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kiiyunz · 8 months ago

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posted⠀by⠀junjiie⠀⠀⸻⠀⠀8th April,⠀2O24.

No-one’s journey through idol life is going to be all sunshine & rainbows, and that’s a fact I think we should all make peace with as soon as possible. If you’re going to type out a comment screaming bloody murder about how your favourite’s whole career has been nothing but shiny and perfect, then all I have to say to you is that I’m sure there’s been a whole number of not-shiny and not-perfect things going on when the cameras are off. Sorry. It’s just the truth. Probably. But I’m not here to talk about your favourite, I’m here to talk about mine. So, without further ado, strap yourself in for a run-down of IM KIHYUN throughout the years of NCT DREAM’s career—ranked on a three point scale: the GOOD, the BAD, and of course, the REALLY, REALLY UGLY.

CHEWING GUM 2016 FRUIT PUNCH & BUBBLE MIXTURE

15-YEAR-OLD-KIHYUN had three lines in their debut single, a yellow hoverboard, and a dream—literally, considering the name of his unit. He was every bit the mood maker most people know him as today, filled to the brim with excitement and a sense of self-confidence that some people may have thought he would’ve lacked. While he hadn’t fully settled into himself just yet, still had voice cracks, and acne breakouts he’d stubbornly refuse to be filmed with while suffering through, and bouts of clumsiness that would leave him with bruises all over his elbows and plasters on his knees, for the most part it felt like he was an experienced performer rather than a just-arrived rookie. Most people immediately took a liking to him, and although his popularity wasn’t as sky-high as some of his fellow members, the fans he did have were a force to be reckoned with right from the start.

But whether you loved him or hated him, the one thing that everyone seemed to take notice of was the way he just looked like he loved performing on every single occasion, putting everything he had into every stage even with the little amount of time he was given to show off both himself & his budding talent to the people watching. His stage presence was compared to a breath of fresh air on a summer’s day, the wide grin he aimed at the cameras at any given opportunity one that aimed to brighten the mood of anyone witnessing it, and the enthusiasm with which he delivered his lines was something that even the harshest of critics could give a nod of acknowledgement to. Altogether, it’s widely agreed that CHEWING GUM for Kihyun was a GOOD era, on our three point scale.

MY FAVOURITE MOMENT: MU-BEYOND

Kihyun very obviously and very fiercely despising the way his hair was styled for one of the photoshoots, and making no attempt to hide it. As soon as the camera flashes stopped, gone was his sunshine smile, and in its place was a look that, if they could kill, would have put the photographer six feet under (even if the poor man would’ve had no say in how it was styled in the first place). While a few of the other members were enjoying themselves on the glossy pink bouncing balls they were perched on, as soon as it was announced they were done Kihyun was shooting up and making a runner for the bathroom, shooting the camera a glare and tugging on a few strands of his hair as he went. Chenle could be seen cracking up in the near background, creased over from the force of his laughter. Kihyun yelled something back at him, but whatever it was was drowned out by the editors with the persistent ‘Chew-chew-chew-chew chewing gum’ over the top of the footage, seemingly growing a little louder in order to hide his words.

THE FIRST 2017 BAD HAIR & BASKETBALL

(STILL) 15-YEAR-OLD-KIHYUN had blue frosted tips and a tendency to get distracted on the music video set, far more interested in shooting hoops than dancing around in the school band-like outfit they were being made to wear and singing about being in head-over-heels in love with his teacher. He was still every bit the burst of energy he was previously, still throwing his all into everything he did, but it was obvious to some he’d rather be doing other things if he could. The whole riding-cardboard-cars-around was something he loved, though, and he stated more than once that was his favourite part by a mile. Kihyun was mostly the same as he was during the CHEWING GUM era in terms of performance, confidence, and the like—although it was noted by most that there was a little less of his occasional clumsiness, more stability in himself than there was previously. His popularity grew alongside the group’s, his consistent charm and apparent natural talent to draw people in appealing to many a new fan.

He slowly began to make more of a presence online during the MY FIRST AND LAST era, also. Posting both little messages and various photos of himself & the members (mainly in embarrassing positions, such as being half-asleep or making weird faces) on Twitter, interacting with fans whenever he could, and dragging out conversations for as long as he was allowed at fansigns, until the poor person in front of him was practically dragged along to the next member. And when there were more sides of him being shown to the public (and the internet, especially), there were more people waiting to pick apart every piece of him. While his popularity grew, the amount of people against him shot up in numbers, too. It wasn’t overwhelmingly bad, but there were a fair few who accused him of trying to take the spotlight too often, or being ungrateful for the opportunities he was being given after they’d heard the few comments he’d made here and there about the comeback’s concept not being his favourite. Still, despite these lower moments, there were still more pros than cons, and so MY FIRST AND LAST is another era ranked GOOD for Kihyun.

MY FAVOURITE MOMENT: MFAL FIRST WIN

He was so caught up in tugging at the various buttons and pins stuck onto his ugly blazer that he barely heard the MC announcing their win until all the other members were jumping around and crying and patting each other on the back. Kihyun himself didn’t cry until backstage, when it finally hit him properly that they’d actually won, so in the moment he was more so just a little confused and dazed than anything else as he celebrated with the rest, not-so-subtly trying to take the trophy out of Mark’s hands while he made his speech so he could get a better look at it, wrapping Jeno in a hug so tight it left them both wheezing, trying to jump on Jisung’s back in an attempt to get him to cheer up, and also making a whole host of excited gestures and faces over at the members of 127 across the stage.

WE YOUNG 2017 FUN IN THE SUN!

KIHYUN (NOW 16) loved every second of this era, and that was something you could make out from space. Even with his now-pink-streaked hair and sailor outfits they were being made to wear, he declared the music from the WE YOUNG era as his favourite thus far. It was just pure fun, simple as that. He enjoyed every performance they did, sang all his lines with a grin so wide it nearly split his lips, was as playful as ever with all the members, and simply let loose a little more, losing himself in the music rather than what people were saying about it. Despite him not overly loving the whole sailor concept, fans were of the opinion that he was one of the ones that pulled it off the best, and so he begrudgingly posted photos of him in the get-up as often as he could—to an overwhelmingly positive response every time. The public noticed that, while still not fully grown, Kihyun’s self-confidence seemed to be at an all-time-high. He really did look like he was just happy to be there, and his supporters couldn’t have been more glad about it.

What also made his fans happy was his amount of lines getting a boost. He’d consistently been receiving around three or four, five at a stretch, but now it was reaching into the sixes and sevens—which, really, was barely an upgrade, but it made a world of difference to fans of his. It gave him more of a chance to show off his vocal ability, and brought more attention to him from both the public & critics. It also just made him happy, to be able to spend more than ten minutes in the recording studio, to be given more of a chance to show off how he’d grown and improved so far (even if he still thought he had a ways to go before he reached the level of his role models, his own idols). WE YOUNG was yet another GOOD era for Kihyun by miles, with barely any pitfalls in sight, and probably his highest so far.

MY FAVOURITE MOMENT: COMEBACK SHOWCASE

He was jumping all over the stage throughout every performance, throwing everything he had (and probably more) into every line he sang and every move he executed. It was clear he was trying his hardest to contain himself, trying not to scream every one of his lines into the mic or trip himself up, but it was also clear he was struggling. He was also as clingy as anything towards the rest, always hanging off of someone’s back or linking their arms together while they were walking. There was never a shot of him without a smile on his face, never anything he did that made it feel like he’d rather be elsewhere. His enthusiasm and excitement was almost infectious, leaking out of the screen to put a smile on the face of whoever was watching along.

WE GO UP 2018 BREAKDANCING & BEANIES

NEARLY-ADULT (AKA.. 17-YEAR-OLD) KIHYUN seemed to be reaching for maturity a little too fast, fingers outstretched towards his eighteenth birthday and desperate for the months to pass by just a little faster. He had decided, somewhere along the line, that he was ready to be rid of the cuter concept the group was intended to present, and was more than ready for a switch-up. And while WE GO UP wasn’t exactly what he was hoping for, there was certainly less of the more childish aspects that were seen in their previous releases—which was both an acknowledgement of all the members growing older and also something that served as a reminder of Mark’s upcoming graduation from the group, which Kihyun would’ve rather done anything but think about. Still, while he didn’t put as much of his all into it as he had done in the past, he still put a fair amount of effort into the lines he was given (which were lessened once again, to the disappointment of many) and choreography they were made to learn. Fans noted that his personal style was beginning to develop in the WE GO UP era, their suspicions of Kihyun dressing himself confirmed when he mentioned here and there that most of his non-schedule outfits were his own.

The introduction of Bubble helped to boost Kihyun’s online presence, something that had fluctuated from era-to-era thus far (his highest amount of interactions previously being within the MY FIRST AND LAST era), and while he didn’t use it all the time, he still made an effort to communicate regularly with those who’d signed up when he could. He shared his inner reasonings on his online presence with those who were asking—saying that if he didn’t like the concept of the comeback too much he would compensate by being online and able to interact more. It’s a rule he’s mostly stuck with over the years, and fans have now said it’s easy to tell when Kihyun hates a concept because they’ll wake up with three new Twitter posts and ten times as many Bubble updates. So on the whole, although it was definitely on the lower end of the spectrum, WE GO UP is considered yet another GOOD era for Kihyun—making that a four-long streak (that—apologies for spoilers—was going to be broken fairly soon).

MY FAVOURITE MOMENT: FIRST SOLO LIVE

It was, to put it plainly, a little bit all over the place. He held it in his dorm room, half asleep but still managing to be every bit the charismatic personality most people knew and loved him for. He answered any questions threw at him with total honesty, didn’t hold his tongue when talking about various subjects that others may have (namely his personal thoughts & opinions on the comeback as whole—this live was where many found out he didn’t like it as much as they thought he did), and also showed a side to him that the majority hadn’t been able to see as much of before. He gave song recommendations, spoke about those who inspired him—both in a music and fashion sense—and altogether shared lots of fun facts that had been unknown to most previously.

WE BOOM 2019 RADIO SILENCE

18-YEAR-OLD-KIHYUN was noticeably.. Different. While Mark’s graduation had hit all of the remaining seven hard, the other six still at least pushed on and tried to act as if things were fine as normal, carrying on as most expected them to. Kihyun, however, had seemed to undergo a complete personality shift. He was withdrawn, quieter than he’d ever been—barely offering anything up in conversations or interviews even when prompted, barely any footage of him in behind-the-scenes content because he made next to no contributions to it; always preferring to stay in the background, on his phone with his headphones on and trying to ignore the cameras following them around. Public opinion of him was also beginning to slip further into the red, following leaked photos of him at an undisclosed individual’s party getting cosy with an unnamed and non-idol slightly older male just after the release of the mini-album—photos that went unaddressed by both the company and Kihyun himself. His name was starting to grow in infamy rather than popularity, but the boy himself didn’t really seem to care.

All traces of Kihyun on social media seemed to go completely cold, barely any updates from him that weren’t group photos or content. From the whole era there were a measly two Twitter posts from him, and his Bubble subscribers got refunded more often than not. But while he was refraining from making any posts, news websites and anonymous users were more than happy to leak more and more photos of him—always with the same boy, always at a party, or at a club, or just generally anywhere that looked a little shady to the hundreds of thousands that saw it. Rumours began to spread about a drinking problem, about a shady boyfriend, about countless things that painted Kihyun in a type of light that he’d previously avoided like the plague, but Kihyun himself made no attempt to defend himself, and so they only got wilder. It’s unanimously decided that the BOOM is the first (but certainly not the last) of Kihyun’s BAD eras.

MY FAVOURITE MOMENT: JENO LIVE

The then-blonde took it upon himself to disregard all the rumours spreading about his dongsaeng—although not in a direct way. He was careful with his words, as well-spoken as he always is, but made sure to especially shut down the accusations of Kihyun turning into some reckless party animal, taking the former leader’s graduation so bad he turned to less-than-ideal ways to cope. “Kyunnie isn’t like that, and never will be,” was what he told his audience, and many noted the flat look on his face. After the captain had, many of the others took their turn to come to Kihyun’s defence—mostly always with vague comments, but statements nonetheless. Chenle’s response in particular was deemed to be one of the most direct, replying to a comment while on live with a simple “You don’t know Kihyun like that” and then ending the live not long afterwards, leaving the conversation at that and somewhat encouraging the people speculating to do the same.

RELOAD 2020 CLIFF DROPS & HARMFUL HABITS

NOW 19, KIHYUN seemed to be at something of his lowest point thus far. While he made more public appearances, more attempts to join in with behind-the-scenes content (or just extra content in general), most concluded it was the result of management telling him he had to, rather that Kihyun himself choosing to do so—and his return only gave more opportunities for those looking to find all the things wrong with the once-charismatic & energy-filled vocalist. And to make matters worse for him, more information had been dug up on his newfound non-idol friends (or rather, the one boy in particular that everyone wanted to know about). Oh Jinwoo, he had been discovered to be called, something of an influencer-like figure known more often than not for his whole host of partners over the years and tendency to get mixed in with the wrong crowd. You could say that you could only imagine what this did to Kihyun’s public image (which was practically halfway ruined by that point already), but there was no need for imagination—practically everyone witnessed his fall from the (mostly Korean) public’s good books, yet nobody could do anything about it. It felt like every day there was another article released leaking more photos and spreading more rumours about whatever dark web Kihyun was tangling himself in, but still the company made no move to stop them.

It was also during the RIDIN era that Kihyun was rumoured to have started up the habit of smoking, with (albeit blurry) photos released to support the claims. This did absolutely nothing to help his reputation, tanking it further. His future was starting to look a little uncertain, questions being raised over whether his actions as of lately would warrant either a hiatus or removal from the group completely. He might’ve delivered all his lines as fine as normal, danced along with the rest in the same practised & efficient manner he always did, but talent didn’t mean much when placed on a scale against damaging the whole group’s image, rather than just his own. When people began to turn their nasty comments and endless gossip onto the other members, Kihyun was starting to look like more of a hindrance than a crucial member. It is, without a doubt, agreed by all that RIDIN was a REALLY, REALLY UGLY era.

MY FAVOURITE MOMENT: KIHYUN LIVE

It was short, it was vague, and it was still very obvious he was nowhere near to feeling like his normal self, but Kihyun himself did come forward to address a few things—mainly the smoking incident, which he admitted to be true and said that while he was trying to put a stop to it completely, habits like that were hard to quit. After the negative comments began to override the positive & supportive ones, he was quick to shut it off again and return to what was becoming his frighteningly normal status of radio silent. Still, it was something—and far more than anything SM gave, at that. Other members were also quick to dismiss or shut down any comments they saw on their own lives discussing Kihyun and his future of the group, all that they said mostly being along the simple and short lines of “Kihyun’s staying with us” and not elaborating any further.

HOT SAUCE 2021 A START

20 YEARS OF AGE. Mark was back, their permanence as a group was finally confirmed, the graduation system having been abolished, and all eight of them were together again. After five whole years of being active they were finally releasing a full album, and getting the chance to do it the way they all wanted. But while things were happier in that regard, Kihyun’s situation was far from forgotten. Fans of his were relieved nothing had been done about his place in the group—even if a few solo stans wanted him out just as much as those who hated him did, for the sake of his own wellbeing rather than them holding any ill-will towards the other members—but public opinion of him was still mostly in the red. Things were again starting to feel like they were hitting a dead-end: with Kihyun’s presence sort of.. Drifting. Sometimes he’d be absent for a group live, sometimes he’d go silent on all social media for weeks with his only comeback usually being his presence in the background of another member’s photos. Everything was looking just as uncertain as they had during the RIDIN era—until Kihyun once again started a solo live with the simple title of ‘an explanation’ and proceeded to do just that: explain.

Most suspected he didn’t divulge all the details, but the run-down was this: he’d met Jinwoo at some party or other, and they’d gotten just as close as all the leaked photos and gossipy articles made them out to be (although, again, some thought them to be far closer). He’d led Kihyun into a little bit of a rebellious era, what he called his ‘chance to be young and reckless’ since he’d mostly missed out on it, what with all his years of both diligent training & as an active idol. While he admitted on the broadcast that it was fun for a while, he was also realising the damage it was doing to both himself & his fellow members, so attempted to cut contact with his newfound friend—to no avail, for a few months, as they had more than a few periods of arguments both over the phone and in person. He said he’d only officially completely cut Jinwoo off a few weeks before the live, and shared with something of a wistful smile that he didn’t plan to get in touch with him any more now that he was gone. His viewers were overjoyed to hear this, and the members shared the sentiment—but Kihyun still had a ways to go before he was back to being a generally accepted fan-favourite. Despite him taking his first steps towards being back to his usual self, HOT SAUCE is still considered a BAD era for the vocalist.

MY FAVOURITE MOMENT: MARK INSTAGRAM POST

It was a three-slide-long affair that was posted not too long after Kihyun’s live. The first was a selfie of himself & a sleeping Kihyun, one of the rapper’s arms gently holding the vocalist to his side while he grinned wide into the camera. The second, a solo shot of Kihyun’s face up close to the camera, tongue out and peace sign just barely visible in one of the corners, what with most of the frame being taken up by the odd expression he was pulling. The third slide was a short video, only ten seconds or so long, of Kihyun and him on the dorm’s sofa, the audio consisting the tail-end of Mark’s voice making a joke mostly unintelligible to the viewers that was quickly followed by Kihyun’s pure & unfiltered laughter as he cracked up at whatever the Dream leader had said. He was creased over, one hand repeatedly hitting Mark’s knee as the other held his stomach, breath coming out in jerky and uneven gasps as he tried to recover. The caption was made up of two words: ‘my KD.’

