#Tenet film complet

[lonesomedotmp3]

also evil dead sucked major ass I'm sick of staying silent the more I think about it the more it seems like a total failure under any criteria u give

[rebeccalouisaferguson]

Rebecca Ferguson had no qualms about leading her own TV show. In fact, she relished the opportunity to set the tone for the Apple TV+ series “Silo” from the top down with a “no bulls–t” attitude. “I’m not worried about the consequence of speaking up or saying no or coming forward,” she told TheWrap over Zoom, sitting comfortably on her bedroom floor, draped in a blanket and fiddling with a caffeinated toothpick as her passion for the acclaimed drama manifested physically — like an excitable friend waxing poetic in the wee hours of the night during a sleepover.

“There is no book of how you lead. You listen and you follow,” Ferguson said, speaking not just about her role as the star and executive producer of the dystopian sci-fi series but also about her character Juliet, who is unexpectedly thrust into the role of sheriff — a job she decidedly does not want. 

Based on a trilogy of novels by author Hugh Howey, “Silo” takes place entirely within the confines of a community living inside a giant silo that burrows hundreds of stories into the Earth. Life on the surface is uninhabitable, but Ferguson’s Juliet — an engineer with a tragic past — begins to question the basic tenets that hold the fabric of this community together in a sprawling and emotional storyline.

“She doesn’t want to be sheriff because the idea of human connection and leading people f–king terrifies her,” Ferguson said. “But by questioning, by being a rebel in some form of unchosen way, she changes the status quo of something that has been a structure and shakes it up. And that’s really fascinating, I love it.”

When “Silo” came her way, Ferguson was able to be picky about what projects she took on. She’d become a fan favorite in the “Mission: Impossible” franchise and was earning acclaim for her role in the Oscar-winning “Dune.” So when she was pitched “Silo” and she had some issues with the script, she turned it down. “They came back and said, ‘What was it you didn’t like?’ and I was like, ‘Well this and this,’ and then they came back and they had changed it,” Ferguson recalled. 

“The whole script came to life for me and then (creator) Graham Yost offered me the executive producer credit and — and this is not a joke — I literally grabbed my phone and under my computer screen I was Googling, ’What’s the difference between executive producer and producer?’” she said with a laugh.

Ferguson said she put in a lot of work to prepare for the show’s first season, which she described as “like Indiana Jones underground,” but the key to finding her take on Juliet was in the character’s movement. 

“I wanted to not walk the same way that I always walk,” Ferguson said. “I thought, what happens if I go completely introvert? What if she’s uncomfortable with people and environments?” That meant carrying trauma in Juliet’s shoulders, looking stiff and conveying discomfort when talking to others. “It’s fun!”

When asked if the responsibility she carries as No. 1 on the call sheet is ever daunting, without hesitation Ferguson said no: “I don’t feel that, ever.” She arrives on set early each morning, and she compared her giggly excitement upon seeing the rest of the cast and crew to that of a teacher greeting students each day.

“It’s a weird dynamic but I think the point is, I see you. You know in relationships when someone says, ‘I see you?’ That’s what I feel with these people.”

And she’s eager to see “Silo” through to the end. The show has only been renewed through Season 2, which wrapped filming earlier this year, but Ferguson said she’s under contract for four seasons total and hopes to finish the story. She even knows how it all ends.

“Season 2 is dark. It’s a bonkers exciting season,” Ferguson said of what’s to come. “It is huge, man.”

This story first appeared in the Drama Series issue of TheWrap’s awards magazine

[arviyya]

Hiya, I have some fluffy Rosekiller headcanons to make your day better ❤️

Barty is clingy, he loves to be petted, and he loves when Evan plays with his hair,

Barty can't cook at all, the only meat he can handle is Evan's cock,

Evan is a big fan of films like Interstellar or Tenet. He tried to explain them to Barty many times, but Barty's adhd brain simply can't focus and he just lays next to Evan watching him instead of the movie,

Evan loves comics, Barty loves video games,

Barty can't drink coffee because it's making him sleepy,

Evan will die if he doesn't drink two big mugs of coffee in the morning,

they both are switches, but some things are reserved for Barty only, like being spanked or edged,

Barty has zero manners at all,

Evan at least can pretend he's polite or nice (he's not).

h e l p

"The only meat he can handle is Evan's cock." This absolutely sent me. I love you, anon.

I LOVE when you all make my day better with fluffy rosekiller headcanons. Its the best.

Anyway, Barty really would be so clingy. He wants Evan to kiss and hold him and pet him at all times. Evan would 100% just be sitting there watching a movie and all of a sudden Barty is on his lap, straddling him with his head on Evan's shoulder, clinging like monkeys cling to their mothers. Evan wouldn't even flinch, he's so used to it.

Barty would love watching movies with Evan, and listening to him yap about the details and every single thought he has. This would be Bartys ultimate comfort. Evan's presence and the distraction of his yapping would just completely melt away all of Barty's anxiety.

The comics and video games and coffee headcanons are so cute, I love this.

Oh, and Evan 1000% drinks black coffee. And on the rare occasion Barty gets coffee it's always the most complicated order. It drives Evan nuts. He's always like "B, that isn't even coffee anymore"

Definitely both switches. I'll die on that hill. Gotta say tho, Barty would be the most pathetic in bed, always crying, while Evan would be so good at making him come with almost no effort at all. He just knows Barty. It's cute too, and he does it at inconvenient times like in public restrooms, in the car, at family gatherings - just taking Barty apart so easily.

Barty is totally that loud rude, while Evan is that quiet side comment rude but it's so much worse while he pretends to be so nice.

