#another thing that makes him a good antagonist: most of his villainy is so *mundane*

[northernpansy]

talking about people overstating Izzy’s role in Blackbeard’s crew i’ve seen a bunch of posts about how Izzy is the one doing all the killing for Blackbeard since Ed won’t and how he’s the one that has to do the nasty dirty work

and no doubt Izzy has killed on Blackbeard’s orders but (i think?) the only person we actually see get ordered to do one of Ed’s proxy murders is Fang with the snail fork, so it definitely isn’t Izzy’s special task to do Blackbeard’s murders

honestly i’d be surprised if Izzy even knows that Ed’s only done the one murder because if he did know i don’t think his fanatical lust for violence would allow him to idealise Ed the way he does

i believe he definitely thinks of himself as burdened/honoured with taking care of all the dirty work when actually Fang and Ivan and the various unnamed leather daddies probably all do their share of it, and Izzy (in classic middle-management fashion) just believes that all the responsibility/stress/indispensability/praise belongs solely to him

[britesparc]

Weekend Top Ten #481

Top Ten Pixar Villains

Those rascals and rapscallions at Pixar are famous for twisting our emotions, aren’t they? Perverse masters at making us cry with sadness or joy, often at the same time (I’m looking at you, Inside Out, with your yellow and blue marbles). Oh yes, they’ll stick the knife in and give it a good old yank, like John Travolta teaches his daughter to do in Face/Off when he’s not really John Travolta and it’s a bit icky but then she stabs him at the end of the film so it’s alright really.

Where was I?

Oh yeah. Pixar, renowned for turning grown men into blubbering messes, mostly because an adult character was convinced to part with old toys he no longer plays with. But I’d argue that one thing they’ve done less well than their parent studio (that’s Disney) is crafting iconic baddies. I mean, we all know the Disney Villains; they’re so iconic and successful as pop culture icons that there’s an entire trilogy of movies based on what would happen if a bunch of them had kids (apparently they’d sing a lot). Pixar baddies though? Hmmm, maybe not quite so iconic. I can’t see someone making a live action prequel movie about Chef Skinner.

But that’s not to say they’re not great; in fact, rather than going down the route of snarling, moustache-twirling villainy, Pixar actually does a great job in creating antagonists instead. Sometimes they’re misunderstood; sometimes they’re not the person you thought they were! Quite often some kind of redemption is offered, and the villains are very, very rarely dropped off something tall. A lot of them aren’t even defeated, so to speak! A good deal of nuance and shade goes into a Pixar villain, and if they haven’t made as many all-time-great iconic ne’er-do-wells, it does seem as if their approach is starting to rub off on Disney mothership (the likes of Frozen II and Moana either don’t have, or at least subvert, the notion of all-powerful bad guys).

So what do we have? Well, hopefully, we’ve got a list of really cool villains from Pixar movies. most of them are presented as the film’s “big bad”, although there are a couple of lesser baddies. And I think we do see the pattern emerging, of more mundane levels of villainy; the selfish and greedy and damaged. It makes for great characterisation and some beautiful storytelling; some complex and pitiable characters. And, yes, a few absolute bastards too. Let’s tut disapprovingly.

Lots-o’-Huggin’ Bear (Ned Beatty, Toy Story 3, 2010): a superb performance from Beatty as a seemingly nice, jovial old bear who’s really a manipulative, power-hungry, gaslighting bully. Realistically portrayed as damaged and bitter, he has a tragic backstory that feels real, and a sense of pain and loss that feels earned in this universe. Questions the nature of everything the movies are about, and is a genuine threat in more ways than one. Plus he literally leaves them all to die in the furnace!

Syndrome (Jason Lee, The Incredibles, 2004): Buddy Pine’s backstory is one of belittlement and rejection, so his switch to villainy is as well explored as many a comic book bad guy. But he’s interesting partly in what his character says about Mr. Incredible – in a way justifying the criticisms of superheroes, as Mr. I does ignore the admittedly-annoying Buddy rather than mentoring or respecting him – but also because he prefigures notions of toxic masculinity about a decade or so before they became, well, a threat to global democracy.