HELLO FUTURE 2021 COTTON CANDY & BACK TO NORMAL

STILL 20, BUT NOW SEEMING MUCH HAPPIER, by the time HELLO FUTURE era rolled around Kihyun felt to most like he’d healed fully from what had then been a period a month shy of two years worth of the continuous cycle of being somewhat of a public enemy. People thought it was the combination of getting the truth about all that had happened off his chest, the continuous support of his members both in Dream and in NCT as a whole, and the seemingly infectious happy mood that came with the HELLO FUTURE era that managed to finally get Kihyun back on his feet, and with him he was bringing performances reminiscent of how full of joy and excited he’d been during the WE YOUNG era, smile wide on his face in every shot and dancing filled to the brim with passion. He even made more of an effort to make appearances on social media—contradictory to the rule he’d made during the WE GO UP era of only being constantly online during concepts he wasn’t too fond of. He gave happy little updates every once in a while, paired with smiling selcas both alone & with the other members, was as talkative as most remembered him to be before what some had started to dub ‘the dark ages’ during any group lives they held, and even crashed a few of the member’s solo lives every now and again.

His change was noticed easily, and was one that began to slowly turn the tides of public opinion on him once again. The comments made about him being someone who was bringing the group down and ruining their reputation with his recklessness were slowly lessening, being replaced with positive ones, and soon enough his popularity was starting to grow again, instead of the countless hate trains and calls for him to be kicked out. Kihyun was well on the way (if not mostly there already) to being completely fine again, even apparently feeling well enough to make more than a few jokes at his own expense here and there about staying far, far away from any parties held by a friend-of-a-friend in the future. HELLO FUTURE was the light (or rather.. Rainbow?) at the end of the tunnel for Kihyun, and so it was considered his first GOOD era after the nearly two years of BAD (with one REALLY, REALLY UGLY, at his lowest) ones.

MY FAVOURITE MOMENT: MV REACTION

Kihyun was seated next to Chenle, which could only really mean trouble—as it always did whenever the pair were within two metres of one another. They were cracking jokes every two seconds, falling all over one another with laughter and unable to shut up for even a minute. The rest paused the video more times to tell them to keep it together than they did for them to comment on anything actually happening in the MV, but you could tell from a mile away that they didn’t really mind in the slightest, more happy to see Kihyun laughing and smiling again than anything. They also all made sure to cheer the loudest when the vocalist’s solo scene appeared on screen, and then proceeded to (lovingly) make fun of him when his ears uncharacteristically went bright red at the praise being showered upon him, although he tried to get over it quickly and return back to his self-confidence-filled self.

GLITCH MODE 2022 VIDEO GAMES & B-BOYING IN PROGRESS

NOW FULLY BACK ON TRACK (& FRESHLY 21), Kihyun was ready to throw his all into their second full album. He was as good as new, his overwhelming feeling of excitement for every track recorded and released as clear as day. He even (again) broke his no-contact rule a few times just to relay how much he thought fans were going to love the album, posting spoilers as often as possible and revealing as much as he could get away with before it dropped. When it was released, he was practically talking about it non stop, chattering away on all platforms about the styling, the stages, the music, how fun it was, how much he was enjoying himself—the list went on. He declared the GLITCH MODE era to be his favourite, point blank, no matter how much he liked anything they would go on to release in the future. Public opinion of him was mostly completely smoothed over by that point, and his personal fan base was growing with every passing piece of content that was released. He seemed at his complete happiest, throwing everything he had and more into every single thing he did during promotions & extra content.

The GLITCH MODE era was also when he opened his personal Instagram account, his first post being a picture of him and Jeno glued to each other’s sides in a setting people assumed to be the SM building, with the caption ‘my favourite colleague.’ His follower count rose quickly, and is currently sitting at a comfortable 4.8M, mostly in the middle of Jisung and Chenle’s own numbers. Since then his account has become a home to photos that at times feel more like an exhibition of all the other Dream members (and his closer friends from the other units also) than anything involving himself, nonsensical lives that usually occur at the early hours of the morning where Kihyun—either alone or together with whoever decides to either join the live or join Kihyun himself wherever he’s holding it—has free reign to chatter on about whatever he pleases, although most of the time when he’s alone it turns into an impromptu radio hour where he takes the chance to talk about his favourite recent albums & artists, as well as listening to any recommendations his viewers give him. Slowly beginning to recover his streak, GLITCH MODE is seen as another GOOD era for Kihyun.

MY FAVOURITE MOMENT: MV BEHIND

Kihyun had decided that he was going to properly get into breakdancing during the GLITCH MODE era, and saw no better place than his solo interview moment in the behind-the-scenes video to show off the moves he’d begun to learn. At first he just spoke about how excited he was for the comeback, with Mark hanging off of his back and chiming in with comments of his own here and there, but after a couple minutes of that he was shrugging the leader off of him and telling the camera to “Watch this!” before launching into an impromptu downrock routine while Mark watched on in horror, looking a little like he was on the verge of a seizure even if Kihyun was perfectly fine. He also tried to do a headstand, and by that point Jeno had also wandered over to see what all the fuss was about, and viewers had the pleasure of watching both the leader and captain attempt to stop Kihyun from giving himself a concussion—the latter looking like he was about to burst into tears, and the former looking as if he was seconds away from collapsing.

BEATBOX 2022 BOOMBOXES & MAKESHIFT ENGLISH LESSONS

21, AND, IN HIS WORDS, “IN HIS PRIME,” the vocalist & dancer took to BEATBOX like a duck to water. While it wasn’t a huge favourite of his, he still liked it well enough and had enough fun on both the sets of the music video and all the photoshoots that accompanied the release to make up for it. The choreography was also a favourite for him in particular, and he practised it so much he could be seen absently dancing along to it whenever he stood still for too long in almost all of the extra content both before & after the release. It was practically ingrained in him, all of it coming to him like muscle memory. He swore up and down he could do the BEATBOX choreo tied up and blindfolded by the end of the era, although he was far from complaining, dragging every idol he vaguely knew (and even ones he hadn’t even introduced himself to) to do the challenge with him backstage at all the music shows they attended. Hardly anyone was safe from Kihyun’s pleading eyes and charming smile, and fans joked they’d seen more of Kihyun on TikTok doing dance challenges than they had seen him on any other platform from all of his past eras combined.

He was also noted for his sudden unexpected closeness with Jaemin in the BEATBOX era. While they were far from just acquaintances, and had expressed their shared love for one another multiple times in the past (even after their not-really-fight they’d shared in their trainee years, the story of which Kihyun had retold during a live with Jeno and could barely get though sentences of without laughing at how ridiculous it sounded all those years later), he just seemed a little closer, a little clingier in all of the behind-the-scenes content; hanging off of his arm or dragging im off somewhere to talk about something or other. When asked about it somewhere, he simply shrugged with a big grin on his face. “I just like Jaemin-hyung,” was all he said at the time, but later in an Instagram post of the two on the set of the music video he had written the caption ‘please give me lots of love—and lots of followers too!’ with a whole array of heart emojis to accompany it, to which Jaemin commented with a lot of laughter and promising he’d bring his dongsaeng all the Instagram fame he seemed to desire. Now most definitely building his streak back up, BEATBOX was a GOOD era for Kihyun all-around.

MY FAVOURITE MOMENT: UNBOXING BEATBOX ALBUM

Sat with Donghyuck, Renjun, and Mark, Kihyun was tearing off the cellophane packaging of the album before the rest could even greet the camera, practically desperate to look through the photobook and (most importantly, so he could add it to his ever-growing collection of all the photocards he owned of his fellow members) see who he’d pulled. He yelled out in delight and brandished his brand-new Jaemin PC at the camera, before almost immediately pulling out his phone and prying off the case to slip it into the back of it (covering up the GLITCH MODE era Mark he’d pulled the last time they’d done an unboxing, much to the leader’s dismay). After that was done with, he started spending an unnecessarily long amount of time pouring over each page of the photobook, trying to think of English adjectives to describe them with and then distracting Mark from his own unboxing in order to get him to whisper them in his ear when he couldn’t think of how to translate them. ‘Hot’ and Jaemin’s practically-trademarked ‘Sexy’ was what he ended up coming out with the most.

CANDY 2022 EARMUFFS & CHRISTMAS KARAOKE

CHRISTMAS AT 21 was a very merry affair for Kihyun. He was as festive as could be, even wrangling Renjun and Jisung into buying a fake tree for their dorm that he decorated in a (very chaotic, and very loud) Christmas live a few days before the release of the EP. That seemed like the extent of his social media updates, though, only really appearing after that in group Twitter posts or lives (or occasionally the background of another member’s picture)—but this wasn’t all bad, seeing as it confirmed to most that he enjoyed the colourful and fun winter concept they were going with for the release. The only other real proper online presence he had was the random flurry of Bubble messages his subscribers would receive concerning his ranting and raving about his personal favourites from H.O.T.’s discography, seeing as he took it upon himself to listen to more of them because it was one of their songs they were remaking. Fans took delight in Kihyun’s wide smiles and overall joyful mannerism as he delivered lines about leaving his partner for another, saying his always-cheerful disposition made his performance of the title track all the more enjoyable.

In behind-the-scenes & extra content, Kihyun’s Christmas spirit felt infectious to viewers. There wasn’t a moment where he wasn’t belting out the lyrics to Christmas classics from all countries (even if he had to hold his phone up to Mark’s face on occasion and get him to help him with the pronunciation of some of the lyrics), or dancing around to something only he could hear in his head, or picking up some of the fake-snow they sprinkled around on a few of their sets and chucking it in Chenle’s face before sprinting in the other direction while the Chinese vocalist immediately gave chase, and the rest could only stand and watch it all play out. Now matching his previous four-long streak, CANDY is agreed to be yet another GOOD era for the vocalist.

MY FAVOURITE MOMENT: PACKING CANDY ALBUM

He was in Mark, Jisung, and Chenle’s group, and spent most of the time chucking baubles at Chenle, trying to balance the various items placed before them on the table on Jisung’s head & shoulders without him noticing, and steadily making his way through the whole rack of Chupa Chups sitting right beside him unattended rather than doing anything with the actual box in front of him. Mark took over the job for him in the end, leaving him to pretty much do whatever he pleased in the meantime (one of those things was repaying the favour Mark did him by tying him in bows with the ribbon that their boxes had come wrapped in, the leader making faces while he did so but doing absolutely nothing to stop him at the same time).

ISTJ 2023 MBTI FRAUD & IMPULSE DECISIONS

22-YEAR-OLD-KIHYUN was as energetic as ever, full of ideas and eager to get all of them heard. ISTJ was the album where he received the most writing credits, recorded as having helped with the lyrics for all tracks bar Like We Just Met and Blue Wave. Fans liked to see that he was showing a more creative side of himself this era, and that he was vocal about all the things he’d had input in or had helped shape into the final form, polishing it to perfection for their third full album. He was most noticeably supportive in their behind-the-scenes recording videos, where he got through all of his own sessions quickly & efficiently (but with no lack of passion and enthusiasm for the lines he was given—which most were happy to see were more than usual, similar to the WE YOUNG era in terms of numbers, even occasionally soaring a few higher) and then stayed in to listen to all of his other fellow members, cheering them on from behind the glass and dancing around as they recorded, greeting them with a wide hug and endless amounts of praise when they left the booth.

Another thing that was enjoyable for fans was his complete lack of awareness of what an MBTI actually was. He’d heard of them, of course, but he’d never gone as far as to take a test and find out for himself. So Kihyun, curious to see what the fuss was all about, turned on an Instagram live, propped his phone up against his desk, switched his laptop on, and took one there and then. He consulted with viewers about every single one of the questions, taking far too long to complete it than any normal person would-and, when he finally did, disagreeing with his result right up until he saw other people that shared his MBTI. He shut up pretty quick when he scrolled down a little more and saw that he apparently had the same one as Adele, changing his tune almost instantly and saying his result was the best of them all. Officially bumping his longest-running streak up to five, ISTJ was most definitely a GOOD era for Kihyun.

MY FAVOURITE MOMENT: MV BEHIND

He was clearly in his element, bouncing around from member to member to play with their hair or jump onto their back or whisper something in their ear before bursting out into a fit of snickers and running off again to see who else he could bother. He played photographer for most of their Instagram posts, taking the outtakes or moments where they had an eye closed or just clearly weren’t ready for his own feed, started a playfight with Jisung and nearly tripped himself up on a stray wire in the process, brought his own mini Bluetooth speaker to set one day so he could have a soundtrack while he caused his chaos, and attempted to show off more tricks he was learning, but was quickly stopped by Mark, who, as soon as he saw him getting in position for what looked like a cartwheel of some sort, was rushing over faster than light—his breakdancing routine from the GLITCH MODE era still very much as the forefront of his mind.

DREAM()SCAPE 2024 MOCKTAILS & ODD-LOOKING FRUITS

AGAIN FRESH OFF A BIRTHDAY (HIS 23RD THIS TIME), the vocalist felt just as excited for the release as he had for GLITCH MODE, even if it wasn’t a full album. It was calling back to their debut days, making a statement through all of the symbolism and hidden messages that was louder than any of them could convey with words, and was altogether a project that hoped to show to everyone how strong their bond actually was, to convince the few out there that were of the opposite opinion that they all loved one another throughout the thick and thin their eight years of being an active subunit, and weren’t likely to stop anytime soon. Kihyun was like Jisung in regards to all the fan-theories being made about the teasers, keeping his mouth mostly shut (although some thought that was just because he was barely on social media as it was), but did comment on some things in particular—namely Jeno’s back, the Jaemin trailer that had him locking eyes with the camera even in between a crowd, and the Chenle pill-biting scene. He kept quiet on his own, making brief comments about how cool he thought he looked on Bubble but not saying much otherwise.

The few things he did share about the comeback were mostly about the music. He had writing credits for the majority of the songs, but also had another piece of news that was exciting for him as a longtime personal goal he’d had for a good while—and that was that he’d assisted with the production on one of the tracks. Most that knew Kihyun knew that music production had been one of his interests since he knew what it was, and so naturally that meant they knew what some of his work in the production area actually getting used in an official release would mean to him. He couldn’t have been happier about it, and that happiness was a sentiment both the members and his closer friends outside of Dream shared with him, mentioning it in passing when talking about DREAM()SCAPE. Even if it only just ended, SMOOTHIE is considered yet another—making this his sixth in a row since ‘the dark ages’—GOOD era for Kihyun.

MY FAVOURITE MOMENT: DREAM()SCAPE COUPLE SONG MEETING

Amidst all the chaos, Kihyun was surprisingly quiet. He looked half-asleep for most of the meeting; Jamiroquai baseball cap backwards on his head, eyes drooping closed every now and again, and a thick sweater on that he kept pulling closer to himself as if he wanted it to suddenly transform into a blanket. The only thing he did the whole meeting was play Cooking Mama on his phone (we know this because he shared screenshots of his finished dishes on Bubble afterwards) and vouch for Carat Cake—yes, you heard that right, Carat Cake. The song that most of the members bar maybe Donghyuck acted as if it didn’t exist. He didn’t really care if it wasn’t a couple song, and didn’t really care if it didn’t get picked, either—he just wanted it to be known that was where his vote lay. It was his favourite song on the EP, and hoped that somewhere out there there’d be people that liked it just as much as him. At some point in the middle he got bored with both his phone and the arguments still going on in front of him, so he nestled his head in his arms and attempted to have a nap. Which, predictably, didn’t work that well. By the end of it he was still dead tired, still the only one that liked Carat Cake, but also the only one who had three stars on his Cooking Mama carbonara, and so he considered himself the real winner of that meeting.

#⠀૮ ᴖﻌᴖა⠀DRIVE ME CRAZY ✱⠀⠀——⠀⠀eras.#nct dream added member #nct oc addition #nct dream 8th member #nct addition #nct oc #kpop idol oc #kpop addition #kpop male oc #fictional idol community #temp cr. desi6ner

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bremser · 3 months ago

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Berenice Abbott at 18 rue Servandoni

The portrait on the cover of Julia Van Haaften's 2018 biography "Berenice Abbott: A Life in Photography" and at the top of Abbott's wiki page is by an unknown photographer. It was taken for the small newspaper Paris-Midi, published June 14, 1928. Keystone France agency, and now Getty owns the rights and incorrectly dates it as 1927, while Wikipedia dates it as "1930s."

At the time, her studio was at 18 rue Servandoni in Paris, we see the fireplace and door in the background in other portraits, such as the portrait of James Joyce's daughter, Lucia. There's a classic Atget at 15 rue Servandoni, but it's from 1903-4. Atget died in 1927 and Abbott, along with Julien Levy, saved his archive. By 1930 she was in New York City, where Walker Evans made his great portrait of her.

Van Haaften writes that in search of lower rent, Abbott moved to the rue Servandoni studio in early 1928. Abbott kept a clipping of the newspaper, but there's no further detail about the portrait session in the biography.

I was curious about the photographer of the portrait and found Getty has a handful of other frames from the same session that I'd never seen.

Most interesting of those frames is this contemplative shot showing the windows of her studio, maybe some photo chemicals on the table. A puff of smoke emanates from Abbott's cigarette in the same place where someone has left their fingerprint on the negative or print. There's a strong reflection or light leak in the top left corner of the frame. Van Haaften describes the rue Servandoni studio offering "beautiful north light."