Ill stop yapping. Can you tell i love them so much

Send me more, I have a longgg drive today

[gacha-incels]

I think one of the reasons it’s hard for people to cold turkey drop being fans/consumers of a piece of contemporary media is how these “fandom” spaces on social media have been set up. you’ve got generalized spaces online (sub-reddits, tumblr, twitter, etc. I would put even those book and film review websites here and imageboards) where you can “join” a pre-existing group of friends completely based on specific pieces of media.

for those who are post-college years and perhaps more introverted, it’s easier to talk with people online in these places and you can log in 24/7. instead of making friends in a physical schooling atmosphere where you’re surrounded by other people daily for 12+ years, you can log in and make friends digitally by being surrounded by people who all consume the same piece of media as you. so your friendship is completely dependent on this piece of media for the most part.

for younger people growing up now I think this also ties into “finding yourself” where they will see consumption of a piece of media as a core tenet of their personality. I believe this is part of why there have been multiple posts about the Project Moon/Limbus Company situation that say “don’t worry whatever you choose you’re not a bad person either way.” This is also reinforced when people online comment “xyz fan” if they want to call your judgement of something into question. They have in effect assigned you a personality based on your consumption a videogame, for example. When the creators do something so ideologically opposite than what the work presents, it’s extra shocking to those fans who considered consuming the work as part of their personality. I think this way of consumption is also why, at least from what I’ve seen, there has been such a drive to label and categorize “aesthetics” into words you can search hashtags for or put in your online profile. This also has got to be a reason why people go so hard in their defense of whatever media, because they feel like when someone criticizes the media they consume they are in effect criticizing the person who consumes it. They are essentially trying to defend themselves.

When something shocking like the kowtowing to misogynistic men situation with Limbus Company, in a sense the way these “fandom” spaces work online now makes it harder for people to completely drop the game. The consumer now has online friendships and is in entire communities based completely on this media, maybe they have also even created fanart and fanfiction. For some of them it’s part of their personality. If they drop it completely they are also losing these online communities , friends and even a sense of self. I think this is a reason you will see a lot of fans ask “what fandom/game should I get into next”, they want to fill this void ASAP.

As a gacha game, Limbus further complicates this by getting the consumer into a routine they now have to break. Every day they have logged in, done the daily gameplay, even the events and gambling banners have a set schedule. These types of games typically have an ensemble cast with specific set types of personalities so fans can choose their favorite(s). As long as they make money they will keep making stories (just look at FGO), so it’s like having a never-ending story with your favorite character. It’s like a series of movies that always end with a teaser for the next one. It’s easy to get addicted, not just from the gambling aspect.

I was confused at first why other fans were having such trouble completely dropping the game because for me, it was like a switch turned off and I was able to stop caring completely. I think it’s amazing how some Korean fans have completely deleted all their fanart and even taken their fan merch back from the restaurant. But looking into how “fandom” works these days it seems this makes it harder to drop something completely. I’m not saying these are the only reasons, but it’s interesting how this works positively for companies that make these pieces of media that are up for public consumption.

[steelbluehome]

"The two leads are fantastic: Stan navigates from naïve wannabe to glowering mogul and never loses his way or slips into parody. His vanity about his hair and his looks is on display from the beginning, but in the early years he is unsure of himself and there is a vulnerability about him. Strong is also utterly believable as Cohn, a man as vain as his disciple and certainly as dangerous."

The Standard

The Apprentice review: Sebastian Stan shines in drama about how Donald Trump went from wannabe to mogul (click for article)

This origin story does an excellent job of showing the rise and rise of Donald Trump

Jo-Ann Titmarsh

4 out of 5 stars

One of the hottest tickets in Cannes this year is Iranian director Ali Abbasi’s The Apprentice, his tale of the rise and rise of Donald Trump.

The apprentice in question is Trump himself (Sebastian Stan), while the master he serves and later usurps is Roy Cohn (Jeremy Strong), a lawyer who hobnobs with leaders and has the ear of the president.

Cohn is ruthless and will stop at nothing to attain what he wants, often in the name of a patriotism which equals hard-right conservatism.

The film opens in 1970s New York. Donald is a baby-faced teetotal rent collector for his dad, but he yearns to break free of his father’s grip and strive for greater things, obsessing over the tycoons and millionaires that frequent Le Club.

This is where he meets Cohn who takes Trump under his wing and instructs him to follow his three essential tenets, which are all about achieving, denial and how even a defeat can be turned into a win.

Abbasi deftly recreates the feel of the city and the darkness of those years. And what starts gritty becomes colourful once Ivana (Maria Bakalova) appears her platinum blonde hair, scarlet dress and matching glossy lips.

The other important people are his family members. Martin Donovan plays Fred, the abusive and monstrous family patriarch. Donald’s mother Mary (Iona Rose MacKay) is a less forceful presence, while Trump’s brother Freddy (Charlie Carrick) is sympathetically depicted as a man slowly but irrevocably broken by his father’s contempt.

As the film moves into the 1980s, the look changes completely as the Eighties vibe comes clearly into focus, like walking into the neon-lit bathroom of a dingy club.

There is nothing but tackiness here, that harsh lighting revealing the deals in Atlantic City, the over-the-top décor of the Trump home and the gaudiness of the couple’s life together, even as their relationship falls apart.

The harshness also highlights Trump’s ascension as Cohn begins to falter and the apprentice becomes the master.

The film ends with Trump drafting his book The Art of the Deal, in which he dictates those three tenets drummed into him by Cohn. Nothing about Trump is original. Nothing has been gained by him alone. And there is nothing he won’t do to get what he wants.

The two leads are fantastic: Stan navigates from naïve wannabe to glowering mogul and never loses his way or slips into parody. His vanity about his hair and his looks is on display from the beginning, but in the early years he is unsure of himself and there is a vulnerability about him. Strong is also utterly believable as Cohn, a man as vain as his disciple and certainly as dangerous.

It’s hard not to bring up comparisons with Succession here: a New York dynasty, a tyrannical father, the wealthy elite, the presence of Jeremy Strong who played Kendall Roy… there’s even a fleeting glimpse and mention of Rupert Murdoch, whom Cohn says Trump should cosy up to. And then there’s the excellent music by Martin Dirkov, which has echoes of the Succession theme.

There are some problems, the story is too linear and the screenplay, by Gabriel Sherman, full of scenes seen many times before, such as Cohn chasing after Trump in the street begging for an audience or Donald refusing his calls, and the director could have been more inventive in the fil. However, there is a lot of humour here, particularly thanks to the character of Cohn, and almost always at Trump’s expense.

