exactly what we want. Kennedy is banished off to the Shadow Zone. Filoni is in charge of Lucasfilm Creative. Iger has decreed that the MCU is to pull back on TV shows and focus on two or three films a year, with the option for small screen adaption a few years down the line. Budgets are being reined in all over the company and people are being held accountable. These are all things we've wanted since the Mouse House punched out with Endgame. The tide has turned in Hollywood, overall, and sh*t is looking like there will be a return emphasis on creating dope sh*t rather than pandering to shareholders, yet, i still hear cats denigrating our favorite franchises because "muh culture war". Bro, when fans get everything they want, when Corpo Hollywood has to acquiesce to Creative Hollywood, When every issue we had is addressed, cats should, at the very least, take a wait-and-see posture going forward. I am. Ahsoka was a step in the right direction. The talk of Doom taking over as the big bad of Phase Five is the right direction. Kathleen Kennedy and her ridiculous cancer being completely cut out of Lucasfilm is the right direction. Loki si arguably the best thing the MCU has made since Infinity War. A focus on writing quality scripts and turning a eye toward detail rather than stock price, is the right direction. We are trending upward. It's a goddamn shame a very vocal minority keeps trying to shout that progress down.

[smokeybrand]

Upward and Onward

I finally sat down and watched Indiana Jones and the Dial of Destiny. I took in that entire two and a half hour run time, in one sitting. Now, i like the Indy films. I can't say they're my favorites but they are more than enjoyable. Crusade is, obviously, the best of the bunch, but i have a soft spot for Skull. What i don't have a soft spot for, is the goddamn vitriol Dial has gotten. It's weird to say but thus film didn't suck near as bad as everyone made it out to be. Now, take that with a grain of salt because, and i have to be honest here, Indiana Jones films are not top tier cinema. They are nostalgic love letters to the serial George and Steven watched as children. That's it. They were never supposed to be high brow cinema. Indiana Jones is never going to win any Oscars. It's weird as f*ck to me that, because Fleabag is in this one, every one lost their collective sh*t about it. Dial is a perfectly serviceable Indiana Jones film that is, arguably, the third best of the five. Dial is definitely better than Skull and i think more entertaining than Temple. It hits all the beats an Indy film should and Mangold directed his ass off to get that cohesion. Indiana Jones and the Dial of Destiny does not suck. It is good. It is a decent Indiana Jones film. There is nothing wrong with this perfectly serviceable entry into the franchise. Watching this movie, and having a pretty solid time with it, really put into perspective all of the noise fandom has been making lately.

I got a hint of this, too, while Ahsoka was airing. Sure, those first few episodes dragged a little more than they should have but, once it started picking up steam, it really went places. I've written essay after essay about episode five and the ramifications it had in terms of the mythos. As a fan of Star Wars, you couldn't help but love that action and yet, so much discourse. So much whining. So much forced vitriol. Ahsoka was good. It was fun. it was the closest thing to Star Wars we've gotten since the first season of Mando. Why all the f*cking hate? Because Kathleen Kennedy has poisoned the well. I can't stand what that dizzy, egotistical, arrogant, fraud has done to my darling Skywalkers either but her reign is at an end. Dave Filoni is now in charge of all things creative at Lucasfilm, as he should have bee in the very beginning. That needs hit me like a ton of bricks I rejoiced because we were about to get a ton of good content, in terms of narrative, going forward. Was the Fandom Menace happy? Of course not. Bro, when we all realized Kennedy was f*cking sh*t up on purpose, Filoni was who we wanted in charge. It was the only option, outside of Lucas, which made sense. Now that he is, y'all still have a problem? Really? See, now, this sh*t just sounds like a grift rather than a proper rebellion.