Looking at the building on Google Earth, there is one north-facing spot that has the large windows similar to the 1928 portrait, seen in the center of the screen grab below.

Another detail Van Haaften mentions is that it took Abbott months to install electricity. An electric spotlight is on a tripod behind Abbott in the standing portrait. In the alternate angle you can see a not-to-code wire dangling.

So, who made these portraits? The Keystone France agency was an off-shoot of a popular stereoview company based in Meadville, Pennsylvania, hence "keystone." If you've ever flipped through old stereoviews at a vintage shop, you recognize this brand. The French agency was founded by Alexandre Garai in 1927 (whose brother Bertram started a related Keystone in London in 1914). The Met has one photograph by Alexandre Garai, taken in 1927. The jpeg is tiny, but indicates a modern perspective. While it's possible Garai is the photographer, his brother's ethos seems to have been to be the boss ... and never touch a camera.

The identity could be buried deep in Getty's London warehouse, which stores 80 million photographs and negatives. When these frames were scanned and metadata added to Getty in 2010-2016, if there was a name on the back of the prints, it probably would have been added then.

From the photos themselves, it's difficult to say if Abbott had a rapport or was familiar with the photographer: her default intensity is remarkably consistent her entire life, up until the last portrait of her in 1991.

(left, rue Servandoni 1929, right: Hank O'Neal, Berenice Abbott, Last Portrait, Monson, Maine July 17, 1991)

From the resolution, the depth of field on the lens, these are probably shot with a 4x5 or larger camera. It looks like the photographer shot the lens wide open, the camera in the standing portraits looks very much in focus, while Abbott's face looks slightly out of focus.

Two of the four frames have similar damage, could be a development problem, but could be mold later while in storage. Abbott's Paris portraits of the period were shot on glass (as much of Atget's body of work was), though by the late 1920s glass plates had mostly been replaced by film. Annoyingly, Getty is one of the best places online to see her Paris portraits, but the Steidl book is highly recommended. Seen together, you realize why Man Ray felt threatened, or at least annoyed, by his former assistant.

The photographer was either challenged or in a challenging environment. Abbott was often a withering critic, one can imagine a green photographer shows up to make portraits and encounters a prickly subject. With the seated portrait above, at first glance, I thought maybe the print has a piece torn out of the left side? Or is it a modern lamp intruding on the composition?

It's difficult to tell with the window portrait how much of it is a metering mistake or the potential development issue, but it looks several stops overexposed to be of use in publication of that time. Today, with our phone cameras taking three frames and digitally merging exposure, we can romanticize the top half of her body dissolving into the light is as the "magic of film."

I'm calling this the "last" frame of the session, based only on the fact that her pose and facial expression has shifted from intensity to a mix of boredom and exasperation. The photographer told her to sit on the day bed with tea and a book, "look relaxed," but she wants nothing to do with it.

#berenice abbott #notes

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frankendykes-monster · 26 days ago

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Countdown to Halloween 2024 ranked

54. The Willies (1990)

53. Hell High (1987)

52. Face of The Screaming Werewolf (1964)

51. Terrifier (2016)

50. The Last Halloween (1991)

49. Cathy's Curse (1977)

48. The Last Shark (1981)

47. Godzilla × Kong: The New Empire (2024)

46. Creepozoids (1987)

45. The Horror of Frankenstein (1970)

44. Frankenstein's Castle of Freaks (1974)

43. Man Beast (1956)

42. Tourist Trap (1979)

41. Daughter of Dr. Jekyll (1957)

40. Fiend (1980)

39. Vampyros Lesbos (1971)

38. Devil Girl From Mars (1954)

37. Halloween Hall o' Fame (1977)

36. Nightmare (1981)

35. The Lost Skeleton of Cadavra (2001)

34. Peeping Tom (1960)

33. Violent Shit (1989)

32. Invaders From Mars (1986)

31. Eggshells (1969)

30. Night of The Ghouls (1959)

29. Scream, Blacula, Scream (1973)

28. The Strange World of Planet X (1958)

27. The Colossus of New York (1958)

26. The Scooby-Doo Project (1999)

25. Night of The Living Doo (2001)

24. Scooby-Doo! and The Reluctant Werewolf (1988)

23. The Great Bear Scare (1983)

22. The Wasp Woman (1995)

21. The Cyclops (1957)

20. Frankenstein and The Monster from Hell (1974)

19. The Tingler (1959)

18. The Boogey Man (1980)

17. The Dragon Lives Again (1977)

16. Quatermass and The Pit (1967)

15. The Brain That Wouldn't Die (1962)

14. Mad Love (1935)

13. The Alien Factor (1978)

12. The Walking Dead (1935)

11. Dr. Caligari (1989)

10. The Deadly Spawn (1983)

9. Invaders From Mars (1953)

8. Alucarda (1977)

7. Uzumaki (2024)

6. Sole Survivor (1984)

5. Nosferatu the Vampyre (1979)

4. Shock Waves (1977)

3. Frankenhooker (1990)

2. Invasion of The Body Snatchers (1978)

1. Godzilla vs. Mechagodzilla (1974)

What a productive year. October lasts all of 30 seconds which is why I have to start watching these in July if I want to make any decent headway (31 films is not enough). I desperately tried to make this a year of "have not seens" after last year's top spots being flooded with films I already loved; we mostly did it, mostly. Another top heavy year with relatively few abysmal entries, let's get started.

The Willies is the grand shitshow for this year. It feels like it's an evolutionary precursor to something like Goosebumps or Are You Afraid of The Dark?, but it mostly plays to gross out rather than scares. I don't normally care for anthology horror films to begin so to start off a film with brief segments like a woman eating a deep fried rat or a little white dog being microwave exploded and then doing extended stories on monsters hiding in the school bathroom does not do it for me. The most minimal points possible for some decent lighting and special effects but they are not enough by any means to make this worth watching. Stay away.

Onto the 1980's horror: Hell High is what happens when a film crew asks "what if we put a woman into a situation and didn't stop". I want to call it misogynistic torture porn, but I don't want to devalue that phrase for when I use it for a film later on here, but suffice to say a woman is tortured. Emotionally. For very little reason. Universal was right to block The Last Shark from US theatrical distribution. Not because it's a very blatant Jaws ripoff and they wanted to protect their copyright, but because it's abysmal and nobody should have to pay money to see this. I think the stock footage of sharks juxtaposed with the unmoving props between shots is funny, and some of the soundtrack elevates the experience, like the high shrill drones when the shark attacks a helicopter. Creepozoids is an odd one because 1987 was a bit late for a Mad Max/Escape from New York/Alien knockoff but also too early for some Full Moon tier/softcore porn adjacent 1990's production, so it loses out on both fronts. Fiend I'm struggling to even recall, I feel like Don Dohler had one movie in him (see: his plethora of alien invasion films) and him trying to branch out did him no favors. Nightmare is one I want to enjoy because it's beautifully shot but I feel like I've seen one too many slasher adjacent films at this point that include plot points like the killer having a troubled relationship with his mother or him moonlighting as a regular guy (still better than Pieces mind you). Same with Violent Shit. I feel like my tastes are pretty attuned to films that are just gore effects showcases but this one doesn't have any zany concepts to justify or compliment it, so it just falls flat.

The Boogey Man belongs to that tirade of Halloween knockoffs that flooded theaters up till about 1984 or so, but it puts in some extra effort like having a ghost be the main antagonist and a symbolic interest in mirrors, which is much more than could be asked of films like Terror Train which came out the same year. Dr. Caligari is the obligatory "this is what Tim Burton thinks he's doing" film of this year; its sets and its performances are perfectly otherworldly to a humorous degree. It's something of a quasi-sequel to the 1920 film but its relationship with logic is attuned to such a frequency that it's not a hindrance. Very hard to objectively quantify, you're either in the target audience or you aren't, so of all films here take its tier placement the least seriously. The Deadly Spawn is such a gloriously gross film. The house it's shot in isn't supposed to be disgusting on purpose, it's just one of those century's old buildings where I feel like I'd revulse if I had to touch any surface, and that's before fleshy alien monsters break in and start shredding people to bits. Sole Survivor is one of those magical "missing link" horror films, we've finally found what comes between Carnival of Souls and Final Destination. The actual scares in this film are incredibly minimal as it prioritizes atmosphere that balances between comfort and unease, something incredibly rare for films of virtually any genre. Don't go in expecting ghosts and you'll be pleasantly surprised.

Taking a brief-ish detour to the 1960's, Face of The Screaming Werewolf is one of those films I'm more angry at than anything because it's one of those films that's just the combined stray footage of multiple previous films. Rare for these to be produced in the western market (most of the examples I think of are from (south)east Asia) but it's infuriating nonetheless to see something only to discover it's a worse version of multiple better things you could be seeing. Peeping Tom is our "most overrated" entry winner, I don't know why so many people applaud this one, I feel like barely anything of substance happens to such a degree that any ounce of suspense you could draw from this just disappears, and what a shame with the concept at play here that feels as if it would take another decade for everyone else to catch up. Eggshells is the directorial debut of Tobe Hooper and while cohesive narrative is virtually nonexistent here, the amount of experimental editing keeps this going throughout the entire runtime, you can definitely see where The Texas Chainsaw Massacre came from down the line. I feel like I'm somewhat disappointed with Quatermass and The Pit (not sure what "The Pit" refers to now that I think of it) mostly becasue the first two Quatermass films are among the best 1950's science fiction films. All three are theatrical remakes of television mini-series and that's most felt here with how so much of the film takes place in the single location of an unearthed Martian ship in the heart of London. I do love that we have a science fiction film positing that humans are partly the genetic ancestors of aliens prior to people taking that seriously with books like Chariot of The Gods. The Brain That Wouldn't Die is magical, sometimes those oft hated 1950's/1960's science fiction films have something to give back to the rest of us. Here it's a man so obsessed with his own work that he sees his wife's death as an opportunity to try and kill other women so that he can use their bodies as grounds to bring her back. Which sounds like something else I watched...

...said film being Frankenhooker, which has largely the same plot but now functions as a dark comedy. God. I hate so much that the capitalist enclosure on the production and distribution of film prevented us from getting so much more from Frank Henenlotter. The man is one of the best to ever direct horror, and anyone who thinks this film or any of his other work are "bad movies" just flat out do not know what they're talking about. I think compared to Basket Case and Brain Damage however, Frankenhooker is the one that "keeps giving". You think you've seen everything the film has to offer and then something like a hotel room full of women combusts as they succumb to the effects of exploding crack or Elizabeth (the titular character) has her head punched back and starts spewing smoke and electricity everywhere. Film is a magical medium of art.

Terrifier is what I held onto "misogynistic torture porn" for. No narrative, no character work, just opportunities to show Art the Clown dismember and murder women in revolting ways. It's one of those films that vindicates everyone that doesn't like this genre and makes me wonder what I'm doing sitting side by side with people that like this shit. I think Art cutting off a woman's breasts and scalp and attaching them to his nude body to disguise himself as another prior female victim of his is when my mouth went agape and audibly asked what the fuck am I watching, cannot stress enough how much it takes to get that reaction out of me. There's an upfront showcase that Terrifier knows that it's trash and revels in it, I mean there's an early scene where we see Art has spelled out his name in his own shit, and I'm not sure how to interpret that other than I feel like I might be landing in a Duchamp's Urinal trap. For reasons that allude even me I am still eyeing the prospect of watching both sequels.

I think my overall reaction to Godzilla x Kong: The New Empire is one of "whatever". A passably bad film is a definite improvement from the abomination that was Godzilla vs. Kong but it's admittedly easy to rise up when you start from the bottom. Adam Wingard more or less sucked all the joy I could muster out of the Monsterverse, I truly do not care anymore. If anything can be gleaned from this film it's that this is a film made to reconfirm people's existing biases of "I hate the boring human scenes, I'm only watching this for the monsters." Kong is the best actor in this film because the special effects team have to have him actually emote in response to a given situation, which is more than could be asked of anyone actually on the set, apparently. It's a miracle that this came out in the shadow of Godzilla Minus One than on its own terms.

The glut of 1950's science fiction films are a perennial staple of the Halloween countdown but they don't have a huge showing this year. Man Beast is one I'm going to confuse with all the other yeti movies of the decade though having a main antagonist that's actually a human hybrid gets it some points for originality. Daughter of Dr. Jekyll infuriates me because women who become monsters in film never get to be "hideous" and "scary" like their male counterparts, I'm throwing tomatoes at this one. Devil Girl From Mars is mostly memorable for having a giant clunky robot a la Gort, but the actual titular antagonist doesn't "serve cunt" enough to warrant interest, she should have taken notes from The Astounding She-Monster. The Lost Skeleton of Cadavra is an honorable mention because it's a feature-length pastiche of the z-grade films of this era. I don't think it's particularly funny and I kind of wish they lampooned a "good" film of this type rather than make something that fits in line with the middling genre efforts. Night of The Ghouls is the last horror film directed by Ed Wood and I feel like I enjoy it slightly more than Plan 9 From Outer Space. It's far more competent in producing that lulling insomniac reaction than Wood's prior efforts but I still don't "get" the attention his work consistently gets. The Strange World of Planet X gets a special pass from me just because the finale has a bunch of giant bugs attacking stuff. Moving on.

The Colossus of New York is an oddball modern Frankenstein of sorts with a guy being transformed into a giant robot and struggling to maintain some attachment to his former life. It doesn't always work but once again giant clunky robots are giant clunky robots. I'm something of a Bert I. Gordon apologist so something like The Cyclops is going to hit harder for me than it does for most people. I just like people wandering around Bronson Cave and poor matte shots of giant animals moving in and out of frame, okay? The Tingler was the oddest revisit I've had in a while. I don't think I fully "get" William Castle's approach to film but what stuck out to me is how this one takes place in largely two locations and how Vincent Price's character is kind of the antagonist, experimenting on animals, himself, and other people (resulting in a murder) to get at the Tingler. Much like in House on Haunted Hill I'm not wholly sure how some of the spooky things in this film actually work and I don't think I'm meant to, adding to the bizarre nature of the entire series of affairs here.

Invaders From Mars...oh yes. One of the absolute best 1950's science fiction films is also the most lyrical and dreamlike. It reads at times like a Soviet parody of an American child's story would be like; a boy sees every institution designed to protect him as a child and as an American turn against him on account of some nefarious foreign invader, so his only course of action is to get the US military involved. It plays out so well because it's a POV piece from a young boy, which eases over any leaps in logic both in terms of form and content of this film. Which is more than can be said of the remake, part of the diminishing returns of Tobe Hooper's then contract with Cannon. The film largely follows the same plot structure but decenters the frame through which we see it unfold giving it a "the military is legit" vibe. It also is just a bit more mean-spirited in ways that are designed to taunt the audience versus the original film's more hardened edge to it. I think a great summation of the difference between the two is that the 1953 film had Martian bodyguards that are clearly guys in fuzzy green pajama suits, but they're more threatening than the ones in the 1986 film which are giant quadruped Stan Winston monsters. I digress. Had this come out 20 years later it would be classified as part of the wave of "why are they remaking everything?"

Speaking of remakes, briefly want to mention the 1995 Wasp Woman. It's The Wasp Woman for the 1990's, now with explosions and softcore sex scenes. I can't wholly defend the original 1959 film despite my affinity for it, so let's just say this one is of comparable quality.

The 1930's are a delightful treasure trove for horror but sadly we only have two up for offer. Mad Love makes me curious as to how other adaptations of The Hands of Orlac handle the material; I was convinced a guy got his head surgically reattached and with artificial hands to boot. Always good to see Colin Clive and Peter Lorre. The Walking Dead feels like a dry run for what Boris Karloff would do later that decade in the much better The Man They Could Not Hang, just with him as the victim here and not the mastermind. Truly some of his best work as an actor as he has to float through the world not being allowed to live or die, that shit sticks with you.

We watched a scant few Halloween specials proper, I always feel like I want to watch every Halloween special possible but sometimes the enthusiasm leaves me. The Last Halloween is trash, but that's on me for thinking something made for very small children would appeal to me as an adult. It crams far too much into its brief 22 minute runtime, so the only thing that manages to escape into the zone of interest is that the CGI aliens are actually very well done for a 1991 television production, had this been all about them (voiced by Hanna Barbara stalwarts such as Frank Welker and Don Messick, along with Paul Williams), this would have been far more tolerable. Halloween Hall o' Fame is the first of apparently several Disney television specials that repackaged their theatrical shorts inside a live-action framing device. It's quaint but this format would live and die by the quality of the shorts included; I'm not intimately familiar with Disney's back catalogue solely because they've barely released anything on home media but I absolutely adore the one where Pluto goes to Hell and is put in a kangaroo court with cats on the jury. I feel like the novelty of The Scooby-Doo Project and Night of The Living Doo have carried them along further than their actual quality have, stray artifacts from when Warner Bros was briefly testing to see if Scooby could be an adult property now, doomed to the same fate as Harvey Birdman: Attorney at Law. The latter of these two specials made me come to terms with the fact that David Cross was "a big deal" at some point. The Great Bear Scare is the winner here. How could you not like an animated special where bears have to stand up and be brave against an oncoming horde of Halloween monsters? What makes this an oddity (sort of an obligation for me and Halloween specials) is that this is animated 100% without in-betweens, so every character in every scene cross-dissolves in real time between their keyframes. Depending on who you are it could be ridiculously distracting or make you step back and appreciate how hard animation is.

