#adam brookes

[jasvvy]

[fanofspooky]

Behind the scenes photos of Invasion of the Body Snatchers 1978

[sci-fi-gifs]

We came here from a dying world. We drift through the universe, from planet to planet, pushed on by the solar winds. We adapt and we survive. The function of life is survival. Invasion of the Body Snatchers (1978) dir. Philip Kaufman

[filmreveries]

“There was never a perfect person around. You just have half-angel and half-devil in you.”

Days of Heaven (1978) dir. Terrence Malick

[haveyouseenthismovie-poll]

[prettybaby-reid]

Criminal Minds topics I could write an essay about:

-Haley is over-hated and many of the things people used to justify disliking her are reaches and actually don’t mean anything in actuality. you can simply just not like her character, but acting like you have real “moral” justification is just delusional atp.

- in 4x22/5x01 when Foyet attacks Hotch in his apartment, it’s 100% s/a in some form. whether it’s in the traditional sense or not, Foyet clearly intends for it to have the same effect on Hotch.

-Yes Elle was valid to a certain extent for shooting the rapist in her second to last appearance, it was 100% not the same thing as Hotch murdering Foyet in episode 100.

-Spencer is highly baby-ified by the fandom and it’s insufferable to watch the way people treat other characters for offhanded teases they make at him.

-Jj wasn’t wrong for not telling Spencer that Emily was alive. Jj was wrong for continuously letting Spencer come over for 10 weeks to cry about it, knowing that Emily was alive and she was playing fucking scrabble with her. She could have easily said she wasn’t able to handle everything and let him go to morgan/garcia.

-The writers of criminal minds know how to write episodes and plotlines, but they don’t know how to write consistent character ideas and backstories. they also don’t know how to properly write characters trauma. immediately after Jj is kidnapped, they’re all in a bar together…that doesn’t make sense. she should be in a hospital or at home, not keke-ing with the homies.

-Although the writers are inconsistent with backstories, some of the things people think “don’t add up” actually do add up if you thought for longer than 5 seconds.

-the Cat Adams plotline and Cat as a character is so good until Reids prison arc when they say that Cat had the other girl s/a him, that’s so out of bounds for her. She hates men for what they do to women, specifically the violence men perpetrate towards women, more specifically s/a and domestic violence…why would she s/a Spencer.

-On the topic of the Cat/Spencer s/a topic…that’s definitely a pullover from the fact that it was supposed to be Hotch who was in prison but they had to switch it after Thomas Gibson left. I have an idea of what it could have originally been considering it was supposed to be Hotch/Mr. Scratch, but no solid proof.

[namsoek]

Power Rangers Ninja Storm | There's No I in Team

[scenesandscreens]

Slow Horses, Season Four - Spook Street (2024)

Director - Adam Randall

[dustzvacuumcleaner]

【Antebellum/AMV】Psycho Killer

Happy Independence Day guys!! Hope you all enjoy this!

Like I've said the theme of this amv is probably: humorously(?) compressed simple antebellum history (1812-1861) group portraits into 4 minutes. So most scenes are basically related to historical facts, and the numbers there are the years of the events. However I'm historically illiterate in antebellum era, and this was something I decided to make before I even understood antebellum people lol. I hope there aren't any big mistakes x

While playing this song on repeat it suddenly struck me that everyone in the antebellum era was a god damned Psycho Killer, hence the idea for this group portrait. It's kinda sad that some of the characters I didn't get a chance to draw or that I didn't know enough about them.

If you like this, please tell me your favourite scene and feel free to share any thoughts!!! I want comments so badly😭😭😭I will probably make an explanation of timeline later!!!

BGM: Psycho Killer-Talking Heads

[creepynostalgy]

The Dead Zone (1983)

[soovermyself]

This is amazing 😂

[soupy-sez]

FATHER'S DAY (2011) dir. Astron-6

[caranoirs]

[fanofspooky]

“We came here from a dying world. We drift through the universe, from planet to planet, pushed on by the solar winds. We adapt and we survive. The function of life is survival.”

Invasion of the Body Snatchers (1978)

[sam-keeper]

Halloween Film: Invasion of the Body Snatchers (1978)

I always loved the ending of the 1956 Invasion of the Body Snatchers, the classic sci fi film about replicant humans being grown from strange alien plant pods and taking over society. Well, I loved what was the ending, before the nervous studio tacked on a prologue and epilogue giving the film an optimistic (and contrived) conclusion. You know, where the main character runs out onto the road, desperately trying to halt oncoming traffic, to get anyone to listen as he cries, into the night, and finally directly into the camera at the audience, "They're here! You're next! YOU'RE NEXT!" For all the film's been interpreted as expressing red scare paranoia about communist infiltration (and even that's contested--others see it as a cry against McCarthyite witch hunts), the sheer manic shrieking energy of that finale lodged itself in my brain ever since I watched the film as a teenager. It was fearful, but it also was relatable, almost a kind of perverse power fantasy. Imagine, just imagine, screaming out from every theater screen and tv set: don't you see what's happening all around you? Look away from the screen if you like--they're already here!