In all honesty, Lucas film has mad nothing one would consider great cinema. Star Wars, Willow, and Indiana Jones aren't winning awards outside of technical or costuming. You're not getting Academy Award winning performances out of a galaxy far, far, away. Being upset because there's politics in a franchise called Star Wars or that Fleabag is riding shotgun with Indiana Jones, is f*cking dumb. Being upset because there is mad disrespect to the content which came before, or that the quality of writing has fallen considerably, or that character development went out the window in favor of hamfisted virtue signaling, are things one should get the pitchforks out for. A disillusioned Luke is an interesting take on the character. Not exploring why he was disillusioned in favor of assassinating his character to "develop" Rei, was the critical misstep in that film. From what i heard about Dial's production, something similar was to happen to Indy but Iger nipped that sh*t in the bud. Obviously, sabotage the last of Kennedy's projects on principal but sitting here pretending that Dial was the worst Indiana Jones film when Crystal Skull exists, or that Ahsoka was the best thing out of Disney Star Wares since Rogue One, or that Filoni taking over the reins of Creative at Lucasfilm isn't exactly what everyone wanted, is both damaging to the cause and disingenuous to out intent.

The problem was never the woke. Marvel was chock full of that sh*t from the very beginning. It was the gender and race bending that ruined our beloved franchises. It was poor writing and Corpo greed. it was Marvel and Star Wars expected to prop up Disney plus. It was Kathleen Kennedy upset she never got undue credit for her contributions to Star Wars. No one cares that Rei is the lead of the sequels. We were upset because none of that sh*t was earned. She was a poorly written character who was increasingly unlikable as her set of films progressed. Lightyear and Strange Worlds failed, not because they were gay, but because they were a boring watch. You can write Woke sh*t and have it be recognized as brilliant. Look at everything Jordan Peele has made. Black Panther. You can have strong female leads with no problem. Promising Young Female comes to mind. Everything Everywhere All at Once. You can even do the Rei thing correctly, which Filoni already did, with Ahsoka. Go back and watch those early appearance in Clone Wars then juxtapose them against that last season. Tell me Ahsoka Tano isn't one of, if not the most developed character in all of canon Star Wars. All of this started with strong writing and purposeful character development, sh*t Corpo Disney and Kathleen Kennedy couldn't be bothered with even attempting. The MCU used to have that, too, but because they were supposed to drop forty TV shows and six movies a year just to prop up Pixar and Lucasfilm's failings, sh*t took a tun with quality anything over there.

It's wild to me that we, as fans, finally get exactly what we want. Kennedy is banished off to the Shadow Zone. Filoni is in charge of Lucasfilm Creative. Iger has decreed that the MCU is to pull back on TV shows and focus on two or three films a year, with the option for small screen adaption a few years down the line. Budgets are being reined in all over the company and people are being held accountable. These are all things we've wanted since the Mouse House punched out with Endgame. The tide has turned in Hollywood, overall, and sh*t is looking like there will be a return emphasis on creating dope sh*t rather than pandering to shareholders, yet, i still hear cats denigrating our favorite franchises because "muh culture war". Bro, when fans get everything they want, when Corpo Hollywood has to acquiesce to Creative Hollywood, When every issue we had is addressed, cats should, at the very least, take a wait-and-see posture going forward. I am. Ahsoka was a step in the right direction. The talk of Doom taking over as the big bad of Phase Five is the right direction. Kathleen Kennedy and her ridiculous cancer being completely cut out of Lucasfilm is the right direction. Loki si arguably the best thing the MCU has made since Infinity War. A focus on writing quality scripts and turning a eye toward detail rather than stock price, is the right direction. We are trending upward. It's a goddamn shame a very vocal minority keeps trying to shout that progress down.

[sanguinifex]

So, if we do get a tooth regrowth drug…

1) Body modders (and some really niche fetish models) are going to have a field day.

2) It’s going to be central to a couple of potentially amazing movies, though the actual teeth on film would be special effects unless one of the actors is way too into method acting:

a) Horror movie: Serial killer dentist kidnaps people and makes them grow teeth in places there absolutely should not be teeth, at times followed by the gruesome extraction of such teeth. It’s a massive gorefest. If done properly, everyone leaves feeling like they saw a porno but for something they’re really not into.

b) Comedy/action movie: The child of a completely normal dentist gets their hands on the DonteGen®️ during Take Your Kid To Work Day and decides to grow extra teeth on a pork chop hooked up to several nine-volt batteries (handwave the science bc funny) to get more cash from the Tooth Fairy. Problem is, under Fae Law, this is considered fraud. And under Fae Law, the “cops” are Mad Max goons with magic powers. Hijinks and wild car chases (in battery-operated toy cars) ensue, but everything resolves happily in the end when the kid offers up the last dose of DonteGen to cure the Fae Queen’s toothache.