The Apprentice is not going to change anyone’s mind about Trump, who is so vain that he will almost certainly love this film, despite the references to his plastic surgery and big butt.

But Abbasi does an excellent job of showing us how and why Trump became the Trump of today and how his path to presidency was paved.

[atac-agent]

I WAS SUPPOSED TO BE SETTING UP THIS CHILDHOOD FRIEND OF MINE WITH MY BSF , NOT FALL IN LOVE WITH CEDRIC DIGGORY IN THE MEANWHILE!!!

Ok so as our exams got over, I asked for a good movie rec from this friend. He recommended me Tenet (directed by Christopher Nolan). Well no spoilers, but Nolan's films are the best and Tenet was obv. intriguing!!

Here's what happened: This character, Neil was like hot asf- So I googled Tenet's cast and found out Neil was acted by Robert Pattison. (Now simultaneously I was also watching this clip of HP and thought that Cedric looked actually good.) Anyways, I click on Robert Pattison and get these hot pics of his.. I scroll a bit and come to the movies. Then it happens...

Wait... Batman, you say? Makes sense why he's looking a bit fami- WTF! WHAT THE FUCK YOU MEAN BY HE'S ACTED IN HARRY POTTER AND THE GOBLET O- WTF!!! WTF!!! WAIT!!!! HE'S CEDRIC??!!! AIN'T NO FUCKING WAY!!

I click on Harry Potter and the Goblet of Fire and ofc! I find Cedric has been acted by Robert Pattison.

Now, my day is completely ruined and I officially have a crush on Cedric Diggory (which makes his death even more painful, than it needs to be-) and I wanna kill my irl friend, rn-

[zalrb]

Oppenheimer Review

OK let’s start with things I didn’t quite care for:

1. The exclusion of Indigenous and Japanese people, which has been a well-detailed criticism on Twitter and in articles:  

“The Pajarito Plateau, where Los Alamos is located, was indigenous homeland for multiple villages of Pueblo people, as well as more than 30 Mexican American families who owned ranches and farms[...]”

We can get into a discussion about which movies are made and how studios would rather fund movie after movie about the ‘tortured white male genius’ than a movie about the Pueblo people or the effects of the bomb on Japan. We can talk about the general boredom of seeing these movies over and over again. But I think that’s a larger conversation. That’s a conversation about which stories TPTB determine get told, that’s a conversation about the systemic racism and barriers in Hollywood and filmmaking because it’s not surprising that a Nolan film didn’t feature BIPOC or nuanced depictions of BIPOC. Nolan is going to Nolan. Dunkirk is an entirely whitewashed film. It is so typical of a Nolan film that I was surprised John David Washington was in Tenet (which I have not seen) and this isn’t to defend him or to let him off the hook, this is just to say that conversation is about the systems in place that allow for Oppenheimer to be a movie while not showcasing other stories, which this person has also indicated

The defense for Nolan’s omission has been Oppenheimer is about Oppenheimer but I don’t think that defense holds.

Considering that it is first and foremost a character study about a man with conflicting morals, a man who “famously” told Truman that he feels like he has blood on his hands. Considering the movie is meant to take us into the mind of this man, we’re supposed to see what tortures him, what lies heavy on him, considering that there is a scene where he is confronted with the carnage and the destruction of his invention, considering  that in the movie Oppenheimer told Truman they should give the land back to the Indigenous peoples, glossing over the injustices and the atrocities undercuts the fact that this is supposed to be deep dive character study, because Oppenheimer helped cause these things. That’s the point. A pivotal point in the movie comes when Oppenheimer is being asked over and over again when he had moral qualms about the H bomb considering that he made the atomic bomb and whether or not he had quandaries then and the fact that there was a history of people suffering because of this bomb before it dropped on Hiroshima and Nagasaki would emphasize that question. It’s not a full character study.

Another defense has been that the omission was purposeful as a condemnation of what they did and how they didn’t think about the consequences or thought about the consequences and ignored them/didn’t care about them but there are ways to do that. We can see people being displaced from the land and then afterwards Oppenheimer going to Los Alamos declaring there’s nothing around. If this movie is also about his ego and his tunnel vision and about the dangers of building weapons of mass destruction and their consequences, we can see what the testing of the bomb did to communities while they celebrate the success of the test, it would simply drive the point the movie is making home, it would make it more poignant and complete. When Oppenheimer gives that victory speech after the bomb was dropped, he keeps seeing the people around him burned or dead or crying, there’s no reason why his speech couldn’t at least be intercut with the realities happening in Japan at the time.

Outside of it is simply right for these stories to be showcased and acknowledged, there are too many reasons why Oppenheimer could’ve and should’ve shown these aspects for me to really find any defense viable.

2. I also don’t expect nuanced depictions of women in a Nolan movie but the female characters in this movie are so laughably one-dimensional that I feel like it would’ve been less offensive for him to just not include women at all. Emily Blunt and Florence Pugh do as much as they can with the material they’re given but they’re really not given much and when we’re meant to gain insight into Kitty’s (Emily Blunt) emotional state and to see what the hearing of Robert is doing to her, it’s when he admits on record to sleeping with his ex-wife Jean (Florence Pugh) when he was with Kitty so it’s Kitty imagining him having sex with Jean in a very uncomfortable and entirely unnecessary sex scene. So it’s actually quite funny talking about Oppenheimer and Barbie at the same time because Oppenheimer proves one of Barbie’s points about the way women are perceived and treated through the way the Kens are portrayed in the first 30 minutes of the movie because Kitty and Jean are around to serve Oppenheimer’s plot and Jean actually dies, she commits suicide, and the implication is that while she was suffering from mental health issues, Oppenheimer cutting ties with her led to her death so in the movie anyway, a female character literally dies because the male protagonist is no longer in her life.

Alright, things I liked.

1. Cillian Murphy. Cillian was magnetic onscreen. The beauty of what he can convey with his eyes, it was mesmerizing and he does such a good job playing the charismatic womanizing egocentric asshole but does an equally good job portraying depth, portraying vulnerability and betrayal and guilt and remorse. He inhabited this role, it was great watching.