Clearing out our remaining animated showings, I felt like I would really get back into Scooby-Doo and The Reluctant Werewolf. In the mid-late 2000's when Cartoon Network was desperately trying to excise showing anything from their backlogs, this is one of those films that was on repeat constantly as midday viewings especially over summer. It's just so far removed from what Scooby-Doo "proper" is that it's an enigma, I go to bat to defend each of the "red shirt Shaggy" movies but this is brain melting at times, there is no mystery to solve, monsters are real, Fred/Daphne/Velma are completely absent, half the film is dedicated to a drag race, it goes on and on and on that I feel numb after a bit. Uzumaki...it's good. I feel like the fact that this was in production hell for five years following the first trailer release made me stop caring so all the shenanigans regarding the reaction to the animation dropping off (the production team got screwed over, how the fuck do studios not have the money for FOUR EPISODES, David Zlasv strikes again) brushed off of me. Regardless of that I think the actual pacing would have restricted this given how much sequential material from the manga now has to occur concurrently. It gets by solely because it's Uzumaki and as such it channels such a foreboding sense of dread and despair that is unreal. This more than anything is the true epitome of cosmic horror because there is no "source" or "identity" behind the threat that is warping reality around you, there is nothing to oppose and be defiant against, which was true of the manga and it remains true here. Bravo.

The 1970's prove to be another sporadic decade for horror. Cathy's Curse proves that no matter how good technical effects are, do not watch any Carrie knockoffs. Blah. Frankenstein's Castle of Freaks...you took a movie where a Frankenstein monster fights a caveman and made it boring, congratulations. In the interim between 2021's viewing of Curse of Frankenstein and now, I've made the effort to watch the entirety of the Hammer Frankenstein series. They make for a brilliant reinterpretation of the source material with Frankenstein effectively being antagonist: he kills consistently for his experiments, which often time warp and alter people's identities along with their bodies. The "holy triumvirate" of the series as referred to by me would be The Revenge of Frankenstein, Frankenstein Created Woman, and Frankenstein Must Be Destroyed, all for showcasing new stuff that can be done with the character and any prior influences such as the Universal films being absent. Then comes The Horror of Frankenstein, a soft remake of Curse of Frankenstein, with Terence Fischer and Peter Cushing both absent. It's a dry and tedious affair that just rehashes what Curse already did, just now with a black comedic angle and no real consequences for Frankenstein himself. It's easily the worst of the series and why I'm glad Hammer backtracked for Frankenstein and The Monster From Hell. This is probably the first instance in film history where a sequel has consciously ignored a preceding remake, and while it's not wholly original either, it's comfort food for fans of this series, and now employs a darker more claustrophobic setting in an ~insane asylum~. Not the best ending for the series, but Hammer, along with Toho and Ray Harryhausen's efforts with Columbia, sort of represented the "old" styles of horror that were pretty quickly being replaced as the decade went on. This film specifically came out the same year as the likes of The Texas Chainsaw Massacre, it was a transitional period where what horror once was was cast away. Still not sure why the monster in this film looks like a Neanderthal man but that's just me.

Tourist Trap desperately tries to be one part Psycho and one part Texas Chainsaw, and it admittedly starts off with a nice hook of animatronic puppets being the main focus of the film, but it falls through the cracks and just becomes another random 1970's horror film. Vampyros Lesbos makes me realize that my infatuation with Zombi 3 last year did not mean I'm suddenly infatuated with Lucio Fulci's overall filmography, exceptions are not the rule. Come to think I don't think I've seen a single lesbian vampire film that I'm smitten with, how do you make this boring and not sexy at all, fuck you. Scream, Blacula, Scream is the obligatory Blacula cash-in sequel, nothing worthwhile to see here and none of the charm and significance of the first film is carried forward here, sigh. "DEDICATED TO THE MILLIONS THAT LOVE BRUCE LEE," The Dragon Lives Again is one of the plethora of films featuring Lee impersonators following his death, showing Lee in Hell as he has to find a way back to Earth while also fighting off The Godfather, Dracula, The Man with No Name, Emanuele, Zatoichi, and James Bond while allying himself with Popeye and Dr. Who. No I am not making any of this up, yes, this film was made with very little money so it sounds far more interesting than it actually ends up being, but it's a cute film, I can't be mad at a film made for me, nor can a movie showing Popeye eat spinach to fight mummies or Bruce Lee knocking out Dracula with his "third leg" be something you don't go out of your way to watch.

The Alien Factor is Don Dohler's first and best film. I love the fact that a dozen people made a small scale alien invasion/slasher film in their backyards with actually solid special effects for something that was probably made on the weekends. You can't hate this film, it's made from pure love for what was already decades old genre material. Had some of the script and acting been tightened up this could have become one of the more widely recognized independent films of the decade. Oh...Alucarda. I hate when they make a lesbian devil worshiper film between girls coming to terms with theirs sexual orientation and then they aren't the heroes of the story. We've come a long way since then.

Given that the Eggers film is still a few months out, I'd say Nosferatu the Vampyre is my preferred interpretation of the story (not my favorite Dracula adaptation overall mind you). Let me say that I think remaking Nosferatu is ridiculous solely because you're just doing Dracula, again, just with some stylistic details brought on from a specific prior Dracula. But this film goes all out. It's one of those times where I'm reminded of why slowly paced films with shots that last minutes at a time are so great. It relies very little on narrative (the extent/nature of Dracula's power of the geographic barriers between Wismar and Transylvania go unexplained) but you get so thoroughly sucked into the setting and the characters that you can't complain. This has undeniably the best portrayal of Mina in any Dracula film, she's effectively the protagonist by the second half and each of her encounters with Dracula are on her terms, he's effectively powerless against her even if she ensures they both die in the end. Also, rats. So many rats. Everywhere. The plague is in town.

Shock Waves is just great 1970's horror. Shoot on location, hold the camera in hand the entire time, do it cheap, have a dreamy distant narrator, and make it grisly. I do find the concept of Nazis engineering platoons of super soldiers and we only seeing just the one in this film is probably the scariest thing about it, it invites you to think about what else is happening out of sight. My favorite first watch of the year.

1978's Invasion of The Body Snatchers is also a phenomenal remake. This one is difficult for me to talk about because it just pushes all my buttons, I felt like I wanted to cry throughout the duration of this viewing, it is an incredibly mean film. Someone you know just one day turns on you, and then everyone else follows suit. You think you know your surroundings and your city but everything is flipped upside down and you can't even describe why. From the very start when you see the premature pods land on Earth it's made immediately clear that no one is making it out of here, it was too late as soon as it started.

But there can only be one #1, and this year it's Godzilla vs. Mechagodzilla. Another instance of "nothing is going to beat this" as soon as I rewatched it. I feel like I'm alone in considering this one of the absolute best in the series, I feel like between the espionage and exploration and blood and laser fights that this is just one of the films that reminds you of why we make and why we watch movies, you get to have some semblance of every possible human emotion watching this. There's not much more you can ask for.

youtube

#long post #flashing lights #blood tw #Youtube

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ingek73 · 3 months ago

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Interview

Michael Moore on how Harris-Walz can defeat Trump: ‘Do weird and cringe until the debate, then nail him’

Edward Helmore

Progressive film-maker says he’s more optimistic than he’s ever been since Trump announced first run eight years ago

Thu 15 Aug 2024 11.00 BST

With Joe Biden looking for re-election Democrats feared they were looking at an electoral catastrophe. Now, with Biden dropping out and Vice-President Kamala Harris at the top of the ticket, it suddenly feels like it is Donald Trump who is staring at possible defeat.

The liberal film-maker and Democratic whisperer Michael Moore says he’s more optimistic than he has ever been since Trump stepped on to the escalator in Trump Tower to announce his first run for the presidency eight years ago.

“This isn’t just a sugar-high or what [recovering] heroin addicts call a pink cloud,” Moore says. “It was so depressing for so many weeks and then it was instantly not depressing. I am hopeful now but it’s ours to blow – and we have a history of blowing it.”

Moore, 70, has in recent years become something of an electoral sage. He predicted Donald Trump’s victory in 2016, in part because of the sense of political-cultural superiority Democrats emanated and because he had noticed that the campaign was fearful of inspiring Maga supporters. He predicted, too, that Democrats would buck the trend and be fine in the 2022 midterms.

In this election cycle he is in some ways in line with the pollster Nate Silver, who recently said that “the strategy of the Harris campaign should be to triangulate the strategy of Hillary 2016, the Harris 2020 primary campaign, and Biden 2024, and do the exact opposite.”

But Moore says he understands why Democrats are nervous that the Harris-Walz ticket could come apart, though it shows no current signs of doing so, particularly if Harris gets tarred with Biden’s unpopular “Bidenomics” or responsibility for his full-throated support of Israel’s war in Gaza.

“Biden, sadly, is going to be remembered for funding the war in Gaza and providing the armaments to Netanyahu, not arms for protecting Israel, but extra money to kill Palestinian civilians,” Moore says. He remains “saddened and surprised” that Biden, who had refused to meet Netanyahu last September, flew to Tel Aviv after the 7 October Hamas cross-border attack and hugged him.

“You can say what’s in a hug?” he says. “But ladies and gentlemen, let me introduce Neville Chamberlain to you. It doesn’t take much for history to see that in the moment you needed to display courage you did the opposite.”

But he’s cautiously optimistic that Harris is signaling a change of direction. She did not pick as expected the Pennsylvania governor, Josh Shapiro, who had harshly called out student protesters against the war in Gaza and settled a former employee’s claim that she was sexually harassed by a senior aide.

Harris, he applauds, went against the conventional wisdom, upending the predictions of many TV pundits, and chose “this guy from the midwest, a football coach who had offered to be adviser to the gay student group. It’s pretty stunning.”

And while as vice-president Harris has no power to speak against Biden on Israel, Harris has made her feelings plain. She declined to sit in on Netanyahu’s address to Congress, which echoed Pope Urban II’s 1095 call for the first crusade, instead traveling to a Zeta Phi Beta sorority meeting in Indianapolis.

“Couldn’t they have made up something that sounded important with foreign policy attached to it? No, She’s busy at a sorority meeting … and she refused the traditional diplomatic “grip-and-grin” after meeting with Netanyahu. It was very public.”

The first days of the Harris-Walz ticket have shown precisely the change of direction that Moore has argued for. The ominous but complicated “threat to democracy” anti-Trump platform has been dropped for “threat to freedom”. Trump’s folk story confabulations resist fact-checking, so that’s been refined to a kind of medieval textual charm, “weird”.

Jibes over JD Vance’s “couch capers” and eyeliner discussions work in much the same way. What Harris-Walz are doing is much as Moore advocated when he offered the Clinton campaign “satirical support” to come up with lines that would get under Trump’s thin skin, especially in a televised debate.

“I think I’m going to see what I was hoping for for eight years,” he says. “Once anybody gets under that thin skin anything can happen. On live TV? Trump could explode, start talking like a 12-year-old, though no offense to 12-year-olds, or get up and leave.”

But didn’t Democrats bet on the Biden-Trump debate being a success? And the Trump prosecution in New York? The Republican candidate’s polling and fundraising went up after both.

“It’s a holding pattern until she gets on that stage with him. I understand why people are nervous it might be a sugar high but Harris and Walz are people of substance. They’re being slow and cautious enough to get it together. It’s just been a couple of weeks. They are going to have to tell us what they’re going to do and hopefully come up with the right thing. And there will be mistakes.”

As the Harris-Walz campaign “humanize” the ticket it is clear that the November election represents, on the Democratic side, a generational shift.

“I’m so happy to hear Gen Z and X are over half the vote because it’s called facts and data,” Moore says, pointing out that the number of boomers over 65 who have died since 2016 is exceeded by Gen Z and millennials who have become eligible to vote. “How many of them do you think are going around in hats saying Make America Great Again”? They’ve never known it to be “great”, let alone “again”.

“It’s not just a cultural shift – it’s a generational shift. The boomers may not be the No 1 voters in this election. And that’s why Gaza is so important. Young people hate war and they’re totally against Biden and his support of the war.” Harris, he says, needs to tap into “affordable housing, student debt, peace and the dying planet”.

His prescription? “Do weird and cringe until the debate and then nail him,” Moore said. “But nail him with irony, satire and a simple way to point out the beyond weird absolute idiocy and insanity of what these two men are talking about. Reach them on a commonsense level so it doesn’t matter if you’re Democrat or Republican.”

“Once anybody gets under that thin skin anything can happen. On live TV? Trump could explode, start talking like a 12-year-old, though no offense to 12-year-olds, or get up and leave.”

#michael moore #us elections #kamala harris #donald trump #democrats #republicans

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lcvedior · 8 months ago

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𖤐 ʾ ⠀ ❪ ⠀ NATALIA HWANG ⠀ ╲ ⠀A DISCOGRAPHY DEEP DIVE

∬ ˚ ⋆ ࣪ TALIA (2015): THE GRAND DEBUT … Fresh out of filming for her supporting role in the 2016 film ‘The Handmaiden,’ Natalia would make her musical debut on her 18th birthday, releasing her first full studio album, featuring three lead singles: ONLY YOU, FULL MOON, and FLY. Each of these tracks would get their own individual promotional periods. This release would debut to much critical acclaim, the lead singles peaking at #1, #5, and #1 on charts respectively and the album selling over 683,000 units. Only You rose to popularity with a surprising quickness, racking in 7 music show wins. Full Moon was also a hit, recognized as one of the most iconic songs as well as choreography in the industry, being covered by large range of idols and notable celebrities. Then Fly did surprisingly well with the general public, taking the industry by storm with it’s vocal prowess and earning several PAKS and RAKS, and staying in the top of charts for a total of 70 weeks.

∬ ˚ ⋆ ࣪ 24 HOURS (2016): THE FIRST COMEBACK … Riding off the success of Natalia’s debut, her acting projects, and modeling work, Zephyr thought it’d be best to release her first comeback in the earlier part of 2016. 24 Hours is her second studio album, consisting of 8 tracks with 24 Hours serving as the title track. 24 Hours debuted at #15 on charts but progressively worked itself up to #1 throughout the promotional period. Alongside the title track, the b-side MAGIC which unexpectedly peaked within the top 10 on music charts. Due to popular demand, Natalia also promoted the track very briefly on music shows. Although the public’s reception of her work was seemingly positive, it was evident that she was still exploring her artistry. Even though she was never truly given credit for anything on this album or the album prior, she was heavily involved in the writing and concept for all tracks. On the contrary, both Zephyr Entertainment and Henri Kwon (especially) were very adamant on not straying away from the sexier image she’d been portraying already.

∬ ˚ ⋆ ࣪ WHY (2016): THE SUMMER RENAISSANCE … Natalia came back just in time for the summer with her single Why. The tropical house track was met with immediate acclaim upon release, peaking at #1 on all charts, taking home 10 music show wins, and seeing several PAKS. This song was everywhere that year. When people think of summer 2016, Why is destined to come to mind. It also trumped her previous reign of 70 weeks on charts by staying for 90 weeks. It also revisits the charts frequently, usually around summertime of every year. This year she was able to take home BEST NEW ARTIST and SONG OF THE YEAR with this single alone. This is what marked the official solidification of her status in the music industry.

∬ ˚ ⋆ ࣪ VARIATIONS ON THE WORLD LOVE (2017): A LOVE-HATE RELATIONSHIP … Natalia Hwang released yet another studio album titled Variations on the Word Love, which is a darker piece of work exploring themes of toxic relationships and what love can look and feel like. Never Ever, the title track, debuted at #1 on charts and stayed there for weeks. Other b-sides on the album also charted well, like the #5 peaking track MOONLIGHT. The album sold over 2 million copies, marking her first 2 million seller in her career. Aside from the success, though, fans were worried that Natalia was being overworked. From booking luxury brand deals, Mon Cheri’s new season, and gearing up for her first world tour, it was safe to say there wasn’t a time where Natalia wasn’t working. Everything she did was selling like hot cakes, Zephyr and Henri felt like they could slap her name onto anything and make bank. On the contrary, while she was apparently loved by the public, she was also hated a great deal. People slapped the names ‘diva’ and ‘airheaded’ on her, embroiling her in attitude controversies and slandering her for her interviews where Henri accompanied her.

∬ ˚ ⋆ ࣪ FANTASY (2017): A LOVE-HATE RELATIONSHIP PART 2 … Following the promotional period for VOTWL, Natalia would release her first mini album only a few months later, selling 2 million copies once again. It’s title track Fantasy would garner 9 music show wins and peak at #1 on charts. Of course, this release wouldn’t come without backlash, many netizens criticizing the attire she wore in her music video, calling it skimpy and inappropriate. Although she wouldn’t promote this release much as she was preparing for her first world tour, other tracks on the mini would gain popularity, such as DON’T SAY NO (which would later get its own music video) and WHATEVER. Those tracks would both get added to the Setlist for the tour. She would walk away from this year with the ARTIST OF THE YEAR award, much to a lot of people’s dismay. Regardless, this year was still a success even with the boycotts and nasty, intrusive comments from interviewers and netizens alike.

∬ ˚ ⋆ ࣪ NATIONAL EMBARRASSMENT (2018): THE EERIE CALM BEFORE THE STORM … Natalia released her second mini album right in time for spring of this year, a reference to netizens titling her a ‘national embarrassment.’ While the album sold less copies than her previous releases, it would still chart exceedingly well. She didn’t promote this album much, never performing it and oftentimes barely acknowledging it after its release.