Al (Wayne Knight, Toy Story 2, 1999): Like how Lots-o can be seen as a dark examination of toy life (all toys are replaceable, kids don’t really love you, etc), Al also shows us another dark facet of toy-dom: namely the life of a “collectable”. Toys, in this world, want to be played with, preferably by children, so a big ol’ man-child who stores them in boxes or puts them on display is not ideal. It’s an inversion of what a toy is for; an object of joy reduced to a commodity. Is it entertainment versus art? Who can say? Also, he’s really just a massive jerk and a huge slob, so we feel no pity for him once he gets his comeuppance at the end of the film.

Sid Phillips (Erik von Detten, Toy Story, 1995): man, they nailed the Toy Story villains, didn’t they? Maybe there’s even more to come! But right out of the gate, Sid was a classic. An utter sadist in a skull t-shirt, torturing toys for kicks; adults can see the traits of a genuine sociopath (some serial killers start by torturing animals, remember!), and he’s portrayed like a character in a horror movie. Seriously, in 1995, Sid’s room was legitimately disturbing. I’m not sure what moral lessons his actions teach us, but just as a pure article of terror, he’s supreme.

Hopper (Kevin Spacey, A Bug’s Life, 1998): it feels a bit weird, if I’m honest, to celebrate a Spacey performance. But as a character, Hopper is excellent, one of the best things about the generally-overlooked-but-still-a-bit-lesser-Pixar Bug’s Life. Riffing on biker gangs, Hopper’s locust swarm in, revving their wings. Hopper’s a classic tough guy thug, dominating through violence and threat; a creature with a small amount of power determined to hold onto it, and ultimately eaten by a terrifying bird. Just don’t look at the cast list.

Ernesto de la Cruz (Benjamin Bratt, Coco, 2017): after the horror of Sid and the thuggery of Hopper, de la Cruz is a different, more insidious villain. He’s a thief and a betrayer who exploited and murdered his best friend, condemning him not just to death but to a forgotten obsolescence in the afterlife. He’s a perfect example of the gaslighting, friendly-seeming bad guy, more in the mould of Lots-o, but with the world on his side and a sweet guitar. Genuinely hissable.

Stinky Pete (Kelsey Grammar, Toy Story 2, 1999): what, more Toy Story? Well, yeah. Don’t blame me, blame Pixar. And so Stinky Pete; a far more relatable and understandable villain, one driven to desperation through a lifetime of rejection and broken promises. Unlike the Machiavellian, power-hungry Lots-o, Pete just wants everyone to retire quietly together; he can’t accept the risks of freedom and only becomes sneaky and, indeed, violent after all else fails. But he does kinda get a happy ending, even if he doesn’t realise it; this is a villain who I feel could eventually be redeemed.

Randall Boggs (Steve Buscemi, Monsters, Inc., 2001): Waternoose is the real baddy in Monsters, Inc., of course; a conniving capitalist who’s prepared to sacrifice the world’s children to keep his monopoly. But it’s Randy who sticks in the mind; his selfish, vain lackey, a monster with a huge chip on his shoulder. His design – lizard-like, snake-ish, with a huge mouth and invisibility – is seriously disturbing. Hearing Buscemi’s voice come from that form – an aggravated teacher, a furious accountant – adds something special, something darkly hilarious.

Evelyn Deavor (Catherine Keener, Incredibles 2, 2018): visually and conceptually, The Screenslaver (great name) is pretty cool, but when it’s revealed that the Big Bad is really under-appreciated tech genius Evelyn, that’s a great twist. A smart woman propping up her schmoozing brother, her criticisms of the heroes – like Buddy Pine’s – have resonance, although she’s learning the wrong lessons from tragedy. Her relationship with Elastigirl, from friendship to enmity, is very well-written and performed, and her belligerence at the end is a nice touch, denying the heroes of any catharsis from her capture.