2. RDJ! RDJ is indeed an actor so watching him in the few Marvel movies that I did watch just always had me like *sigh* they’ve flattened you so it was really fun seeing him really dig his teeth into a role and also seeing the way he changes throughout the movie, particularly the third act when you realize his personal vendetta against Oppenheimer and how his true colours kind of start bleeding through, it was very well done.

3. It was surprisingly funny? Like not laugh out loud funny even though there were moments where I did indeed LOL i.e. “I’m a self-made man.” “I can relate to that.” “Really?” “Yes, my father was one.” the wit and the back and forth and the riffing I quite enjoyed. Seeing all the scientists place bets and get into arguments, I quite enjoyed that.

4. I don’t care for Matt Damon, he annoys me, so when I saw him in the trailer I rolled my eyes and when I saw his introduction to the movie I also rolled my eyes but he and Cillian had a good chemistry so over the course of the movie, I ended up enjoying his scenes with Cillian because they worked so well together and they establish a lot of about that dynamic and they feel comfortable with each other. Although I think my favourite dynamic was Oppenheimer and Isidor. I don’t like Casey Affleck though so that “reveal” just had me like ugh, why.

5. The score. The SCORE. Ludwig Göransson did a beautiful job with the music, giving the movie a sense of scale and tension, it was fantastic.

6. It felt like three hours but it felt like a three hours well spent.

[shehungthemoon]

Ty for the tag @vera-dauriac! 💗It's been weeks with this in the back of my mind and I'm finally getting around to it (also bugs have been going around like wild, i hope those fluids worked quickly!)

Tag Game: 9 People You'd Like to Get to Know Better

-`♡´- last song:

fingertips by lana del rey

-`♡´- currently watching:

Waiting on the third episode of True Detective season 4 to come out tonight! ❄

-`♡´- three ships:

Ahhhh I'm not really OBSESSED with a certain 3 right now, so I'll just list the last 3 ships I bookmarked for on ao3!

Sonny Corleone/Tom Hagen from The Godfather

Trapper/Hawkeye from M*A*S*H

Marcus Keane/Tomas Ortega from The Exorcist (TV)

So we've got 70s mafia power plays, weird dramedy angst, and religious horror soulmates. Quite the list haha

-`♡´- favorite color:

Cool shades. At the moment, powder blue! 🩵

-`♡´- currently consuming:

Water + orange 🍊

-`♡´- first ship:

Probably percabeth from the PJO books!

-`♡´- relationship status:

single (much needed!)

-`♡´- film:

A favorite film? That goes to Christopher Nolan's Inception without a doubt! A lot of his work is special to me, including Tenet (which completely pulled the wool over our eyes and gave us a River Song lovestory with NO warning, tears were welling) and Interstellar (which as an astrophysicist it was NOVEL to see so much sci-fi accuracy on screen, and of course my physics grandfather Dr. Kip Thorne was a big consultant so I'm proud by proxy.)

-`♡´- currently working on:

Fandom wise, I'm finishing up a Green Lantern/Flash secret santa from dc comics! 🎅

Life wise, working on applications to get another degree. Phew 🤓🤪💀

Tagging: @adizzyninja @mihrsuri @scare-ard--sleigh @midnightestsun @dantaliones @billowypantss @ellena-asg @mirabilefuturum @sjwromanroy

[blindrapture]

it's time for DJay's Review Corner!

I've seen almost all of Christopher Nolan's movies now. just missing Following and Insomnia, which are also relatively obscure.

I am absolutely fond of his stuff. I even like The Prestige now, only took me three attempts. hell, I *love* it. such a cool movie with compelling themes. Tenet? takes a couple views, but there is depth in there, it is very much a less interesting Homestuck but it's also a lot more *impressive* for managing to convey the time travel stuff on film. Interstellar, took a couple views but it's an incredible space film, I kinda wish it didn't start with like an hour of Earth stuff but I wish the same about 2001 so that's just Space Film Tradition, and *unlike* 2001 I think Interstellar goes to a goddamn perfect place of human drama. Oppenheimer is, like, Actually A Perfect Movie, you don't need me to tell you that, it completely surprised me and shattered my expectations of how a biopic can be. Inception is Inception. the Batman movies are a whole-ass three-part opera cycle in modern times. Memento is okay! I'll like it more if I watch it a few more times.

but I am here to mention Dunkirk, which I just finished watching.

I don't know how long to spend rambling about it, as I don't know truly how much I care.

Dunkirk was.. cool! there were elements of it that got me engaged and kept me so. frankly it was the best world war 1 movie I've ever seen.

....what? it's supposed to be world war 2? haha, no, it'd be one of the *worst* world war 2 movies if that were the case. it rendered the warfare abstract, divorcing all politics and ideology from the matter (the, y'know, reason any of this was happening), and just instead focused *exclusively* on the viscerality and horrors of being there on the beaches, in the sea, in the air, leveraging any drama for the sole sake of suspense. it was a War Is Hell movie. and *that's* world war *one*, that was the War Is Hell war. world war *two* was the Ideology Is Hell war, where the Allies literally *chose* to put themselves back into the visceral Hell of war *because* of the *context*, the *fact* that their enemy truly seriously actually *was* that bad and *needed* to be stopped. to make a movie about a part of world war 2, have hardly any paratext, have hardly any *dialogue*, and never once even show a human from the opposing side, effectively make Cloverfield But With Humans.... well, that's just pointless, a movie that is already obsolete before even being created.

well. Dunkirk was that movie!

it is entirely true that I was not its ideal audience. I went into this movie having no idea *what* "Dunkirk" was. I did not know *when* in the war this took place. I could gather that "Dunkirk" was a *place*, but then I had no idea what was significant that *happened* there to warrant it being a.. self-evident name. like, people can say something happened "at Dunkirk" and everyone around them instinctively knows, "ah yes! you are discussing something that happened during the noteworthy evacuation of Allied Forces from the beach at Dunkirk in 1940!" before I watched this movie, I would not have instinctively known that.

*after* watching this movie, I would not have instinctively known that.