∬ ˚ ⋆ ࣪ TIMELESS (2018): THE HATE TRAIN (WHEN THINGS FALL APART) … Around winter of 2018, Natalia released her fourth studio album, featuring the title track #LADY and the promotional b-side ALTERLIFE. Things seemed to be looking up before its release, the albums presales already hitting incredible milestones and the anticipation for the release umpteenth. The first few hours of the release were peaceful, both tracks debuting at #1 and #10 respectively. However, things came crumbling down when Henri Kwon released an exposé regarding Natalia, officially announcing their parting from one another and dumping on her mental health and extremely personal issues. This sent the media into a frenzy, everyone talking about it and a plethora of headlines coming out everyday. Some people sided with Natalia, saying that Henri was wrong for speaking on her and airing out her mental state and sexuality like that, while most used this as an opportunity to bag on her all that they wanted. This was an extremely rough period for Natalia, as she was being asked very rude and inappropriate questions every interview and being harassed by paparazzi and fans on the internet everyday. This was an all-time low for her, emotionally and in her career. She’d always received hate but never to the extent of this year. Due to this, her promotions were cut short and she canceled many schedules. She would then be placed on an indefinite and unofficial hiatus where she wouldn’t release music or make any public appearances for the next nearly three years.

∬ ˚ ⋆ ࣪ MY OBSESSION (2021): THE LONG AWAITED COMEBACK … After nearly three years and many half-assed, vague updates from Zephyr Entertainment about Natalia’s whereabouts, Hwang finally made her comeback in 2021, releasing her first studio album in years titled My Obsession. My Obsession would prove to be her best-selling album, selling over 4 million units with its title track MIDNIGHT winning 12 music show wins and SONG OF THE YEAR, while other tracks such as TOUCH, SELFISH, and SECRETS charted exceptionally and were promoted due to popular demand.

∬ ˚ ⋆ ࣪ DESSERT [FEAT. MICKEY MOON & KYRIE HAN] (2021): COLLAB OF THE YEAR … A little later this same year, Natalia would unveil another release, which would be a chart topping single featuring Mickey Moon of DREAMCHIC and Kyrie Han of RAVANA. The collaboration would go viral, peaking at #1 and staying within the top 15 weeks after its release. The single would even be nominated alongside Midnight for awards such as BEST DANCE PERFORMANCE and SONG OF THE YEAR. Although, it would win BEST COLLABORATION.

∬ ˚ ⋆ ࣪ BAD OMENS (2022): CREATIVE FREEDOM AND ARTISTIC AUTHENTICITY … After taking yet another year off from music, Natalia came back with her studio album titled Bad Omens, featuring the title track Fever. This ‘hiatus’ was much different from the previous one—in length and reason. It was obvious that she was working on projects behind the scenes, such as new modeling projects, preparing for comebacks and (possible) tours, and making business moves. In this album, fans were able to see a different, deeper side of Natalia and her music. She was vulnerable with the concepts for music videos and album art, and talked about past experiences in her tracks which raised quite a few brows to listeners. Many people would speculate about the lyrics but when questioned about them, she would only answer with vague responses. Some tracks that were talked about in particular were: I LOVE MY BOYFRIEND, PWIC, and LIQUID SMOOTH. The album is often regarded as her best piece of work sonically, conceptually, and artistically.

As of early 2024, Natalia has taken more time off from music to focus on her new record label COUNTESSA RECORDINGS, which she revealed and bought her first artist in the later part of 2023.

#⠀⠀· ⠀⠀𔓘 ⠀⠀／ ⠀⠀I ADORE YOU ⠀⠀ › ⠀⠀ discography.#fake idol community #fake idol oc #fake idol soloist #fake kpop idol #fictional idol community #kpop oc #fictional kpop idol #fictional kpop company #fake kpop soloist #fake kpop oc #fictional idol oc #idolverse #idol au #idol oc

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videli-jste-tento-film · 11 days ago

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tumblr nezná 400 filmů! aneb 52. statistika

Délka polibku devadesát (1965) : nezná 94,3 %, vidělo 0 % 300

Kuřata na cestách (1962) : nezná 94,1 %, vidělo 0 % 300

Zlé pondělí (1960) : nezná 94 %, vidělo 0 % 200

Zpívající film (1972) : nezná 94 %, vidělo 0 % 300

Dukátová skála (2018) : nezná 94 %, vidělo 0 %

Hrdina má strach (1965) : nezná 93,1 %, vidělo 0 % 300

Bloudím (2010) : nezná 92,3 %, vidělo 0 % 300

Karel a já (1942) : nezná 92,2 %, vidělo 0 % 300

Kluci z bronzu (1980) : nezná 92 %, vidělo 0 % 300

Nenasytná Tiffany (2015) : nezná 91,5 %, vidělo 4,2 % 200

Top 10 se od minulé velké statistiky v podstatě nezměnila, jediný úplně nový film je 5. místo a 3. a 10. místo se drží nahoře už od dob, kdy neznámých filmů bylo 200.

nenáhodné poznatky: speciální faktoidní edice

takto vypadá zastoupení filmů podle dekády:

Na absolutní čísla bylo nejvíce neznámých film�� natočeno v poslední ukončené dekádě, nejhůř procentuálně v rámci dekády jsou na tom ale 20. a 40. léta. Naopak nejméně neznámých filmů vzniklo v padesátkách. V porovnání s předchozí stovkou se poměr neznámých filmů stále zvyšuje.

Nejvíce neznámých filmů pochází z roku 2015 (14 filmů). Podobně špatně jsou na tom taky roky 2018 (13 filmů), 2019 (12) a 2014 (11).

Hlasovali jsme už o 60 filmech, které vůbec nikdo neviděl! Je to o 19 víc než v třístovkové statistice a o 46 filmů víc než ve dvoustovkové. V top 10 se nachází jeden jeden film, který někdo viděl.

58,7 je počet lidí, kteří v průměru hlasují o neznámých filmech. Od minula se nezměnil největší počet hlasů (102), i když bych si to děsně přála.

teď něco o žánru:

Podle ČSFD se mezi neznámými filmy nejčastěji objevují komedie (202 filmů), dramata (170) a pak s velkým odstupem pohádky (40), romanťárny (34) a psychologické filmy (29). Přibyl nám jeden nový žánr: erotický. Tuto kategorii zatím zastupuje jeden film.

zaostřeno na režiséry:

nejvíce neznámých filmů natočil Martin Frič (15), v závěsu za ním vlaje Věra Chytilová (12), na třetí příčku se tísní Zdeněk Podskalský, Ludvík Ráža a Karel Kachyňa (po 7 filmech)

ženy-režisérky (28 celkem) mají na svědomí 52 neznámých filmů (13 % všech), nejvíce už zmíněná Chytilová, dále Alice Nellis, Věra Plívová-Šimková, Drahomíra Reňáková-Králová a Libuše Koutná (po 3 filmech)

Chce se mi plakat. Pod perexem najdete seznam všech filmů mimo top 10 s označením těch nejnověji přidaných. Mír!

11.–100.

Krajina s nábytkem (1986)

Boxer a smrť (1962)

Oko ve zdi (2009)

Kára plná bolesti (1985)

Hodinářova svatební cesta korálovým mořem (1979)

Bez doteku (2013)

Strašná žena (1965)

Adopce: Konkurz na rodiče (2014)

Početí mého mladšího bratra (2000)

Monstrum z galaxie Arkana (1981)

Můj hříšný muž (1986)

Má je pomsta (1995)

Králové videa (2020)

Polibek ze stadionu (1947)

Nahota na prodej (1993) N

Divoké pivo (1995)

Konec srpna v hotelu Ozon (1966)

Indián a sestřička (2006)

Očima fotografky (2015)

Únos Moravanky (1982)

Válka barev (1995)

Bílá spona (1960)

Domestik (2018)

Sněží! (2019)

Ženy u benzinu (1939)

Bella Mia (2013)

Postel (1998)

Jako letní sníh (2021)

Spadla s měsíce (1961)

Společně sami (2024)

Ošklivá slečna (1959)

Křik (1963)

Love (2011)

Ďábelské líbánky (1970)

Sólo pro starou dámu (1978)

Mučedníci lásky (1966)

Happy End (1967)

O věcech nadpřirozených (1958)

Děvčátko (2002)

Pehavý Max a strašidlá (1987)

Kanárská spojka (1993)

Záhrada (1995)

Dcery Eviny (1928)

Tvár v okne (1963)

Můj příběh (2019)

Poslední ples na rožňovské plovárně (1974)

Hany (2014)

Sextánka (1936)

O slavnosti a hostech (1966)

V žáru královské lásky (1990)

Zpráva o putování studentů Petra a Jakuba (2000)

Normal (2009)

Temné slunce (1980)

Hezké chvilky bez záruky (2006)

Srpnová neděle (1960)

Jedna kočka za druhou (1993)

Šílení (2005)

Jako jed (1985)

Pirko (2016)

Past (1950) N

Natěrač (2008)

Slečna Golem (1972)

Pláč svatého Šebestiána (2019)

Upír ve věžáku (1979)

Škola otců (1957)

Poslední leč (1981)

Anděl Exit (2000)

Tanec medzi črepinami (2012)

Zkáza krásou (2016)

Dívka s mušlí (1980)

Otrantský zámek (1977)

Roh Gondoru (2020)

Pomerančový kluk (1975)

Danielův svět (2014)

Okurkový hrdina (1963)

Eva Nová (2015)

Špína (2017)

Mí Pražané mi rozumějí (1991)

Babičky dobíjejte přesně! (1983)

Řád saténových mašlí (2000)

O kouzelném zvonu (1998)

Dvojrole (1999)

Pumpaři od Zlaté podkovy (1978)

Luk královny Dorotky (1970)

Dva týdny štěstí (1940)

Tanečnice (1943)

Pacho, hybský zbojník (1975)

Ze soboty na neděli (1931)

Hroch (1973)

Dotek motýla (1972)

101.–200.

Cesta ven (2014)

Muž z prvního století (1961)

Tichá bolest (1990)

Rychlé pohyby očí (1998)

Buko (2022)

Jak napálit advokáta (1980)

Ten, kdo tě miloval (2018)

Prach a broky (2015)

Florenc 13,30 (1957)

Kalamita (1980)

Přísně tajné premiéry (1967)

Mlhy na blatech (1943)

Ovoce stromů rajských jíme (1969)

Motýlí čas (1990)

Kluci z hor (2018)

Andělské oči (1994)

Lucie (2011)

Experti (2006)

Hry lásky šálivé (1971)

Pražská 5 (1988)

Slávko, nedej se! (1938)

Lidé na kře (1937)

Jednotka intenzivního života (2021) N

Pohádkové počasí (2008)

Člověk proti zkáze (1989)

Kráva (1992)

Intimní osvětlení (1965)

Fantom Morrisvillu (1966)

Žiletky (1993)

Jaké vlasy má Zlatovláska? (1992)

Non Plus Ultras (2004)

MY 2 (2014)

Vůně vanilky (2001)

Jídlo (1992)

Cena za štěstí (2019)

Paralelní světy (2001)

Největší z Čechů (2010) N

Labakan (1956)

Hodinu nevíš... (2009)

Prázdniny v Provence (2016)

Povodeň (1958)

Einstein kontra Babinský (1963)

Tonka Šibenice (1930)

Provdám svou ženu (1941)

Ohnivé ženy mezi námi (1987)

Kam čert nemůže (1959)

Nejlepší ženská mého života (1968)

Karel, já a ty (2019)

Spící město (2021)

Electra (2023)

Z města cesta (2002)

Křižáček (2017)

Všichni musí být v pyžamu (1984)

13 minut (2021) N

Pražské orgie (2019)

Lebensborn – Pramen života (2000)

Děvčata, nedejte se! (1937)

Poslední propadne peklu (1982)

Křtiny (1981)

Jestřáb kontra Hrdlička (1953)

Bylo nás deset (1962)

Milenci v roce jedna (1973)

Výlet (2002)

Vážení přátelé, ano (1989)

Backstage (2018)

Případ pro začínajícího kata (1969)

Touha Sherlocka Holmese (1971)

Krásno (2014)

Dým bramborové natě (1976)

Všiváci (2014)

Chvilky (2018)

Rozina sebranec (1945)

Byl jsem mladistvým intelektuálem (1999)

Stíny Kraje (2023)

Zkřížené meče (1998)

Smuteční slavnost (1969)

Muzikál aneb Cesty ke štěstí (2016)

Proč? (1987)

Operace Silver A (2007)

Zloději zelených koní (2016)

Hra o jablko (1976)

Sviňa (2020)

Czech Made Man (2011)

Městem chodí Mikuláš (1992)

Perličky na dně (1965)

Shoky & Morthy: Poslední velká akce (2021)

Vlčí bouda (1986)

Lesapán (2015)

Lízin let do nebe (1937)

Malá z rybárny (2015)

Autopohádky (2011)

Mandragora (1997)

Já, truchlivý bůh (1969)

Výbuch bude v pět (1984)

Extase (1932)

Pějme píseň dohola (1990)

Pan Vok odchází (1979)

Pytlákova schovanka aneb Šlechetný milionář (1949)

Alenka v zemi zázraků (2018)

Tři srdce (2007) N

201.–300.

Zločin v šantánu (1968)

Zítra se bude tančit všude (1952)

Doblba! (2005) N

Káťa a krokodýl (1966)

Ikarův pád (1977)

13. revír (1946)

Ztraceni v Mnichově (2015)

Amerika (1994)

Klec (2019)

Zralé víno (1981)

Hotýlek v srdci Evropy (1993) N

Divoké včely (2001)

Pytel blech (1962)

Na vlastní nebezpečí (2007)

V erbu lvice (1994)

Sedem jednou ranou (1988)

Zvonící meče (2000)

Srdečný pozdrav ze zeměkoule (1982)

Měsíc nad řekou (1953)

Třináctá komnata (1968)

Helimadoe (1992)

Kočár do Vídně (1966)

Perníková věž (2002)

Jak ukrást Dagmaru (2001)

Ghoul (2015)

Ohnivé ženy (1984)

Kdyby radši hořelo (2022)

Smrt talentovaného ševce (1982)

Černý Petr (1963)

Hvězda zvaná Pelyněk (1964)

Pojedeme k moři (2014)

Kopytem sem, kopytem tam (1988)

Z mého života (1955)

Ten svetr si nesvlíkej (1980)

Valentin Dobrotivý (1942)

Když Burian Prášil (1940)

Král Ubu (1996)

Štěstí (2005)

Skřítek (2005)

Husiti (2013)

Bolero (2004)

Čas sluhů (1989)

Pepa (2018)

Spravedlivý Bohumil (1998)

Spanilá jízda (1963)

Invalid (2023)

Pánská jízda (2004)

Párty Hárder: Summer Massacre (2022)

Konec starých času (1989)

Legenda o lásce (1956)

Kdo probudí Pindruše...? (1989)

Přišla v noci (2023)

Na střeše (2019)

Kouzelná tetička Valentýna (2008)

Erotikon (1929)

Domácí péče (2015)

Vražda Ing. Čerta (1970)

Deváté srdce (1979)

Utrpení mladého Boháčka (1969)

Dita Saxová (1967)

Báječní muži s klikou (1978)

10 pravidel, jak sbalit holku (2014)

Andělská tvář (2001)

O zakletém králi a odvážném Martinovi (2018)

Rodinný film (2015) N

Ikarie XB-1 (1963)

O zatoulané princezně (1987)

Roztomilý člověk (1941)

Cech panen kutnohorských (1938)

Nikdy neříkej nikdy (2023)

Učitel tance (1994)

Slaměný klobouk (1971)

Vy nám taky, šéfe (2008)

Zázračný nos (2016)

LOVEní (2019) N

Případ mrtvého nebožtíka (2020)

Malvína (2003)

Nejasná zpráva o konci světa (1997)

Bouřlivé víno (1976)

Panelstory aneb Jak se rodí sídliště (1979)

Božská Ema (1979)

Sedím na konári a je mi dobre (1989)

Hrdinný kapitán Korkorán (1934)

7 dní hříchů (2012)

Kohout plaší smrt (1961)

Pohádka máje (1940)

Zločin v Polné (2016)

Dáma na kolejích (1966)

Okupace (2021)

Na půdě aneb Kdo má dneska narozeniny? (2009)

Falešná kočička (1937)

Poupata (2011)

Ještě větší blbec, než jsme doufali (1994)

Partie krásného dragouna (1970)

Pusinky (2007)

Hlídač č. 47 (1937)

O svatební krajce (2003)

Chata na prodej (2018)

Svatba upírů (1992)

Úsměvy smutných mužů (2018)

301.–400.