Shelby Forthright (Fred Willard, WALL-E, 2008): I was originally going to feature the autopilot, but then I figured, if you can get Fred Willard in your list… and really, who’s the big villain here? It’s us, right? We killed the Earth. But Willard’s smiling, happy CEO is there, encouraging his customers to buy, promising them safety and security, promising them a repaired world… but really he’s shovelling them off the planet, secretly commanding the computer to take humanity far away and never look back. It’s a devious, horrible plan, giving the people unending luxury, making them want for nothing, turning them into fab, soporific blobs, basically because that’s easier than the alternative. It’s a horrible indictment of humanity (also: he’s the CEO of a company, but also – it looks like – that makes him rule the world? Creepy). So, yeah, the autopilot might be a baddun, but it’s the man in charge who’s the real villain of the piece, even hundreds of years later.

Sadly no room for John Lasseter, who may not have tried to enslave humanity or torture children, but still managed to be a huge jerk and a phenomenal disappointment.

[smokeybrandreviews]

Smokey brand Movie Reviews: Run it Back

I’ve been trying to watch Tenet for months. 2020 has f*cked up me entire movie viewing experience, even though it never had to get this bad. I live in the US and my government is sh*t so we’ve had to deal with this bullsh*t for a full year. I’ve sat back and watched whole ass countries reopen while we are going into another nation wide lock down because idiots refuse to sacrifice even a little bit for us to get out of this goddamn hole but, i digress. This isn’t a rant about the political situation in my sh*thole country, it’s a review of Tenet. Long story short, i finally have an opportunity to check this thing out. I was looking mad forward to the theater experience with this one because Nolan is a master at that but, instead, I'll have to settle for m home theater experience.

The Good

Christopher Nolan is back at it again, giving us spectacle and substance at the same damn time. I love this dude’s work. It’s always gorgeous and cerebral and engaging. I mean, he elevated Batman to high art, are you kidding me? Tenet is no different. This film is one of his best. He takes another high concept, grounds it for laymen, and does spectacular sh*t with it. Bro, give this man a Bond film already because that’s what this is, only laced with tat same energy he instilled within Inception and The Prestige.

The editing in this movie must have been a herculean task to accomplish but accomplish it they did. It’s devastatingly phenomenal with all of the reversed shots and slighted perspectives you see on screen. I am in awe of the precision it took to make this movie happen. Obviously, it is a real visual feast but the machinations behind the scenes to make everything so goddamn seamless are disgustingly, unabashedly, brilliant. If Nolan doesn’t get an Oscar nod for this sh*t, there’s no justice in the world. It really is a technical marvel.

I touched on this a little before but this movie is f*cking gorgeous. The set pieces are breathtaking, the aesthetic is lovely, and the shot composition is pristine. Some of this cinematographer can legit be framed and hung in a museum of fine art.

And to keep the gushing going, this sound design is f*cking chef kiss level. I said Nolan is a master at his craft and that come through, one hundred percent, with the mixing in this movie. It’s more than just the soundtrack or score, but literally everything. In order for this film to work, he had to meticulously go through and navigate every noise in this film. I don’t understand how Nolan can be so precise with his vision but i am SO glad that he is.

This is the most action i have ever seen in a Nolan film and it’s legitimately some of the best. Sh*t is profound, visceral, and brutal. It borders on Daniel Craig James Bond barbarous and i loved it all. It’s such a juxtaposition from the suave, smooth, aesthetic of the film. I mean, Protagonist literally cheese grates the side of a dude’s face and walks away like it’s nothing I’ve never seen sh*t so goddamn vicious.

I just really needed to circle back around to this but these set pieces are f*cking extravagant as a motherf*cker. There is one in this flick that tops the plane heist in The Dark Knight Returns. It’s whole ass miraculous to see and i lament i couldn’t see it how it was designed to be properly seen. Nolan’s demand for practical effects always delivers brilliant spectacle.

I love this plot. I love the mechanics and the theories at play here. I’m a theoretical physics geek so i live for these existential shenanigans. It’s one of the reasons Inception is one of my favorite films and it’s definitely the reason this one is climbing that list as i watch it in real time. The plot, itself, is textbook spy heist stuff; Fate of the world, mad scientist villainy, ticking clock, mcguffin, etc. However, the theories therein uplift the material and make that mundane plot, so much more.