The 1978 remake is actually a weird kind of precursor to our new phenomenon of the rebootquel: a short ways into the film, the main character of the original (literally--it's Kevin McCarthy, the original's star) slams into the car of our protagonists, ranting that blood curdling monologue. In this version, however, the pod people swiftly dispatch him off screen, and we get a creepy shot of a crowd of them standing silently, dispassionately, over his bloody broken body. That sums up the film's sense, contra the original, that it will already be too late by the time anyone notices anything wrong.

What a creepy film this is. It's astonishingly shot, full of striking images and brilliant camera work. Like, if you want reflections and shadows and distorted views of characters to feel fresh again, like they're more than hackneyed metaphor but really, viscerally unsettling, this is the film for you. There's a pervasive sense throughout that the worst has already happened, the world already gone strange when you turned your back. Instead of zombified mania and violence, there's a flatness to everything, a cool impassivity. The cast enhances this impassive flatness through contrast: it's a film full of brilliant weirdos as heroes. Scope Jeff Goldblum in this, for example, as a self absorbed neurotic owner of a mud bath house, and Veronica Cartwright as his Star Child wife. Even the relatively well adjusted main couple has their oddities: early in the film Brooke Adams as Elizabeth has a moment where she does this, fuckin, crazy thing with her eyes to make her friend Matthew laugh that's genuinely very funny and unsettling, and it immediately lends her character so much off beat humanity. These are people who have dedicated their lives to the department of health and they've got the zealotry that comes from being genuinely a bit of a weirdo for both bureaucracy and science. Indeed, Elizabeth's husband gets replaced early in the film by a pod she brings home to study out of pure curiosity about the world.

Elizabeth, soon after realizing there is something fundamentally wrong and alien about her husband, remarks to Michael that San Francisco feels suddenly strange to her, like an alien environment full of alien people. I feel this sometimes in Seattle. Oh, everywhere, but pronouncedly here, interacting with boomer or gen xer artists in my area who casually talk about the homeless like they're subhuman, with people on the street who will freely monologue about who we need to cleanse from the city, with our repulsive mayor and city council who verifiably think I and queers like me are disgusting. You get to thinking, or at least I do, that surely people don't have that much cruelty in their heart, and then you run up against the flat casual way a stranger will condemn a fellow human to oblivion, simply for the crime of being an unpleasant reminder of poverty. Every supposed red line gets crossed--local leaders pump money into already bloated police budgets, people shed their masks, politicians race to be the most xenophobic and border-paranoid, and the state department and media shovel dirt on the fire of each exploded Gazan hospital or butchered aid convoy. Am I supposed to feel secure in this tough new environment? All I hear is the panicked cry: YOU'RE IN DANGER! YOU'RE NEXT!

Donald Sutherland's character Matthew has a belief in institutions that's at once charming and completely exasperating. He's a health inspector who clearly cares deeply about doing his job and doing it well, and so is almost totally unequipped to respond when every social system transforms into a weapon to hunt and replace him. The number of times this man calls the police, often seemingly out of civic duty!! Meanwhile Leonard Nimoy plays a psychiatrist who manipulates and shepherds the cast. He's a pod person, of course, but it's totally unclear whether he was one the whole time or became one late in the film. The suggestion seems to be that it doesn't matter: his role as a professional is to smooth over social ruptures and keep the state of things running as stress free as possible, so he seamlessly adopts his role in the new dispassionate world order. I can't stop thinking, too, about a scene where Matthew and Elizabeth are caught out pretending to be pod people because they react with terrified revulsion to a homeless man who's accidentally been grotesquely fused with his pet dog. The pod people, of course, do not react to this sight, but go about their business. All that seems to have changed in pod person world is that the whole machinery of society carries on without emotion or meaning. The horror is that instead of ending, the world just keeps going.

Sarah and I discovered after watching that there's two other takes on The Body Snatchers, one in the 90s and one late in the Bush era 2000s. I guess that means we're about due for a new generational interpretation of the story. It's not quite like clockwork; maybe it's more like a seasonal bloom. Every 10-20 years, someone feels a compulsion to run to the cinemas and shout, to anyone who will listen, that they're already here, the pod people have already taken over while we were sleeping. And maybe they already have.

Check out more short reviews on my Patreon

[userlaylivia]

I'm not including steroline because in my mind they are endgame same with jax/tara and merder because whenever meredith dies she'll be with derek!! I didn't include barchie or bhva because all were endgame imo and didn't include klamille or klayley or haylijah because I ship all three and didn't want competing ships lol and spuffy was endgame in the comic books lol in my mind karamel is endgame because she can go where he is anytime but I included them anyway lol and handon is endgame in my mind as well because they would've been!! I included brylan because even though I consider them endgame because they were supposed to be and now luke/shannen are gone I consider them to be but I needed to fill a space lol

@makeyouminemp3, @nikkiruncks, @bellamyblake, @okmcintyre, @stydixa