Protektor (2009)

Elixír a Halíbela (2001)

Lajka (2017)

Anděl s ďáblem v těle (1983)

Gangster Ka (2015)

Návrat idiota (1999)

O princi Bečkovi (1988)

Něžný barbar (1989)

Kočičí princ (1978)

Metanol (2018)

Grand Prix (2022)

Potkal jsem ho v ZOO (1994)

Královský slib (2001)

Golet v údolí (1995)

Morgiana (1972)

Indián (2022)

Stříbrný vítr (1954)

Chyťte doktora (2007)

Šašek a královna (1987)

Čarodějky z předměstí (1990)

Babí léto (2001)

Setkání v červenci (1978)

Tancuj Matyldo (2023)

Karamazovi (2008)

Láska je láska (2012)

Něco z Alenky (1988)

Párty Hárd (2019)

Anton Špelec, ostrostřelec (1932)

Je třeba zabít Sekala (1998)

Na kometě (1970)

Padesátka (2015)

Svatba na bitevním poli (2008)

Zakleté pírko (2019)

Roming (2007)

Tajemství Ocelového města (1978)

Lelíček ve službách Sherlocka Holmesa (1932)

Pražákům, těm je hej (1990)

Pozor, vizita! (1981)

Artuš, Merlin a Prchlíci (1995)

Mazaný Filip (2003)

Vybíjená (2015)

Léto s gentlemanem (2019)

Jak jsme hráli čáru (2014)

Vítr v kapse (1982)

Colette (2013)

Dalskabáty, hříšná ves aneb Zapomenutý čert (1976)

Donšajni (2013)

Čtyři slunce (2012)

Signál (2012)

Toman (2018)

Otesánek (2000)

Láska na vlásku (2014)

Akumulátor 1 (1994)

Instalatér z Tuchlovic (2016)

Holka nebo kluk? (1938)

Sestřičky (1983)

Vlčí jáma (1957)

Já to tedy beru, šéfe! (1977)

Duhová kulička (1985)

O štěstí a kráse (1986)

Venkovský učitel (2008)

Konec agenta W4C prostřednictvím psa pana Foustky (1967)

Ve stínu (2012)

Tisícročná včela (1983)

Přijela k nám pouť (1973)

Václav (2007)

Hodíme se k sobě, miláčku...? (1974)

Sněžný drak (2013)

Strašidla z vikýře (1987)

Faunovo velmi pozdní odpoledne (1983)

Přítelkyně pana ministra (1940)

Mravnost nade vše (1937)

Knoflíkáři (1997)

Medvídek (2007)

Nejlepší přítel (2017)

Fešák Hubert (1984)

O Janovi a podivuhodném příteli (1990)

Český sen (2004)

Nejistá sezóna (1987)

O liečivej vode (2020)

Drahé tety a já (1974)

Upír z Feratu (1982)

Jen ho nechte, ať se bojí (1977)

Tři životy (2007)

Šípková Růženka (1990)

Něžné vlny (2013)

Vyšší princip (1960)

Holka na zabití (1975)

Pěnička a Paraplíčko (1970)

Metráček (1971)

Plaváček (1986)

Kdo chce zabít Jesii? (1966)

Brácha za všechny peníze (1978)

Katka (2009)

Kouř (1990)

Anička s lískovými oříšky (1993)

Osada Havranů (1977)

V peřině (2011)

Kvaska (2007)

Andílek na nervy (2015)

#statistiky #málo známé filmy #český film #slovenský film

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amadmadmadworld · 2 months ago

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31 Days of Horror

Day 2: The Autopsy of Jane Doe

Ooohhh boy. I cannot tell you how much I love this movie. I like a lot of movies, it doesn't take much to make me like one (which is why I would probably not make a good critic). But I am totally serious when I say that this one particular flick is at least in my top five of all time favorites. Which is why I am so frustrated by how criminally underrated it is.

Here's the story: set in Virginia (my home state <3), a grisly scene is found in a seemingly serene suburban home. Three people (an older couple and a worker unrelated to the couple) are viciously murdered, the house in disarray with blood and obvious signs of chaos. However, they are killed in different ways and the details confuse the investigators. But it gets even more strange when they find a partially buried young woman in the basement. Unlike the other victims at the scene, she is undisturbed, clean of any bloodshed and trauma. She's not related to any of the three victims and nobody has any clue of who she is or how she got there. So, the local sheriff (played by Michael McElhatton, who oddly looks like Kevin Spacey but thankfully has no relation to him) takes the victim--customarily referred to as Jane Doe--to local coroner/mortician Tommy Tilden and his son & assistant, Austin. The two conduct a customary autopsy on the young lady, and that is when the story really gets going. As mentioned before, she is clean. If anything, she looks like a Sleeping Beauty, untouched and at peace. But that turns out to be very, very untrue. Right off the bat, her eyes are milky, like she's been dead for quite a while, but doesn't have the slightest indications of rigor mortis or decay. She does, however, have shattered wrists and ankles, foreign dirt in her hair and under her nails, and, oh, a tongue that's been ripped out. That's just the tip of the iceberg. As the two continue the autopsy, they find more and more oddities and internal damage inflicted by horrific torture. If that's not enough, creepy things start to act up around them in the morgue as they dig deeper in to the mystery that is Jane Doe before it spirals into total madness. I would love to go on about the rest of the story and the haunting, fascinating details, but I don't want to spoil it. But, seriously, once you start watching it, you're sucked right in and don't want to stop until you see it all the way to the end. And it is so worth it. By the end, you are puzzled, unnerved, and wondering what hell you just watched and what happens next.

The movie directed by André Øvredal (who also did Mirrors, The Last Voyage of The Demeter, Trollhunter, and Scary Stories To Tell In The Dark) came out in 2016 and has a very small cast, perfect for a movie in a claustrophobic setting. It's stars are the excellent Brian Cox and the grudgingly decent Emile Hirsch (I must let you know that, a year before the movie was released, he strangled a female executive with his bare hands. He was sentenced to 15 days in jail, 90 days of probation, 50 hours of community service, and additionally fined $4,750. Ick.) However, the other, unsung star of the film is the lovely Miss Olwen Kelly. An Irish model who has dabbled in cinema, she plays the role of who else but the titular Jane Doe. Kelly steals the show without having to so much as blink, which is exactly what she does. Now, here's the thing: in these movies, they sometimes use an actor and a dummy. But not this particular movie. It's all Kelly. As in, every scene, every second featuring Jane Doe even in the background, is Olwen Kelly herself in the flesh. Prosthetics and makeup are used, of course, but it's still all Kelly. Lying perfectly still, unblinking, breathless, and totally limp. She spent hours like this. Seriously. As it turns out, Kelly practices yoga and, for the movie, she mastered controlling her breathing and relaxing her body to the point she would seem totally devoid of breath and life, just like a corpse. Damn, Kelly, talk about committing to the bit. Thanks to her creepy technique and excellent acting (or lack of acting, since she's a body), the character Jane Doe and the movie are all the more unnerving and feel so real in spite of the bizarre twists and turns. She might not be moving a muscle, but for almost the entire movie, Jane Doe is staring at us with a blank and spine chilling gaze that would make Sissy Spacek's Carrie and The Grudge's Kayako proud, all the while she tells her story through the puzzle that is her body and one special song that comes up every now and then in the movie, Open Up Your Heart (And Let The Sunshine In) originally by the McGuire Sisters and covered by Cowboy Church Sunday School.

Everything about this movie is top notch. The acting, the writing, the setting, the story, the music, the characters, the scares, even the littlest details, is nothing short of amazing. Hell, even Stephen goddamn King agreed. The master of horror compared it to Cronenberg's early films and the classic Alien. He recommended to watch it but, quote, "not alone". It is a truly spooky story, and its undertones perfectly tackle the invisible devastation of psychological and emotional trauma. The movie's message fits so well in the cases of horror and mental health: everything might look fine, but if you look close enough, you'll find that it's not. Brian Cox, as Tommy Tilden, sums it all up quite well with one line he says in the first act of the movie: "Every body has a secret. Some are just better at them than others."

#the autopsy of jane doe #movie review #movie recommendation #happy halloween #31 days of horror #horror movies

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beardedmrbean · 1 month ago

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The murder of a politician in a bustling area in India's Mumbai city has sent shockwaves across the country.

Baba Ziauddin Siddique, 66, was shot on Saturday night near his carwhile he was leaving his son's office. He died later in hospital.

The killing of Siddique, an influential politician who was part of the coalition governing Maharashtra state - of which Mumbai is the capital - has set off a political blame-game.

The motive for the murder is not clear yet, but for many it has brought back memories of the 1990s, when politicians and film stars were frequently targeted by Mumbai's underworld.

Police have arrested three people so far and say investigations are continuing. Local media reports say the arrested men are part of a notorious gang whose leader is currently in jail.

Who was Baba Siddique?

Born in the eastern state of Bihar, Siddique migrated to Mumbai at the age of five with his father, a watchmaker.

He started his political career in the 1980s as a student leader with the Congress party, soon leading its youth wing in Mumbai. He then entered local council politics before being elected to the state’s legislature three times in a row and becoming a minister in 2004 for about four years.

In February, he left the Congress to join the Nationalist Congress Party which, along with Prime Minister Narendra Modi's Bharatiya Janata Party (BJP) and the Shiv Sena, currently governs state.

Apart from his political activities, Siddique also made headlines for his glitzy iftar parties held during the Muslim holy month of Ramadan which were attended by top Bollywood stars.

It was at his iftar party in 2013 that superstars Salman Khan and Shahrukh Khan ended their much-discussed rift with a hug - that propelled "the annual Siddique affair into a must-watch event on the city’s social calendar", Midday newspaper wrote in 2016.

How was Siddique killed?

The politician was shot outside his son’s office as he was about to enter his car in the busy Bandra area.

Police said three shooters fired six-seven rounds, hitting Siddique's abdomen and chest, and fled the scene. A bystander was also injured as a stray bullet hit his leg.

Investigators said they had recovered two pistols and 28 live rounds of ammunition from the arrested men.

Siddique had three police guards - local media reported his security was upgraded days ago - but the suspects reportedly distracted them by setting off a "smoke firecracker".

What is the state of the investigation?

Police have been granted custody of the arrested men for a week. They say they are on the lookout for their accomplices.

“We have set up 15 teams and investigation is on to identify who provided logistical support to the shooters,” senior police official Datta Nalawade said.

While the police have not confirmed it, several reports citing sources have linked the arrested men with the notorious Bishnoi gang. The gang's leader Lawrence Bishnoi is an accused in several cases and is currently in a high-security prison in Gujarat state.

Within hours of the shooting, a man claiming to be a member of the gang posted on Facebook that they were behind Siddique’s killing. Police have not yet confirmed the authenticity of the post.

Though Bishnoi has been in jail since 2015, he frequently makes news. Many social media accounts claiming to belong to him or his associates have often posted his selfies from jail. He even gave interviews to a TV channel in 2022, prompting an investigation.

Many of the reports on Bishnoi are based on police sources and it’s not clear how he conducts the gang's operations while in prison.

The gang's name popped up in connection with the murder of Punjabi rapper Sidhu Moosewala in 2022.

In April, police arrested two gang members for allegedly firing shots outside the apartment of actor Salman Khan in Mumbai.

On Monday, the Canadian police also said it believed the Bishnoi group had connections to Indian government agents who were using the gang to target Sikh separatists on their soil. India has not officially responded to the police claims.

What else has happened?

Siddique’s killing is the first major assassination of a politician in Mumbai since the 1990s when high-profile killings of politicians, businessmen and Bollywood celebrities by criminal gangs of the Mumbai underworld were not uncommon.

Local media reports said he had received a death threat two weeks ago, which led to his security being upgraded.

His killing within days of that has put the state government on the backfoot, with Maharashtra set to hold assembly elections soon.

Congress president Mallikarjun Kharge called the murder “a complete failure of law and order in Maharashtra”, and Delhi's former chief minister Arvind Kejriwal said the incident had scared not only the people of Maharashtra “but the entire country”.

Chief Minister of Maharashtra Eknath Shinde has defended his government.

“[The culprits] will not be spared no matter who they are, be it the Bishnoi gang or any underworld gang… Those who are receiving threats, their safety is the state government’s responsibility and it will fulfil its responsibility,” he said.

#nunyas news

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tilbageidanmark · 2 months ago

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youtube

MOVIES I WATCHED THIS WEEK (#196):

4 UNUSUAL DOCUMENTARIES:

🍿 KEDI (2016) is a love song for a beautiful city and its wonderful stray animals. Istanbul is known for its millions of street cats who peacefully co-exist with the humans who manage to feed and care for them. [With one glaring negative: There's no mention of any attempts for spaying and neutering the huge population!]. (TRAILER ABOVE).

It's a very simple film, basically shot after shot of different people petting a lot of different cats. So it's charming and calming. 7/10. [*Female Director*]

🍿 JOE HISAISHI IN BUDOKAN, 25TH ANNIVERSARY STUDIO GHIBLI CONCERT, was unexpectedly my happiest movie experience of the week. It is my second real-life affair from Sunada Mami (After her other Ghibli bio-pic, 'The Kingdom of Dreams and Madness'). A magnificent 2008 concert with full orchestra and 2 large choruses, (with as many as 400+ musicians). They played for 2 hours bits from the many scores which Hisaishi had composed for the films of his friend Hayao Miyazaki. Simply magical. 9/10. [*Female Director*]

🍿 BALLYMANUS (2022) is an Irish documentary about a German sea mine that exploded on a remote beach in 1943 and which killed 19 youngsters of its small community. It's interesting mostly for the feel of the rustic village and its people, gently-told.

🍿 YOOPER CREOLES: FINNISH MUSIC IN MICHIGAN'S COPPER COUNTRY (2019) is about old traditions of folk music, which were developed by the many ethnic communities in the upper peninsula in Michigan. Part and continuation of the Alan Lomax archivist projects.

🍿

SPRING IN A SMALL TOWN (1948) was voted the best Chinese film of all time by the Hong Kong Film Critics Society. It was made during the Chinese Civil War, but was a surprisingly modern, feminist tale of an unrequited love in a village setting. It's a love triangle with an obedient but unhappy wife, a bed ridden husband, and his doctor friend who comes for a first unplanned visit in 10 years. It's a small lyrical and intimate miracle, worth discovering. It reminded me very much of David Lean's simultaneous story 'Brief Encounter'.

🍿

CONTINUING MY OCCUPATION WITH ISABELLE HUPPERT X 2:

🍿 My second film by Jean-Paul Salomé (after last week's 'Mama Weed'), THE SITTING DUCK (2022). Based on a true story, it's a feminist corporate thriller about a steel-willed top executive whistleblower, who was viciously attacked for her steadfastness. It's basically Huppert's movie. 7/10.

🍿 LOUDER THAN BOMBS, my 3rd uninspired drama by Joachim Trier, his first outside of his native Norway. It's a family drama about widower Gabriel Byrne, and his two sons, who are trying to come to grips with the suicide-by-car death of Isabelle Huppert, playing here a scarred war zone photographer. Unfocused alienation, dislocation, and miscommunication, it's about the difficult dynamics of feeling lost. 5/10.

🍿

"A doctor?... The boy is drunk!...

YOU ARE NOT ALONE was a landmark coming-of-age story about 2 boys who fall in love at a Danish boarding school in 1978. It was controversial in that the relationship between the 12 and 16 year old boys were shown honestly and naturally in a Scandinavian style (nudity, kisses, genuine affection - but no explicit sex). Olsen Banden's Ove Sprogøe plays the strict 'bad guy' headmaster.

It gave me a shot of sentimental nostalgia for that exact time and place. Even though I was 12-15 older than the boys, it rang so true: I remember the clothing, hair styles, cars, roads and ice cream shops, the Kim Larsen songs, the moods and attitudes of that time. It's like re-living it again. Wow! 7/10.

🍿

SORRY WE MISSED YOU (2019), my 6th (and probably last!) powerful gut-punch by British socialist Ken Loach. A fantastic piece of Neo-realist social drama, but one which is so-so depressing that it took me about a week to sit through it. I doubt I'll be able to follow up with more of the same. A working class family struggles mightily to stay floating above water, and is constantly defeated. Since the Reagan-Thatcher Axis of Evil, the infrastructure in England had been degraded as thoroughly as the one in the US, and the only option left for the ordinary poor is to go and fuck off. It's a dreary, anxiety-inducing nightmare of train-wrack coming toward us, unstoppable, merciless and uncaring. 8/10.

🍿

2 FROM BRAZIL:

🍿 THE END OF MAN (1971) is an unusual and bizarro Brazilian low-budget religious fairy tale. A naked stranger with very long fingernails emerges out of the sea, 'Messiah'-like, to influence everybody he meets. It's made by a pioneer of Brazilian horror genre, in the local B-movies style called 'Mouth of Garbage Cinema'. It's like an early Jodorowsky but without the drugs and the philosophy and also without Alejandro's considerably-mad talents. 3/10.

🍿 ELETRODOMÉSTICA (2005), my 3rd by Brazilian director Kleber Mendonça Filho (After 'Bacurau' and 'Neighboring Sounds'). A stay at home housewife is going about her day, taking care of her 2 kids, cleaning and cooking, while also finding time to toke a hit of 'Mota' and to ride the spinning cycle of the washing machine for a quick release.... It's easy to recognize the same town as his first feature. Cute.

🍿

First watch: Sam Packinpah's 1974 neo-Western BRING ME THE HEAD OF ALFREDO GARCIA. A rough, desperate treasure hunter and his prostitute lover driving a beat-up jalopy to look for the head of a dead gigolo. Dirty Mexican mise-en-scène. Kris Kristofferson plays a raping biker-thug. 3/10

RIP, KRIS KRISTOFFERSON!

🍿

“I love you with all my love...”

Grandiose genius Coppola directed my all-time favorite film ('The Conversation'), as well as my all-time favorite trilogy, so I was looking forward to finally see MEGALOPOLIS, his new end-of-life Opus Magnum. But this bloated, didactic, "operatic" epic about Shakespearean "Great men" like Cicero and Howard Roark and Cesar Catilina passed over my head until boredom come. The bullshit metaphors about the fall of the Roman Empire were indulgent and excessive. I can't see where did all the money go. I liked that Talia Shire played again the power-hungry matriarch, and I liked that Dinah Washington started singing 'What a different a day make' at a certain point, but otherwise, I had a hard time just finishing it.