Okay. So, with the praise of the technical brilliance of this film out of the way, i can finally get into the performances and the cast. Of course Nolan mainstay, Sir Michael Caine, makes another memorable cameo as Sir Michael Crosby. Another interesting addition was Himesh Patel of Eastenders fame. He plays Mahir, a fixer; Another staple of these types of Nolan films. Other notable cast members include Aaron Taylor-Johnson, Clemence Posey, Dimple Kapadia, and Yuri Kolokolnikov. Even Fiona Dourif has a role to play in this flick. Chucky’s daughter is in a Nolan film and i am absolutely shook about it! Everyone delivers their performances with gusto, even when there isn’t much of a character on the page to realize. Now to get into the standouts, for better or worse.

John David Washington is f*cking exceptional in this flick, man. It’s a little jarring hearing him speak sometimes, i keep hearing his pops, but dude delivers like his dad onscreen, too. This is a star-turning vehicle for Washington and he deserves all of the shine. his Protagonist is amazing to see onscreen and can give ever cinematic spy, from Bourne to Bond, a proper run for their money. Washington’s swagger and poise make this character one of the best in Nolan’s filmography. JDW is fast building one helluva body of work. Monsters and Men, Ballers, and BlacKkKlansman, and now this? It’s only a matter of time before JDW is the acronym on top of all the best scripts, all the awards. Dude is primed to blow the f*ck up and Tenet is a massive opening salvo of a career, i suspect, which will be as grand as his father’s body of work.

Robert Pattinson continues to prove he is one of the best of his generation, however ridiculous it is to actually work with him. his Handler character, Neil, kind of steals all of the scenes. Dude is witty, calculating, and mad aloof but never a bore. Pattinson delivers this performance with a smarm that feels slathered on in heaps but is just too decadent to ignore. He reminds me a lot of Hardy’s Eames from Inception and that’s high praise. Eames was my favorite character in that flick. It’s been a banner year for old Patts. The Batman his limping along, Tenet is a masterpiece, The Lighthouse was inspired, and he was disgustingly horrid in The Devil All the Time. Dare i say, ol’ BatPats becoming one of my favorites working today.

God, Elizabeth Debicki is great in this role but there simple isn’t enough to properly sustain her talents. Her Kat Barton is so goddamn thin, it’s painful because i know Debicki is great at her job. She’s shown her brilliance countless times, almost always uplifting her roles, even if the content is abject sh*t. The Cloverfield Paradox is a great example of that. This isn’t her fault. Nolan is terrible at writing women but, just once, if he could actually create a female lead with a bit off agency, i wished it would have been for this film. Debicki deserves so much better but, even with this paper thin caricature she’s been giving, she uplifts the material and works magic with the scraps.

The Bad

Kenneth Branagh as the antagonist, Andrei Sator, is a little cartoonish for the tone of this film. Branagh always kind of overacts like this in most of his appearances so you have to take it with a grain of salt but, in order to really come across as sinister like they want you to believe this dude is, someone else should have played this role. He does an admirable job but the character was just realize pitch. I can see Javier Bardem or Mads Mikkelsen killing totally this sh*t

Nolan continues to shortchange his female characters. He is the worst at writing chicks, man, i swear. It’s a shame, really, because everything else around them is always so interesting. It’s one of dude’s few flaws as a storyteller and it’s my biggest gripe with his craft. The machinations of Tenet are so intriguing but poor Elizabeth Debicki doesn’t even get to really play in that world. She definitely works with what she has but, ultimately, her character is mad flaccid and it’s a crying shame.

This isn’t a knock on the film at all but the fact i had to watch it on a regular ass television, however large and 4K that is, just ain’t the same. Nolan films are meant to be seen on the biggest screen possible, at least at first. I hope to god this thing gets a re-release when this COVID sh*t blows over.