I just fucking looked it up on Wikipedia after the film.

the film did not just *fail* to communicate this context, it *had no interest to begin with*. that is a really interesting choice. not a choice I appreciate.

like. the film did at least communicate some things.

this was a War thing, taking place on a beach near a French town (there were signs with the word "rue" on them). I knew it was world war 2 because of the technology. the fighting had basically *stopped*, with a small number of German stragglers taking potshots at the 400,000 Allied soldiers who had lost interest in fighting ("no, there were definitely a lot of German soldiers, the Allies were losing" yes I know that *now that I have read Wikipedia*, I am telling you what the film, in a vacuum, communicated to me). honestly, if I didn't already know that the English and French were fighting against the Germans, I wouldn't have been able to tell from this movie either, as the movie *insists* on referring to the enemy as... "The Enemy." without fail, other than one implied exception during a rare instance of drama an hour and a half in. and, as mentioned before, we never even *see* The Enemy in this movie, so I wouldn't have been able to tell from their accent or anything.

so. beach near French town. the Allies want to retreat. there is a boat, but just one boat isn't gonna be nearly enough, so everyone has to wait indefinitely, hoping more boats will show up. is there a protagonist? yes there is! what's his name? I couldn't tell you! what does he look like? I cannot tell him apart from any other character! everyone in this movie is a narrow-faced soft-spoken English young man with short black hair, covered in mud and wearing an identical brown coat! well, what about his voice? oh the protagonist hardly speaks! this is not a dialogue film.

but wait, there's two other plots! this was pretty cool, I like having more threads to follow, keeps me engaged. the beach stuff was just plot 1, which the movie tells us takes place "one week." ....what? so like.. one week into a fight, I guess. plot 2 is boat stuff, taking place "one day," except when it.. skips forward in time, which I did not realize until the boat stuff was literally caught up to the beach stuff, because IT'S A FUCKING BOAT ON OPEN WATER, AND WE NEVER SEE IT AT NIGHT, IT'S ONLY EVER FUCKING DAY, I assumed it was always *the same day!* but at least the three characters *here* are very distinct from each other. they are on a civilian boat, this dingy little private yacht or whatever, that's on the way to Dunkirk to help evacuate. or. honestly when I was watching, all I knew was they were gonna deliver some life jackets. there's a young man who looks very similar to the Beach Protagonist, but he's not because the eyes are slightly different, and he dies off-screen after getting injured very quickly in a series of events that really could have been better explained (involving rescuing an Allied soldier only to LOCK HIM UP and NOT LET HIM OUT EVEN WHEN TOLD TO). the other two make it to Dunkirk and successfully evacuate a bunch of soldiers.

then there's plot 3, subtitled "one hour" even though I *highly doubt* the timing of that. three spitfires, planes up in the sky! above the water, and only ever at daytime, so similar problem with gauging passage of time. except we have a big clue this time-- one of the planes' fuel gauge is broken! at "one hour" he has about 50 gallons of fuel left, and periodically we cut back and it seems like fuel is dropping steadily, 5 gallons every..... hour, maybe? but he manages to not run out of fuel until his storyline catches up with the Beach, a fucking week later. anyway, most of this plot is just the other two planes getting shot down (one of those pilots gets rescued by the Boat protagonists!), and then at the end of the movie the guy without fuel manages to save the day, shooting down more planes above the beach even while he's cruising without a running engine. it's a great moment. I love that guy.

so then the bulk of the actual plot is Beach Guy, and his buddy who.. literally looks identical to him. one of the two turns out to be French, and I *cannot* remember which of the two that was. that whole scene was incredible, it felt like the movie acknowledging its own problem, as the whole point was all these other soldiers being like "WAIT THAT GUY, the protagonist, HASN'T SAID A SINGLE WORD, AND THE ENEMY HAS SOMEHOW FOUND OUR HIDING SPOT, HOW DO WE KNOW THAT QUIET GUY ISN'T ACTUALLY GERMAN, A SPY???" and they point guns at him and TWO FUCKING MINUTES OF THIS goes by before protagonist opens his fucking mouth and says "I'm French!" my guy, you *need* to *speak!* this fucking MOVIE needs to fucking speak!!! that scene was the one, the first moment, possibly the only moment in the whole film, where the word "German" is ever said!!! which just made me even more aware of this movie's aversion to, or even *fear of*, communicating any fucking REASON or MEANS OF THE VIEWER BEING ABLE TO DISTINGUISH anything at all.

this wasn't a fucking world war 2 movie! this was just a fucking war movie! as said before, this was Cloverfield!! context is entirely absent, you'd have to go looking on the internet to read up on all the lore. and we never see the antagonist, we just follow the Exciting Suspenseful Will-He-Make-It Action of protagonists, like, existing in the vicinity of explosions, then swimming in the sea, and listening to nearby soldiers say how scared they are or how not-scared they are.

and I *do* think this would have made for a brilliant format for a WW1 movie! that war is traditionally seen as, y'know, *horrific*, soldiers dying to gases and new machines, the *viscerality* of it all! WW2 *needs* the context! we did finally get a *tiny* bit of context at the end of Dunkirk, we got the Churchill speech, and, dammit, that did make all this a little more impactful, that emphasized how all this visceral panic amounted to *one losing battle* and they were gonna need to be committed to potentially a lot more of that. I think we needed even an *excerpt* from that speech given to us *at the beginning* of the movie. even just as text on a black screen.

(hell! this movie *literally started with* text on a black screen! and all it fucking told me was "ooh boy, these French and English soldiers, they're gonna need a *miracle* to get out of this mess!" ......fucking thanks???? literally redundant, literally something the cinematography was going to communicate. the movie needed some text telling us something the cinematography alone *doesn't* communicate!!! aaaargh!!!)

am I making sense here???

god at least it was only 106 minutes! that's like.. the shortest Nolan movie ever. that's a damn surprise to me. maybe this movie *should have* been three hours, just to put in some damn dialogue.