🍿

Stanley Kubrick directed only 12 features and 4 shorts during his 50-year career. FLYING PADRE (1951) was his second film. A documentary about a Catholic priest in rural New Mexico who flies his own Piper Cub plane to administer to his flock. It's told in voice-over, without actual sound.

🍿

2 CANADIAN SHORTS:

🍿 PEEP SHOW, an early short (1981) by Canadian Atom Egoyan. A man at a photo booth tries to take some snapshots, but the photo booth misbehaves...

🍿 THE RIDE (1963), a Buster Keaton inspired joke of a chauffeur dreaming about a toboggan ride, while waiting for his employer. 4/10.

🍿

My 2nd or 3rd re-watch of the very last episode of 'Succession'. With Open eyes, which is recognized now on some lists as the 'greatest TV episode of all time'. It's brutal all right, and proves to show that shoulder-slouching Kendall Roy was indeed a loser all along, a permanent Don Jr. Noted: It's interesting how the opening credit scene had been expanded from season to now. Also, how fluid and jerky was the camera work, full of "unfocused" blocking and cinéma vérité tricks. ♻️.

🍿

TIM WALZ IS WALKING HIS RESCUE DOG and being interviewed by the guy from 'We rate dogs'. 17 wholesome minutes of a guy who's not weird. Cute!

🍿

(ALL MY FILM REVIEWS - HERE).

#kedi #cats #movies #movie review #film review #cat lovers

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verypersonalscreencaps · 2 years ago

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Hey guys, it’s time to share my favourite film watches of 2022! I can’t say that I saw every film that was on my watchlist but I think there were some definite highlights. In ‘new releases’ we have this Top 20 (very loosely ranked!): 1. Aftersun (dir. Charlotte Wells) 2. Tár (dir. Todd Field) 3. The Woman King (dir. Gina Prince-Bythewood) 4. The Wonder (dir. Sebastian Lelio) 5. À Plein Temps (dir. Eric Gravel) 6. Mrs Harris Goes To Paris (dir. Anthony Fabian) 7. Good Luck To You, Leo Grande (dir. Sophie Hyde) 8. Les Passagers De La Nuit (dir. Mikhaël Hers) 9. The Quiet Girl (dir. Colm Bairéad) 10. L’Événement (dir. Audrey Diwan) 11. The Fabelmans (dir. Steven Spielberg) 12. Fire Of Love (dir. Sara Dosa) 13. Les Années Super 8 (dir. Annie Ernaux & David Ernaux-Briot) 14. Les Olympiades (dir. Jacques Audiard) 15. Nobody Has To Know (dir. Bouli Lanners) 16. Ali & Ava (dir. Clio Barnard) 17. Top Gun: Maverick (dir. Joseph Kosinski) 18. Dowton Abbey: A New Era (dir. Simon Curtis) 19. Emily (dir. Frances O’Connor) 20. Rien À Foutre (dir. Julie Lecoustre & Emmanuel Marre) And in ‘older releases’… 1. The Worst Person In The World (2021, dir. Joachim Trier) 2. Amanda (2018, dir. Mikhaël Hers) 3. Ce Sentiment De L’Été (2015, dir. Mikhaël Hers) 4. The Broken Circle Breakdown (2012 , dir. Felix Van Groeningen) 5. Bright Star (2009, dir. Jane Campion) 6. The Handmaiden (2016, dir. Park Chan-wook) 7. Daphne (2007, dir. Clare Beavan) 8. Oslo, August 31st (2011, dir. Joachim Trier) 9. Robin And Marian (1976, dir. Richard Lester) 10. La Belle Saison (2015, dir. Catherine Corsini) As hard as it is to believe, 2023 is almost upon us, it's time to wish you all a HAPPY and SAFE New Year. Have a wonderful time wherever you are in the world. Big love 💗💗

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greensparty · 5 months ago

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This Month In History - June

Here is a round up of the big anniversaries to celebrate this month:

June 2, 1989: Dead Poets Society opens

In June 1989, one of the best movies of the 80s was released. Here is my piece from 2019. Happy 35 DPS!

June 4, 1984: Born in the U.S.A. released

In June 1984, Bruce Springsteen's 7th album was released. Here is my piece I wrote in 2014. There's a 40th anniversary edition that was recently released on vinyl (expect my review soon). Happy 40th BITUSA!

June 8, 1984: Ghostbusters / Top Secret! / Gremlins open

On one day in 1984, three all-out classic films were released. Here is my piece I wrote in 2019. Happy 40th Ghostbusters, Top Secret! and Gremlins!

June 13, 1979: Candy-O released

In June 1979, the second album by The Cars was released. The new wave Boston band made quite a splash with their first album and for the second they brought in producer Roy Thomas Baker known for his work with Queen. Everyone talks about the debut, but this one has quite a few bangers like "Let's Go", "Dangerous Type" and the title track. Happy 45th Candy-O!

June 15, 1989: Bleach released

In June 1989, Nirvana's debut album was released. The album pre-dated Dave Grohl and drums were courtesy of the highly underrated Chad Channing, and on a few tracks Melvins’ Dale Crover (who I spoke with about this album in 2017). Here is my piece I wrote about the album in 2014. Happy 35th Bleach!

June 15, 1999: The White Stripes released

In June 1999, the debut album from The White Stripes was released. Here is my piece I wrote in 2014. Happy 25th TWS!

June 16, 1994: Kristen Pfaff dies

In June 1994, Hole bassist Kristen Pfaff died at 27. The bandmate of Courtney Love died only a few months after her husband Kurt Cobain died at 27. Sadness! Here is my piece I wrote in 2014.

June 20, 1989: The Real Thing released

In June 1989, Faith No More's magnum opus was released. Here is my piece I wrote in 2014. Happy 35th TRT!

June 22, 1984: The Karate Kid opens

In June 1984 one of the great underdog sports movies was released. Here is my piece I wrote in 2014! In 2016, when I interviewed one of the stars William Zabka (one of the great 80s villains of all-time), he told me “Good movies ride on! It’s nice they are still appreciated to this day.”. Happy 40th Karate Kid!

June 22, 2004: A Ghost is Born released

In June 2004 the 5th album by Wilco was released. Following up Yankee Hotel Foxtrot was a tall task, but this was quite a follow up. This is an album I got that Summer and listened to it quite a bit on my disc man that Summer (before I got an iPod). There's some solid tracks here and notably "Spiders (Kidsmoke)", a 10 min. slow burn build-up that blows up at a certain point in the song. Happy 20th AGIB!

June 23, 1989: Batman opens

In June 1989, Tim Burton's first Batman movie was released. Here is my piece I wrote in 2014. Happy 35th Batman!

June 25, 1984: Purple Rain soundtrack album released

In June 1984, Prince and the Revolution’s magnum opus was released. It was the soundtrack to his movie which opened a month later. Prince has made some brilliant albums, but this one stands above the rest! In 2018 I got to see The Revolution live and was completely blown away, the songs are still timeless. Here is my piece I wrote in 2014! Happy 40th Purple Rain!

June 29, 1984: Bachelor Party opens

In June 1984, one of Tom Hanks' funniest comedies was released. Here is my piece I wrote in 2019. Happy 40th BP!

June 30, 1989: Do the Right Thing opens

In June 1989, Spike Lee’s magnum opus (and that is saying something based on his filmography) was released. Here is my piece I wrote in 2014! Happy 35th DTRT!

June 30, 2004: Spider-Man 2 opens

In June 2004 one of the best sequels and super hero movies was released. Here is my piece I wrote in 2014. Happy 20th S-M2!

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skymagpie · 6 months ago

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What about Top 5 games/books/series/movies/etc you would call "underappreciated" for what they do?

Hm, my view of things might be skewed because I do feel like these things are popular only because I am in the circles that talk about them and I think they are generally not that popular, or at least not as popular as stuff like League, Arcane, WoW, TES etc. This also excludes niche things like old books, plays and films that I picked up from uni as I don't feel like having people quiz me why I like the works of some "problematic" guy from 50-100 years ago.

Subnautica - this is literally one of the best game series I've ever played. It has a very simple, but amazing story, a lot of heart and soul, the aesthetic and the feeling of the game are unmatched and the gameplay is very fun. If you are scared of the depths, its a terror game, but the fact that the story is so heartfelt makes up for you being terrified of the world. In fact, the fact that it can be very scary sometimes just adds to the story. It's a perfect sync of gameplay and storytelling. It's a cheap game too with no micro-transactions and such, so it's a little jewel in a sea of crap they've been releasing lately.

Dishonored - Yes, I think Dishonored is not as popular as it should be. Dishonored is amazing, from aesthetics to writing (especially in the first game), to world building and gameplay. The first game is a masterpiece despite the fact that the story it tells is very simple and straightforward, so much so that sometimes it's even funny. The 2nd game threw the ball when it comes to story, but the characters, the aesthetic and world it built is still unmatched. It's absolutely beautiful and it awakens something in me whenever I think about it. For me Dishonored (and Subnautica above) are like a vacation by the seaside that cures depression.

Pirates of the Caribbean - These films might feel like they are popular because you see them plastered on children's notebooks and backpacks, but they are soooo underground because they were popular some 15 years ago and now most people forgot they existed aside from Jack Sparrow and his pop culture influence. However the first film is a masterpiece and the two other that follow are excellent and bring so many new things to this type of storytelling. They made the Pirate genre so good and it's sad that the genre itself died out with them. The 2 last films are not so good, but I think the culture already shifted away from pirates and that probably just added to the lack of quality and passion put into them (Disney just thought they can ride off the success of the first three, not realizing what actually made them so successful). However, much like the three things above, the feelings the first three films bring is so beautiful that I do recommend for people to give them a watch (or a re-watch) and experience some of that joy for themselves. The following two are very much a subtype or parts of bigger fandoms and not things on their own~

The Warcraft novels - this is a more of a "subtype" of something being popular, but I don't think the Warcraft novels get enough attention within the Warcraft community. While a lot of games tend to release books to up sales and often put key story elements in them, however the books are not as good and they do feel like they were made just because every game needed to have a book from 2016 and onward. The Warcraft books on the other hand feel like they are an essential part of the story and not just a cashgrab. While they are not all good, sometimes the writing is lacking, they are absolutely fun to read and people who like the Warcraft lore should not overlook them. For me they give me the vibe of the cheap little fantasy booklets I used to read on vacation when I was a child. And some deal with pretty heavy topics and themes you would not expect in a "video game book".

The Zed comic - obviously and the most expected response, while League doesn't have a lot of lore (even if people pretend it does, it doesn't, play TES or WoW to see what capital L-ore is), people know Arcane is like the peak of League's story. I however think that the Zed comic is good enough to make it at least in the runner ups to Arcane's 1st, 2nd and 3rd prize. It's a good comic, yes the style is in that ugly Marvel fashion which is 90% of the visual charm for me, and despite the League community moaning that it's not a good story, it's in fact a good story. The plot works, the characters work, the story build upon century old premises of brothers fighting for the love of their father and it offers these characters so much more than what we see in the rest of the content for them. This comic made these characters actual characters, and the community either ignores or straight up dislikes it out of reasons only understandable to them.

BONUS: Greymoor was a great ESO DLC and received a lot of flack from the ESO community. The criticism that it killed gay characters is the only valid criticism. Pretty much everything else boiled down to "It has a weak plot :///" that was never elaborated by anyone in any capacity. It was a great Chapter, it had beautiful aesthetic and a unique feeling even if bringing back a zone from Skyrim and it had one of the best TES villains in general. For me it was the last true ESO expansion that just really captivated me even though I like the ones that came after.

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ptbf2002 · 6 months ago

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My Top 100 Favorite Movies

#100 Ratchet And Clank (2016)

#99 Chicken Run

#98 Wallace And Gromit: The Curse Of The Were-Rabbit

#97 Shaun The Sheep: Movie

#96 A Shaun the Sheep Movie: Farmageddon

#95 Madagascar

#94 Madagascar: Escape 2 Africa

#93 Madagascar 3: Europe's Most Wanted

#92 Penguins Of Madagascar

#91 Kung Fu Panda

#90 Kung Fu Panda 2

#89 Kung Fu Panda 3

#88 Kung Fu Panda 4

#87 Flushed Away

#86 Shrek

#85 Shrek 2

#84 Shrek The Third

#83 Shrek: Forever After

#82 Monsters Vs. Aliens

#81 How To Train Your Dragon

#80 How To Train Your Dragon 2

#79 How To Train Your Dragon: Hidden Worlds

#78 Harry Potter And The Sorcerer's Stone

#77 Harry Potter And The Chamber Secrets

#76 Harry Potter And The Prisoner Of Azkaban

#75 Harry Potter And The Coblet Of Fire

#74 Harry Potter And The Deathy Hallows Part 1

#73 Harry Potter And The Order Of The Phoenix

#72 Harry Potter And The Half-Blood Prince

#71 Harry Potter And The Deathy Hallows Part 2

#70 Happy Feet

#69 Happy Feet 2

#68 Open Season

#67 Cloudy With a Chance Of Meatballs

#66 Surf's Up

#65 Cloudy With a Chance Of Meatballs 2

#64 Spider-Man

#63 Spider-Man 2

#62 Spider-Man 3

#61 The Amazing Spider-Man

#60 Spider-Man: Into The Spider-Verse

#59 Spider-Man: Across The Spider-Veerse

#58 Spider-Man: Homecoming

#57 Spider-Man: Far From Home

#56 Spider-Man: No Way Home

#55 Pokemon The First Movie

#54 Pokemon The Movie 2000

#53 Pokemon The Movie 3

#52 Pokemon: Detective Pikachu

#51 Pink Panther

#50 Monsters Inc.

#49 Monsters University

#48 Toy Story

#47 Toy Story 2

#46 Toy Story 3

#45 Toy Story 4

#44 Cars

#43 Cars 2

#42 Cars 3

#41 Finding Nemo

#40 Finding Dory

#39 WALL-E

#38 Ratatouille

#37 UP

#36 Wreck-It Ralph

#35 Ralph Breaks The Internet

#34 Zootopia

#33 Space Jam

#32 Space Jam: A New Legacy

#31 Looney Tunes: Back In Action

#30 Looney Tunes: Rabbits Run

#29 Mickey Donald Goofy The Three Musketeers

#28 Paddington

#27 Paddington 2

#26 The Rugrats Movie

#25 Rugrats In Paris The Movie

#24 Rugrats Go Wild

#23 The Spongebob Squarepants Movie

#22 The Spongebob Movie: Sponge Out Of Water

#21 The Spongebob Movie: Sponge On The Run

#20 Luca

#19 Mr. Peabody And Sherman

#18 Jimmy Neutron: Boy Genius

#17 Hey Arnold The Movie

#16 The Loud House Movie

#15 Scoob!

#14 Tom And Jerry Movie (2021)

#13 Scooby-Doo (2002)

#12 Justice League (2017)

#11 Teen Titans: Trouble In Tokyo

#10 The Casagrandes Movie

#9 Phineas And Ferb The Movie: Across The 2nd Dimension

#8 Phineas And Ferb The Movie: Candace Against The Universe

#7 Casper (1995)

#6 The Simpsons Movie

#5 The Peanuts Movie

#4 Sonic The Hedgehog Movie (2020)

#3 Sonic The Hedgehog Movie 2

#2 The Powerpuff Girls Movie

And #1 The Super Mario Bros. Movie

Original Template: https://www.deviantart.com/jackskellington416/art/Top-100-Favorite-Movies-Meme-655216643

Ratchet And Clank (2016 Film) Belongs To T.J. Fixman, Kevin Munroe, Gerry Swallow, Rainmaker Entertainment, Mainframe Studios, WOW! Unlimited Media Inc. Blockade Entertainment, PlayStation Productions, LLC, Sony Interactive Entertainment LLC, Insomniac Games, Inc. CNHK Media China, Film Financial Services, Original Force Ltd. Lionsgate Entertainment Corporation, Gramercy Pictures, Focus Features LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Cinema Management Group

Chicken Run Belongs To Karey Kirkpatrick, Peter Lord, Nick Park, Aardman Animations Limited, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC. Storyteller Distribution Co., LLC. United International Pictures, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Wallace And Gromit: The Curse Of The Were-Rabbit Belongs To Steve Box, Nick Park, Mark Burton, Bob Baker, Aardman Animations Limited, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC. Storyteller Distribution Co., LLC. United International Pictures, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Shaun the Sheep Movie Belongs To Nick Park, Bob Baker, Mark Burton, Richard Starzak, Anton Capital Entertainment, Aardman Animations Limited, StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Amazon Prime Video, Amazon, Inc. Lionsgate UK Limited, Lionsgate Films, And Lionsgate Entertainment Corporation

A Shaun the Sheep Movie: Farmageddon Belongs To Nick Park, Bob Baker, Mark Burton, Jon Brown, Richard Starzak, Anton Capital Entertainment, Aardman Animations Limited, Creative Europe MEDIA, StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, And Netflix, Inc.