The Verdict

I loved Tenet. Loved it. I loved the concept going in but actually seeing it, finally experiencing it, and i am hooked. It’s a stunning f*cking film and Nolan pulled out all of the stops. His writing, direction, and overall vision to put this jigsaw of  movie together is absolutely profound. Even with all of this on his plate, he Nolan was able to articulate this to one of his best casts and two of his strongest leads. John David Washington and Robert Pattinson come through and kill this sh*t. This movie would not work without these two cats. Seriously, JDW was to be a star after this, and he still might be, even if this thing didn’t get the theatrical release it absolutely needs and deserves. BatPats did his thing and killed another performance, further proving he’s a real actor and not some flash-in-the-pan, sparkling, vampire. Even the supporting cast comes through and delivers outstanding performances. Nolan uses every bit of this two and a half hour run time to deliver a heart-pounding spectacle of espionage and intrigue, rivaling the very best modern Bond films. The only issue i have with this thing is the usual Nolan issue; Bad female characters. Dude can’t write a woman to save his goddamn life. Also, the main antagonist is a bit weak. He's a little too Goldmember when he probably should have been more Goldfinger. Tenet is the best goddamn film I've seen all year and i wish, more than anything, i could have seen this thing in a proper theater It would have been quite the experience.

[smokeybrand]

Smokey brand Movie Reviews: Run it Back

I’ve been trying to watch Tenet for months. 2020 has f*cked up me entire movie viewing experience, even though it never had to get this bad. I live in the US and my government is sh*t so we’ve had to deal with this bullsh*t for a full year. I’ve sat back and watched whole ass countries reopen while we are going into another nation wide lock down because idiots refuse to sacrifice even a little bit for us to get out of this goddamn hole but, i digress. This isn’t a rant about the political situation in my sh*thole country, it’s a review of Tenet. Long story short, i finally have an opportunity to check this thing out. I was looking mad forward to the theater experience with this one because Nolan is a master at that but, instead, I'll have to settle for m home theater experience.

The Good

Christopher Nolan is back at it again, giving us spectacle and substance at the same damn time. I love this dude’s work. It’s always gorgeous and cerebral and engaging. I mean, he elevated Batman to high art, are you kidding me? Tenet is no different. This film is one of his best. He takes another high concept, grounds it for laymen, and does spectacular sh*t with it. Bro, give this man a Bond film already because that’s what this is, only laced with tat same energy he instilled within Inception and The Prestige.

The editing in this movie must have been a herculean task to accomplish but accomplish it they did. It’s devastatingly phenomenal with all of the reversed shots and slighted perspectives you see on screen. I am in awe of the precision it took to make this movie happen. Obviously, it is a real visual feast but the machinations behind the scenes to make everything so goddamn seamless are disgustingly, unabashedly, brilliant. If Nolan doesn’t get an Oscar nod for this sh*t, there’s no justice in the world. It really is a technical marvel.

I touched on this a little before but this movie is f*cking gorgeous. The set pieces are breathtaking, the aesthetic is lovely, and the shot composition is pristine. Some of this cinematographer can legit be framed and hung in a museum of fine art.

And to keep the gushing going, this sound design is f*cking chef kiss level. I said Nolan is a master at his craft and that come through, one hundred percent, with the mixing in this movie. It’s more than just the soundtrack or score, but literally everything. In order for this film to work, he had to meticulously go through and navigate every noise in this film. I don’t understand how Nolan can be so precise with his vision but i am SO glad that he is.

This is the most action i have ever seen in a Nolan film and it’s legitimately some of the best. Sh*t is profound, visceral, and brutal. It borders on Daniel Craig James Bond barbarous and i loved it all. It’s such a juxtaposition from the suave, smooth, aesthetic of the film. I mean, Protagonist literally cheese grates the side of a dude’s face and walks away like it’s nothing I’ve never seen sh*t so goddamn vicious.

I just really needed to circle back around to this but these set pieces are f*cking extravagant as a motherf*cker. There is one in this flick that tops the plane heist in The Dark Knight Returns. It’s whole ass miraculous to see and i lament i couldn’t see it how it was designed to be properly seen. Nolan’s demand for practical effects always delivers brilliant spectacle.