Dunkirk was *all* visceral, no way *in* for people who don't know what's going on. and then it was *hard to distinguish characters or even Times, Whens, from each other*, so even that fucking viscerality stumbled and lost its grip on my brain.

what a fucking *mess*.

will probably get better if I watch it more. especially now that I went and looked up the context *myself*. but dammit, even if this first impression disappears entirely and I end up loving the movie later, I think the shit I'm talking about has some *value*. it has... well, context.

[destinyc1020]

I remember Rob from big movies like twilight, Batman, Tenet, and I saw him as well from the devil all the time, and the king of course. I had never really seen a regular and somewhat intimate movie from him till I saw Remember Me the other day, boy now I cannot wait for The Drama. He is super interesting as an actor, the charisma is at 💯 and he can certainly turn on the sexy. Never seen him that way prior to this movie.

Wow! You had never seen "Remember Me"? That's actually one of my favorite films of his. 😊 I actually watched it again last year.

Great job by Rob and everyone in the film. That last scene in the film is heartbreaking. 🥺😭😩

I love watching a movie going into it thinking it's about one thing, and then towards the end later on realizing it's about smthg else completely. I LOVE films like that! 😊

Have you seen "Water for Elephants" 🐘? Rob is pretty good in that one also! 😁 Although, I will say, if you find animal cruelty and abuse difficult to watch, I would probably skip that one, or FF through certain parts. 😞 I've only seen that movie once because those scenes just broke my heart 💔 😭

I'm telling y'all, when you all branch out and discover other films, genres, and actors, you'll be pleasantly surprised! 😁👍🏾

[thecinemarattifilmclub]

Join us as we celebrate the films that we love starting with Movies That Make You Want to HUG the Weekend! The List, in no particular order:

Tenet In Her Shoes John Wick Chicago It's Complicated Train to Busan Honorable Mention: Call Me By Your Name, I Am Legend

Tenet, 2020 From the opening scene, Tenet is an electrifying blend of heart-pounding action and mind-bending science fiction. Director Christopher Nolan delivers a captivating and visually stunning film. The Protagonist, portrayed by John David Washington, is a complex figure who moves through the film asking the same questions we have as viewers. The cast is fantastic, and there's this one unforgettable scene towards the end where The Protagonist has a revelatory, emotionally charged moment with Neil, Robert Pattinson's character, that leaves you heartbroken. I love this movie and will watch it again and again! -Alana

In Her Shoes, 2005 Often overlooked in the flurry of rom-coms released in the early aughts, director Curtis Hanson’s In Her Shoes exists as one of the most endearing films of the genre. In this 2005 gem, the film’s leads, Toni Collette, Cameron Diaz, and Shirley MacLaine, each deliver performances that are beautifully nuanced in telling the story of two estranged sisters finding their way back to each other, and themselves, after reconnecting with their estranged grandmother. Yes, this is a story about love - the unexpected ways we might find it, learning to permit ourselves to experience it, how it profoundly changes us, and what we are willing to do to rebuild it after it’s been broken - but this film is about so much more than that. In Her Shoes pulls the curtain back on how grief and mental illness change our relationships in ways that can reverberate through generations and how we might be able to pick up the pieces and build something beautiful for ourselves. This movie fundamentally changed me when I first watched it. I love watching movies exploring the depths of sisterhood, both loving and complicated, and this one just means so much to me. -Victoria John Wick, 2014 Keanu Reeves, a fan favorite, is dynamite in the John Wick series. The movies are action-packed, well-acted, and feature a simple yet intriguing storyline. Whenever I'm in the mood for an exciting film with snappy dialogue and an interesting cast, I always turn to a John Wick film. Among the series, the original John Wick is my go-to because what's more exhilarating than a grieving hitman seeking vengeance for his puppy and his car? I mean, if "you've effed with the wrong one" was a person, it'd be John Wick. I'm here for it! -Alana Chicago, 2002 Based on the 1926 play and 1975 stage musical of the same name, 2002’s Chicago is a soaring accomplishment from director Rob Marshall. This musical crime dramedy tells the spellbinding tale of Roxie Hart and Velma Kelly, both inmates on Murderess’ Row at Cook County Jail, as they chase celebrity and notoriety while awaiting trial. What is at once a tour-de-force of its own merit is also an enchanting homage to its source material, this film is one I simply cannot get enough of. The performances from Renee Zellweger, Catherine Zeta-Jones, Richard Gere, and Queen Latifah are electrifying and completely mesmerizing, each wholly embodying their lauded characters. Aside from the spectacular acting each delivers in this film, the musical performances are simply out of this world, with credit to the original music and lyrics by John Kander and Fred Ebb respectively, of course, but the production comes to life in a whole new way on the big screen. I watch this film a few times a year and highly recommend keeping the soundtrack in your rotation. -Victoria It’s Complicated, 2009 Oscar-nominated writer and director Nancy Meyers followed up a legendary four-film run (The Parent Trap, What Women Want, Something’s Gotta Give, and The Holiday) with 2009’s rom-com It’s Complicated. Starring Meryl Streep, with charming supporting performances from Alec Baldwin and Steve Martin, this film follows a 10-years divorced baker as she navigates life as an empty-nester and discovers what might be next for her - which appears to include an affair with her now-married ex-husband (Baldwin) and a blossoming romance with the architect remodeling her home (Martin). This film explores the complications of divorce and moving on, while highlighting the joys and pits of rediscovering yourself, especially in your golden years. While this film was met with mixed reviews from critics, there is an undeniable sense of the Nancy Meyers charm that makes it the cozy and beloved film it is to me. Like any Meyers film, the set design is a character and story to discover in itself and perhaps one of my favorite elements of this movie - it’s an aesthetic feast! I have loved this movie for years and it’s one of those movies that pulls on your heartstrings, tickles your funny bone, and makes you feel hopeful for the future by the final scene. -Victoria

Train to Busan, 2016 Train to Busan is an electrifying and almost unmatched zombie film. Like any good movie, it has emotional depth. Your investment in the characters and their survival catapults you from scene to scene. Yeon Sang-ho’s directorial choices build the tension and suspense required for the film’s propulsion, but he also incorporates space for you to catch your breath. And with this plot, you'll need it. Gong Yoo and Ma Dong-seok are a great pair, using their ingenuity and sheer power to fight their way through zombie hoards. Whenever I'm looking for something exciting to watch, this film never fails to deliver. -Alana

[pritishsblog]

BEST DIRECTORS IN CINEMA-5

Hi everyone! This blog is going to be the 5th part of my 8 part series of who I think is the Best Director Cinema has ever seen

And today I will be talking about

CHRISTOPHER NOLAN

Christopher Nolan (born July 30, 1970, London, England) is a British film director and writer acclaimed for his noirish visual aesthetic and unconventional, often highly conceptual narratives. His notable films include Inception (2010), Interstellar (2014), Dunkirk (2017), and several Batman movies. In 2024 Nolan won an Academy Award for best director for Oppenheimer (2023), which was also named best picture.