Madagascar (2005 film) Belongs To Mark Burton, Billy Frolick, Eric Darnell, Tom McGrath, Pacific Data Images, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Madagascar: Escape 2 Africa Belongs To Etan Cohen, Eric Darnell, Tom McGrath, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Penguins of Madagascar: The Movie Belongs To Michael Colton, John Aboud, Brandon Sawyer, Alan Schoolcraft, Brent Simons, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, NBCUniversal Media, LLC, Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, And The Walt Disney Company

Kung Fu Panda Belongs To Jonathan Aibel, Glenn Berger, Ethan Reiff, Cyrus Voris, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Kung Fu Panda 2 Belongs To Jonathan Aibel, Glenn Berger, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Kung Fu Panda 3 Belongs To Jonathan Aibel, Glenn Berger, Zhong Ming You Ying Film, Shanghai Pearl Studio Film and Television Technology Co., Ltd. China Film Group Corporation, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, NBCUniversal Media, LLC, Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, And The Walt Disney Company

Kung Fu Panda 4 Belongs To Jonathan Aibel, Glenn Berger, Darren Lemke, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Flushed Away Belongs To Dick Clement, Ian La Frenais, Chris Lloyd, Joe Keenan, Will Davies, Sam Fell, Peter Lord, Aardman Animations Limited, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, United International Pictures, Paramount Pictures Corporation, And Paramount Global

Shrek Belongs To William Steig, Ted Elliott, Terry Rossio, Joe Stillman, Roger S. H. Schulman, Pacific Data Images, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Shrek 2 Belongs To William Steig, Andrew Adamson, Joe Stillman, J. David Stem, David N. Weiss, Pacific Data Images, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Shrek the Third Belongs To William Steig, Jeffrey Price, Peter S. Seaman, Chris Miller, Aron Warner, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Shrek Forever After Belongs To William Steig, Josh Klausner, Darren Lemke, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Monsters Vs. Aliens Belongs To Rob Letterman, Conrad Vernon, Maya Forbes, Wallace Wolodarsky, Jonathan Aibel, Glenn Berger, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

How To Train Your Dragon Belongs To Will Davies, Dean DeBlois, Chris Sanders, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation And Paramount Global

How to Train Your Dragon 2 Belongs To Cressida Cowell, Dean DeBlois, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, NBCUniversal Media, LLC, Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, And The Walt Disney Company

How to Train Your Dragon: The Hidden World Belongs to Cressida Cowell, Dean DeBlois, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Harry Potter and the Philosopher's Stone Belongs To J. K. Rowling, Steve Kloves, 1492 Pictures, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Chamber of Secrets Belongs To J. K. Rowling, Steve Kloves, 1492 Pictures, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Prisoner of Azkaban Belongs To J. K. Rowling, Steve Kloves, 1492 Pictures, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Goblet of Fire Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Deathly Hallows – Part 1 Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Order of the Phoenix Belongs To J. K. Rowling, Michael Goldenberg, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Half-Blood Prince Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Deathly Hallows – Part 2 Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Happy Feet Belongs To George Miller, John Collee, Judy Morris, Warren Coleman, Animal Logic, Kennedy Miller Productions, Kingdom Feature Productions, Village Roadshow Pictures, Village Roadshow Limited, BGH Capital, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Happy Feet Two Belongs To George Miller, Gary Eck, Warren Coleman, Paul Livingston, Dr. D Studios, Kennedy Miller Mitchell, Village Roadshow Pictures, Village Roadshow Limited, BGH Capital, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Open Season Belongs To Steve Bencich, Ron J. Friedman, Nat Mauldin, Jill Culton, Anthony Stacchi, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Cloudy with a Chance of Meatballs (film) Belongs To Judi Barrett, Ron Barrett, Phil Lord, Christopher Miller, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Surf's Up Belongs To Don Rhymer, Ash Brannon, Chris Buck, Chris Jenkins, Christian Darren, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Cloudy with a Chance of Meatballs 2 (film) Belongs To Judi Barrett, Ron Barrett, Erica Rivinoja, John Francis Daley, Jonathan Goldstein, Phil Lord, Christopher Miller, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man Belongs To Stan Lee, Steve Ditko, David Koepp, Laura Ziskin Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man 2 Belongs To Stan Lee, Steve Ditko, Alvin Sargent, Alfred Gough, Miles Millar, Michael Chabon, Laura Ziskin Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man 3 Belongs To Sam Raimi, Ivan Raimi, Alvin Sargent, Laura Ziskin Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

The Amazing Spider-Man Belongs To Stan Lee, Steve Ditko, James Vanderbilt, Alvin Sargent, Steve Kloves, Laura Ziskin Productions, Arad Productions, Inc. Matt Tolmach Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Into the Spider-Verse Belongs To Stan Lee, Steve Ditko, Phil Lord, Rodney Rothman, Pascal Pictures, Lord Miller Productions, Arad Productions Inc. MARVEL Entertainment, LLC, Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Across the Spider-Verse Belongs To Phil Lord, Christopher Miller, Dave Callaham, Pascal Pictures, Lord Miller Productions, Arad Productions Inc. MARVEL Entertainment, LLC, Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Homecoming Belongs To Stan Lee, Steve Ditko, Jonathan Goldstein, John Francis Daley, Jon Watts, Christopher Ford, Chris McKenna, Erik Sommers, Pascal Pictures, MARVEL Studios, LLC, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Far From Home Belongs To Stan Lee, Steve Ditko, Chris McKenna, Erik Sommers, Pascal Pictures, MARVEL Studios, LLC, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: No Way Home Belongs To Stan Lee, Steve Ditko, Chris McKenna, Erik Sommers, Pascal Pictures, MARVEL Studios, LLC, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Pokémon: The First Movie Belongs To Satoshi Tajiri, Takeshi Shudo, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon the Movie 2000 Belongs To Satoshi Tajiri, Takeshi Shudo, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon 3: The Movie Belongs to Satoshi Tajiri, Takeshi Shudo, Hideki Sonoda, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon: Detective Pikachu Belongs To Dan Hernandez, Benji Samit, Rob Letterman, Derek Connolly, Nicole Perlman, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. Toho Co., Ltd. Legendary Entertainment, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

The Pink Panther Belongs To Maurice Richlin, Blake Edwards, David H. DePatie, Friz Freleng, Len Blum, Michael Saltzman, Steve Martin, Desert Panther Productions, Mirish-Geoffrey-DePatie-Freleng, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon Content Services, LLC, Amazon, Inc. Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, The Walt Disney Company, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Monsters Inc. Belongs To Andrew Stanton, Daniel Gerson, Pete Docter, Jill Culton, Jeff Pidgeon, Ralph Eggleston, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Monsters University Belongs To Dan Scanlon, Dan Gerson, Robert L. Baird, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story Belongs To Joss Whedon, Andrew Stanton, Joel Cohen, Alec Sokolow, John Lasseter, Pete Docter, Joe Ranft, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 2 Belongs To Andrew Stanton, Rita Hsiao, Doug Chamberlin, Chris Webb, John Lasseter, Pete Docter, Ash Brannon, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 3 Belongs To John Lasseter, Andrew Stanton, Lee Unkrich, Michael Arndt, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 4 Belongs To John Lasseter, Andrew Stanton, Josh Cooley, Valerie LaPointe, Rashida Jones, Will McCormack, Martin Hynes, Stephany Folsom, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars Belongs To Dan Fogelman, John Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, Jorgen Klubien, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars 2 Belongs To Ben Queen, John Lasseter, Brad Lewis, Dan Fogelman, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars 3 Belongs To Kiel Murray, Bob Peterson, Mike Rich, Brian Fee, Ben Queen, Eyal Podell, Jonathan E. Stewart, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Finding Nemo Belongs To Andrew Stanton, Bob Peterson, David Reynolds, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Finding Dory Belongs to Andrew Stanton, Victoria Strouse, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

WALL-E Belongs To Andrew Stanton, Jim Reardon, Pete Docter, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Ratatouille Belongs To Jan Pinkava, Jim Capobianco, Brad Bird, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

UP Belongs To Pete Docter, Bob Peterson, Tom McCarthy, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Wreck-It Ralph Belongs To Rich Moore, Phil Johnston, Jim Reardon, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Ralph Breaks the Internet Belongs to Rich Moore, Phil Johnston, Jim Reardon, Pamela Ribon, Josie Trinidad, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Zootopia Belongs To Byron Howard, Rich Moore, Jared Bush, Jim Reardon, Josie Trinidad, Phil Johnston, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Space Jam Belongs To Leo Benvenuti, Steve Rudnick, Timothy Harris, Herschel Weingrod, Bardel Entertainment, Inc. Character Builders, Premier Films Ltd. Spaff Animation Inc. Stardust Pictures, Uli Meyer Features, Weddington Productions, Silicon Graphics, Inc. Northern Lights Entertainment, Courtside Seats Productions, Warner Bros. Feature Animation, Warner Bros. Animation Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Space Jam: A New Legacy Belongs To Juel Taylor, Tony Rettenmaier, Keenan Coogler, Terence Nance, Jesse Gordon, Celeste Ballard, Industrial Light & Magic, Luma Pictures, Cinesite, Company 3 Animation, Tonic DNA, House of Moves, Day For Nite, Studio D, Virtuos, Proximity Media, SpringHill Company, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Looney Tunes: Back in Action Belongs To Larry Doyle, Amalgamated Dynamics, Amalgamated Pixels, Digital Domain, KNB EFX Group, Mercury Filmworks, New Deal Studios, Inc. Rough Draft Studios, Inc. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. Yowza! Animation, Lonely Film Productions GmbH & Co. KG. Goldmann Pictures, Baltimore Spring Creek Productions, Warner Bros. Feature Animation, Warner Bros. Animation Inc. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Looney Tunes: Rabbits Run Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Hugh Davidson, Larry Dorf, Rachel Ramras, Rough Draft Korea Co., Ltd. Warner Bros. Animation Inc. Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Mickey, Donald, Goofy: The Three Musketeers Belongs To Walt Disney, Ub Iwerks, Alexandre Dumas, Evan Spiliotopoulos, David M. Evans, Toon City Animation, Inc. Disney Animation Australia Pty. Ltd. DisneyToon Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Paddington (film) Belongs To Michael Bond, Hamish McColl, Paul King, Heyday Films Ltd. TF1 Films Production, Groupe TF1 S.A. StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, And TWC-Dimension, And The Weinstein Company, LLC

Paddington 2 Belongs To Michael Bond, Paul King, Simon Farnaby, Heyday Films Ltd. StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. And Vivendi SE

The Rugrats Movie Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, David N. Weiss, J. David Stem, Animagic Studio, Anivision Corporation, Sunwoo & Company Co., Ltd. Class-Key Chew-Po Commercials, Grimsaem Animation Co. Ltd. Klasky-Csupo, Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Rugrats in Paris: The Movie Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, J. David Stem, David N. Weiss, Jill Gorey, Barbara Herndon, Kate Boutilier, Grimsaem Animation Co. Ltd. Koko Enterprises Ltd. Seoul Movie, Sunwoo Digital International, Sunwoo & Company Co., Ltd. Tama Production, Wang Film Productions Co., Ltd. Yowza! Animation, MFP Munich Film Partners GmbH & Company I. Produktions KG, Rugrats Production K.G. Klasky-Csupo, Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Rugrats Go Wild Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, Steve Pepoon, David Silverman, Stephen Sustarsic, DongWoo Animation Co. Ltd. Lotto Animation, Inc. Sunwoo & Company, Co., Ltd. Klasky-Csupo, Inc. Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The SpongeBob SquarePants Movie Belongs To Derek Drymon, Tim Hill, Stephen Hillenburg, Kent Osborne, Aaron Springer, Paul Tibbitt, Rough Draft Studios, Inc. Rough Draft Korea Co, Ltd. Toon Boom Animation Inc. United Plankton Pictures Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The SpongeBob Movie: Sponge Out of Water Belongs To Stephen Hillenburg, Paul Tibbitt, Jonathan Aibel, Glenn Berger, Rough Draft Korea Co., Ltd. Rough Draft Studios, Inc. Method Studios, United Plankton Pictures Inc. Nickelodeon Movies, Paramount Animation, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The Spongebob Movie: Sponge On The Run Belongs To Stephen Hillenburg, Tim Hill, Jonathan Aibel, Glenn Berger, Mikros Animation, Technicolor Creative Studios S.A. Vantiva S.A. MRC, United Plankton Pictures Inc. Nickelodeon Movies, Paramount Animation, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Luca (2021) Belongs To Enrico Casarosa, Jesse Andrews, Mike Jones, Simon Stephenson, Michael Jones, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Mr. Peabody & Sherman Belongs To Ted Key, Craig Wright, Jay Ward Productions, Inc. Bullwinkle Studios LLC, Classic Media, LLC, DreamWorks Classics, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media, LLC, Comcast Corporation, 20th Century Studios, Inc. The Walt Disney Studios, Walt Disney Studios Motion Pictures, Disney Entertainment, And The Walt Disney Company

Jimmy Neutron: Boy Genius Belongs To John A. Davis, David N. Weiss, J. David Stem, Steve Oedekerk, DNA Productions, Inc. O Entertainment, Omation Animation Studio, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Hey Arnold! The Movie Belongs To Craig Bartlett, Steve Viksten, Saerom Animation, Inc. Snee-Oosh, Inc. Nickelodeon Animation Studios, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The Loud House Movie Belongs To Chris Savino, Kevin Sullivan, Chris Viscardi, Top Draw Animation, Inc. Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Movies, Nickelodeon Group, Paramount Players, Paramount Home Entertainment, Paramount Pictures Corporation, Paramount Global, And Netflix, Inc.

Scoob! Belongs To Joe Ruby, Ken Spears, Adam Sztykiel, Jack Donaldson, Derek Elliott, Matt Lieberman, Eyal Podell, Jonathon E. Stewart, Atlas Entertainment, 1492 Pictures, Hanna-Barbera Cartoons, Inc. Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Tom & Jerry (2021 film) Belongs To William Hanna, Joseph Barbera, Kevin Costello, Framestore Limited, The Story Company, Turner Entertainment Company, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Scooby-Doo (2002) Belongs To Joe Ruby, Ken Spears, James Gunn, Craig Titley, Mosaic Media Group, Hanna-Barbera Cartoons, Inc. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Justice League Belongs To Chris Terrio, Joss Whedon, Zack Snyder, Cruel and Unusual Films, Inc. The Stone Quarry, Atlas Entertainment, RatPac Entertainment, LLC, DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Teen Titans: Trouble in Tokyo Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, DongWoo Animation Co. Ltd. Kadokawa Shoten Publishing, DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Family Entertainment, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Casagrandes Movie Belongs To Chris Savino, Michael Rubiner, Miguel Puga, Tony Gama-Lobo, Rebecca May, Lalo Alcaraz, Rosemary Contreras, Top Draw Animation, Inc. Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Mighty Studios, Nickelodeon Movies, Nickelodeon Group, Paramount Players, Paramount Home Entertainment, Paramount Pictures Corporation, Paramount Global, And Netflix, Inc.

Phineas and Ferb the Movie: Across the 2nd Dimension Belongs To Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry, Hong Ying Animation Co., Ltd. Synergy Animation, Wang Film Productions Co., Ltd. Disney Television Animation, ABC, Disney Channel, Disney XD, ABC Family, Freeform, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Phineas and Ferb the Movie: Candace Against the Universe Belongs To Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry, Jim Bernstein, Joshua Pruett, Kate Kondeel, Jeffery M. Howard, Bob Bowen, Snipple Animation Studios, Synergy Animation, Yearim Productions Co., Ltd. Disney Television Animation, Disney+, Disney Streaming Services, LLC, Disney Streaming, Disney Platform Distribution, Inc. Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Casper (1995) Belongs To Seymour Reit, Joe Oriolo, Vincent E. Valentine II, Sherri Stoner, Deanna Oliver, Harvey Films, Harvey Entertainment, The Harvey Entertainment Company, Classic Media, LLC, DreamWorks Classics, DreamWorks Animation LLC, Amblin Entertainment, Inc. Amblin Partners, LLC. Storyteller Distribution Co., LLC. Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Simpsons Movie Belongs To James L. Brooks, Matt Groening, Al Jean, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Mike Scully, Matt Selman, John Swartzwelder, Jon Vitti, Film Roman, LLC, Rough Draft Studios, Inc. AKOM Production Ltd. Gracie Films, 20th Century Animation, 20th Century Studios, Inc. The Walt Disney Studios, Walt Disney Studios Motion Pictures, Disney Entertainment, And The Walt Disney Company

The Peanuts Movie Belongs To Charles M. Schulz, Craig Schulz, Bryan Schulz, Cornelius Uliano, United Feature Syndicate, Inc. Andrews McMeel Syndication, Blue Sky Studios, Inc. 20th Century Animation, 20th Century Studios, Inc. The Walt Disney Studios, Walt Disney Studios Motion Pictures, Disney Entertainment, And The Walt Disney Company

Sonic the Hedgehog (film) Belongs to Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Pat Casey, Josh Miller, Blur Studio, Marza Animation Planet Inc. Original Film, Sonic Team, SEGA of America, SEGA Corporation, SEGA Sammy Holdings Inc. Paramount Pictures Corporation And Paramount Global

Sonic the Hedgehog 2 Belongs to Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Pat Casey, Josh Miller, Blur Studio, Marza Animation Planet Inc. Original Film, Sonic Team, SEGA of America, SEGA Corporation, SEGA Sammy Holdings Inc. Paramount Pictures Corporation And Paramount Global

The Powerpuff Girls Movie Belongs To Charlie Bean, Lauren Faust, Craig McCracken, Amy Keating Rogers, Paul Rudish, Don Shank, Rough Draft Studios, Inc. Mercury Filmworks, Hanna-Barbera Cartoons, Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Super Mario Bros. Movie Belongs To Shigeru Miyamoto, Matthew Fogel, Aaron Horvath, Michael Jelenic, Disney Digital Studio Services, Illumination Studios Paris, i-ZERO Entertainment and Media Global, Dentsu Inc. Fuji Television Network, Inc. Nintendo CultureWorks Film Pictures, Nintendo Pictures, Nintendo Co., Ltd. Illumination, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

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