[byneddiedingo]

Michel Vitold and Channing Pollock in Judex (Georges Franju, 1963)

Cast: Channing Pollock, Francine Bergé, Edith Scob, Michel Vitold, Jacques Jouanneau, Théo Sarapo, Sylva Koscina. Screenplay: Jacques Champreux, Francis Lacassin, based on a screenplay by Arthur Bernède and Louis Feuillade. Cinematography: Marcel Fradetal. Art direction: Robert Giordani. Music: Maurice Jarre.

Judex is, like Steven Spielberg's Raiders of the Lost Ark (1981) and the subsequent Indiana Jones sequels, an hommage more than a spoof. In both cases, the filmmakers were affectionately mimicking films of their youth: the cliff-hanging serials that often accompanied feature films. Unlike Spielberg, director Georges Franju had a particular director in mind: Louis Feuillade, who crafted adventure thrillers usually involving master criminals like the titular protagonist of Fantômas (1913) and the sinister Irma Vep of Les Vampires (1915-16). The original Judex serial of 1916 featured a masked crime-fighter, a figure that became increasingly popular after Douglas Fairbanks adapted a magazine story in The Mark of Zorro (Fred Niblo, 1920), leading to numerous comic books and movies about swashbucklers and superheroes using disguises to protect their secret identity. The archetype became so prevalent that eventually it was subject to amused mockery, as in the camped-up Batman TV series of 1966-68. But Franju isn't out to mock Feuillade's serials so much as to recapture some of the innocent thrills of the original, with sets and costumes evoking a pre-World War I naïveté. Judex (Channing Pollock) is a do-gooder who in the film is trying to expose the fraud and murder committed by a wealthy banker, Favraux (Michel Vitol). He has somehow disguised himself (with an obvious fake beard) as Favraux's secretary, Vallières-- the film never bothers with backstories of its characters, so we don't know how Judex/Vallières gained Favraux's confidence and trust -- and manages to fake Favraux's death and hide him away in an elaborate dungeon, where he watches Favraux via an improbably early version of television. But Judex's plans -- which are not entirely clear in any case -- are complicated by his adversary, Diana Monti (Francine Bergé), who has herself been operating as the governess for Favraux's granddaughter. And so on, through an increasingly intricate series of plot twists, clashes, escapes, last-minute rescues, and all of the trappings of the genre. It's really a good deal of fun, though it occasionally goes a little slack, especially if you're not in the mood for such Gallic nostalgia. Marcel Fradetel's black-and-white cinematography mimics the silent-movie style to the mark, even using old-fashion iris shots for transition, and at one point having the comic-relief detective, Cocantin (Jacques Jouanneau), peer through the keyhole, with what he witnesses viewed through a keyhole-shaped aperture. Judex is played by an American magician, Channing Pollock, who performs some sleight-of-hand involving doves. A very handsome presence but no actor, Pollock was hyped as a new Rudolph Valentino, but without success.

[denimbex1986]

'Let's call a spade a spade; anything Andrew Scott touches these days turns to gold.

So we were really excited to find out that he is starring in a brand new eight part series on Netflix that's due to land on April 4.

RIPLEY is based on the Patricia Highsmith's best-selling Tom Ripley novels set in the 1960s. Andrew plays the lead character, a grifter who is hired by a rich man to travel to Italy to get his drifter son to return home.

Of course, it's not a straight forward task, and involves a complex life of deceit, fraud and even murder.

Tom Ripley is a career criminal, con artist and serial killer who gets away with his crimes.

The series also stars Dakota Fanning as Marge Sherwood and Johnny Flynn as Dickie Greenleaf. It's written, produced and directed by Hollywood hot shot Steven Zaillian, the man behind hits including The Girl With A Dragon Tattoo and The Irishman.

The Tom Ripley book series was also the inspiration behind the hit movie The Talented Mr Ripley starring Oscar winner and Dalkey fan Matt Damon.

RIPLEY arrives on Netflix on April 4.'