(Early Life)

Nolan was raised by an American mother and a British father, and his family spent time in both Chicago and London. As a child, he attended Haileybury, a boarding school just outside London. From a young age Nolan was interested in moviemaking and would use his father’s Super-8 camera to make shorts. He was influenced by George Lucas’s Star Wars trilogy and by the immersive dystopian films of Ridley Scott.After attending University College London, where he studied English literature, Nolan began directing corporate and industrial training videos. At the same time he was working on his first full-length release, Following (1998). The film centers on a writer going to dangerous lengths to find inspiration; it took Nolan 14 months to complete. On the strength of its success on the festival circuit, he and his producer wife, Emma Thomas, moved to Hollywood.

(His Famous Works)

Nolan gained international recognition with his second film, Memento (2000), and transitioned into studio filmmaking with Insomnia (2002). He became a high-profile director with The Dark Knight trilogy (2005–2012), and found further success with The Prestige (2006), Inception (2010), Interstellar (2014), and Dunkirk (2017). After the release of Tenet (2020), Nolan parted ways with longtime distributor Warner Bros. Pictures, and signed with Universal Pictures for the biographical thriller Oppenheimer (2023), which won him Academy Awards for Best Director and Best Picture.

(Filmmaking Style)

His Filmmaking Style

Nolan's films are largely centred in metaphysical themes, exploring the concepts of time, memory and personal identity. His work is characterised by mathematically inspired ideas and images, unconventional narrative structures, materialistic perspectives, and evocative use of music and sound.Joseph Bevan wrote, "His films allow arthouse regulars to enjoy superhero flicks and multiplex crowds to engage with labyrinthine plot conceits. Nolan views himself as "an indie filmmaker working inside the studio system"

(His Filmography)

Nolan made his directorial debut in 1998 with a movie named Following (1998). He made many other films such as Memento in 2000,Insomnia in 2002. He also made the Batman Trilogy which included Bataman Begins (2005),The Dark Knight (2008) and The Dark Knight Rises (2012). In between the Batman Trilogy he directed movies like Prestige (2006) and Inception (2010). After this Nolan directed movies such as Interstellar (2014),Dunkirk (2017),Tenet (2020) and Oppenheimer (2023).

Nolan's hand and shoe prints in front of the Grauman's Chinese Theatre

(Awards & Honors)

Nolan has won 2 Academy Awards out of the 8 nominations, 2 BAFTA's out of the 8 nominations and he has 1 Golden Globe Award out of 6 nominations.

(Sources)

And that's it for this part folks, I'll meet you with another blog about some of the Greatest Directors Cinema has ever seen. Until then

CIAO

[not-for-granted]

Fancasting Harvey Dent (The Batman 2)

There’s been rumors that the latest casting choices for Harvey Dent, DA of Gotham and future villain ‘Two-Face’, set to appear in “The Batman 2″ has been Josh Hartnett and Joel Edgerton. Both of them are splendid actors, physically impressive, and could do the part justice for sure. Quite a few people are disappointed that they didn’t go for a younger, less known actor, or maybe strike out with someone more unique. Perhaps even going for gender-swapped like they did in “Batman: Earth One”.  I just think that there is a better actor for the role, especially in a ‘Battinson’, Reeves-set Batverse. Specifically, Oliver Jackson-Cohen. 

Best known for his work in “Haunting of Hill House” and “Haunting of Bly Manor”, he’s been in all sorts of works across a variety of genres. He’s been a corrupt knight in the “World Without End” miniseries, he’s been a particularly strange take on the Scarecrow in the reimaging of Oz in “Emerald City”, and he’s been a twisted abusive ex-boyfriend / mad inventor in “The Invisible Man”.  So, goes without saying, he’s got range. And that’s important for Harvey Dent. He needs to believably alternate between upstanding moral guardian, traumatized victim barely coping with his fragile psychological state, the no-nonsense, cutthroat politician and crafty lawyer, and even a complete monster that puts gangsters and hardened criminals to shame. 

What else does he bring to the table though, that other actors suggested for the role haven’t? Fan-favorite and current darling Oscar Isaac has been proven to crush it with playing psychologically damaged characters, “Moon Knight” is testament to that. But that’s a Marvel property and crossing the streams too much can break the already fragile emersion. And John David Washington is fresh-off numerous successes with “BlackKklansman” and “Tenet”, and a black Harvey Dent isn’t unheard of (we forever were robbed of Dee Williams’ chance to portray Two-Face in the Burton films).  Great actors, just as Hartnett and Edgerton are, so apart from a history of very psychologically mature and empathetic performances, what does Oliver Jackson-Cohen bring to the table? Well, he’s the right age at 36, currently closest in age to Robert Pattinson, believable enough to be an especially young and ambitious DA (not a stretch at all when Jayme Lawson, the actress who played Bella Real in “The Batman”, was in her early twenties and running for mayor of Gotham). Also, it’s always favorable when Harvey Dent is a peer to Bruce Wayne, even friendly, rather than rivals or opponents immediately. Part of the draw of Two-Face isn’t just that he’s a well-connected and ruthless crime-figure, but that he’s psychologically tormenting Batman by being one of the victims he couldn’t save, which hurts all the more when they had a close working-relationship, even friendship. 

But also, he’s 6′3. I know that sounds like a miniscule quibble, the camera trickery can make anyone as tall as need be for a part and height alone hardly makes for a successful action scene, but in this case, I’d argue it’s a necessary part to not just Harvey Dent’s natural charisma, but Two-Face’s successful menace. Consider this: Harvey Dent, as Two-Face, stripped of all the fancy dual-toned suits and Tommy-guns, is a burn victim with a law-degree. No superpowers, no other specialty skills or training, just a maimed man who would most definitely be disbarred as soon as he turns to criminality. So how can he be such a longstanding and formidable threat to the Batman?  Slapping a gun in his hand helps, a lot, for sure. Being physically imposing is a definite plus and has been utilized in the animated Batman series and video games. Richard Moll’s gravelly voiced Two-Face in “Batman: The Animated Series” was drawn not dissimilarly from the mobsters he aimed to put away. This was repeated with Travis Willingham’s Harvey Dent in the Telltale games, who was built much like his 6′4 voice actor and capable of beating a man to death with his bare hands when cornered... and even Josh Duhamel’s Harvey Dent in “Batman: The Long Halloween” was snapping the necks of Mafia goons.  Furthermore, in comics like “Batman: Year One”, Harvey’s longstanding attempts to put away Carmine Falcone as well as his physical build both put him in the investigative crosshairs of the GCPD, with Gordon briefly suspecting him of being the Batman. And one of the most satisfying moments in “Dark Victory” was Two-Face physically beating the Joker for daring to pull a gun on him.

So yes, the added bonus of a Two-Face actor who could pose a genuine threat to Batman in his armor with all his training, however briefly, is warranted.  Between the right age, height, and past roles, Oliver Jackson-Cohen seems tailormade to play Harvey Dent. His part in “Haunting of Hill House” showcased his talent in portraying a vulnerable, broken, traumatized young man as well as a pretty flawless American accent. His part in “The Invisible Man” had him completely different, giving off an aura of palpable, oppressive malevolence and manipulative smugness that filled what few scenes he was in. And even his cheesy role as an eccentric hitman in the 2010 film “Faster” showed off a believable familiarity with firearms.  My choice for Harvey Dent / Two-Face, especially in “The Batman” universe. Everyone else, let me know what you think, and any other fancastings you’d like to hear about.

[awildrobot]

@inception30daychallenge

Day 02: Reimagine Inception as a different movie genre.

Easily horror or psychological thriller. All the dark sides of dreamsharing that are already shown in the movie can be dug deep to make it turn into a completely different story. Sleep disorders, brainwashing, suicide, addiction, cognitive dissonance, illegal experimentation. The mental deterioration and destructive power of grief and guilt combined (I often think of The Haunting of Hill House here).

Also, having ran through Nolan's entire filmography after watching Inception for the first time, I feel that Inception is markedly the big emotional shift from his earlier original films (Following, Memento, Insomnia, The Prestige), which put a lot of focus on intellectual ambiguity and mystery, tinted with a cynical/despairing end. Contrast that to his post-Inception movies (Interstellar, Dunkirk, Tenet), they are worlds apart and I don't mean it in just the production scale.

Inception could have been set in the tone of those earlier movies, and it would have been a whole different genre.

[plastic-tulips]

@achapnamedtom tagged me to list 6 comfort films, it's also ages since I did one of these and I love listing anything so here we go!

Brief Encounter: what list of comfort films would be complete without a sad film to put on when you're feeling a bit fragile and want to enjoy a beautifully shot doomed romance amongst all the bits and bobs of a bygone era (the steam trains! the repressed emotions! the hats!)

We are the Best!: incredibly sweet and quietly realistic story about a trio of teenage punks in 1980s Stockholm. Wonderful naturalistic performances from the young cast makes me almost (almost!) nostalgic for my own early teens

Fantastic Mr Fox: I find the intentionally creaky handmade-ness of this film inherently comforting, especially the way the puppets' fur moves around like the 1930s King Kong. This was also the first thing I ever saw Jarvis Cocker in, so it's close to my heart for that reason too.

When Harry met Sally: yes the central tenet of this film clearly comes from a very different time but it's nonetheless an absolute treat, from the beautiful shots of autumn in New York to the believability of the relationship between the main characters. It's always on telly and I can never not watch it

Romantics Anonymous: what could possibly be more 'comfort film' than a story of two shy chocolate makers who are meant for each other but too afraid to say how they feel? It does that charming Gallic move of having a little musical number in the middle even though the film isn't really a musical, which I always find irresistible.

The Wicker Man: it's just so 70s and low-budget and unerringly odd that I can't help but be charmed by it. Even Christopher Lee's voice as he's sentencing Edward Woodward to get burned alive sounds soothing. I always give it a watch around springtime (May Day if possible) so it ties in with the general sense of renewal and optimism I think a lot of us feel around that time. RIP to Neil Howie but i'm different.

HONORARY MENTION goes to The Muppet Christmas Carol, not a comfort film in that I can stick it on at any old time of year but that little frog dressed as Tiny Tim makes me believe in the magic of Christmas every single year. Look at him.

whew this ended up being a lot longer than I planned but anyway I tag @rock-n-rollin-bitch @snookicoin @tautittology @britannia-hospital @iwatch-thebees and @veradune

[the-antiapocalyptic-man]

Hot Gates, adult film star and leader of a small benevolent dictatorship just outside of Columbus, Ohio. While most of her powers come from New God technology she ripped off from Sleez, a Apokoliptan exile turned film producer. Using that technology, she built a completely autonomous community, founded mostly be former sex workers like herself and their families, but open to any willing to observe the tenets of the community, though Gates insisted on protecting Little New Genesis on her own.

This eventually drew the attention of the wider metahuman community, but Coagula of the Doom Patrol and the New God Big Barda--who mostly just wanted her stuff back--were the first to reach out. After an incident involving Lashina and the Female Furies, an agreement was reach for Gates and the Doom Patrol to maintain and protect Little New Genesis, with the caveat that Sleez’s location would be released to the Furies and he would be disciplined as seen fit. Gates was more than happy to oblige.