I love this plot. I love the mechanics and the theories at play here. I’m a theoretical physics geek so i live for these existential shenanigans. It’s one of the reasons Inception is one of my favorite films and it’s definitely the reason this one is climbing that list as i watch it in real time. The plot, itself, is textbook spy heist stuff; Fate of the world, mad scientist villainy, ticking clock, mcguffin, etc. However, the theories therein uplift the material and make that mundane plot, so much more.

Okay. So, with the praise of the technical brilliance of this film out of the way, i can finally get into the performances and the cast. Of course Nolan mainstay, Sir Michael Caine, makes another memorable cameo as Sir Michael Crosby. Another interesting addition was Himesh Patel of Eastenders fame. He plays Mahir, a fixer; Another staple of these types of Nolan films. Other notable cast members include Aaron Taylor-Johnson, Clemence Posey, Dimple Kapadia, and Yuri Kolokolnikov. Even Fiona Dourif has a role to play in this flick. Chucky’s daughter is in a Nolan film and i am absolutely shook about it! Everyone delivers their performances with gusto, even when there isn’t much of a character on the page to realize. Now to get into the standouts, for better or worse.

John David Washington is f*cking exceptional in this flick, man. It’s a little jarring hearing him speak sometimes, i keep hearing his pops, but dude delivers like his dad onscreen, too. This is a star-turning vehicle for Washington and he deserves all of the shine. his Protagonist is amazing to see onscreen and can give ever cinematic spy, from Bourne to Bond, a proper run for their money. Washington’s swagger and poise make this character one of the best in Nolan’s filmography. JDW is fast building one helluva body of work. Monsters and Men, Ballers, and BlacKkKlansman, and now this? It’s only a matter of time before JDW is the acronym on top of all the best scripts, all the awards. Dude is primed to blow the f*ck up and Tenet is a massive opening salvo of a career, i suspect, which will be as grand as his father’s body of work.

Robert Pattinson continues to prove he is one of the best of his generation, however ridiculous it is to actually work with him. his Handler character, Neil, kind of steals all of the scenes. Dude is witty, calculating, and mad aloof but never a bore. Pattinson delivers this performance with a smarm that feels slathered on in heaps but is just too decadent to ignore. He reminds me a lot of Hardy’s Eames from Inception and that’s high praise. Eames was my favorite character in that flick. It’s been a banner year for old Patts. The Batman his limping along, Tenet is a masterpiece, The Lighthouse was inspired, and he was disgustingly horrid in The Devil All the Time. Dare i say, ol’ BatPats becoming one of my favorites working today.

God, Elizabeth Debicki is great in this role but there simple isn’t enough to properly sustain her talents. Her Kat Barton is so goddamn thin, it’s painful because i know Debicki is great at her job. She’s shown her brilliance countless times, almost always uplifting her roles, even if the content is abject sh*t. The Cloverfield Paradox is a great example of that. This isn’t her fault. Nolan is terrible at writing women but, just once, if he could actually create a female lead with a bit off agency, i wished it would have been for this film. Debicki deserves so much better but, even with this paper thin caricature she’s been giving, she uplifts the material and works magic with the scraps.

The Bad

Kenneth Branagh as the antagonist, Andrei Sator, is a little cartoonish for the tone of this film. Branagh always kind of overacts like this in most of his appearances so you have to take it with a grain of salt but, in order to really come across as sinister like they want you to believe this dude is, someone else should have played this role. He does an admirable job but the character was just realize pitch. I can see Javier Bardem or Mads Mikkelsen killing totally this sh*t

Nolan continues to shortchange his female characters. He is the worst at writing chicks, man, i swear. It’s a shame, really, because everything else around them is always so interesting. It’s one of dude’s few flaws as a storyteller and it’s my biggest gripe with his craft. The machinations of Tenet are so intriguing but poor Elizabeth Debicki doesn’t even get to really play in that world. She definitely works with what she has but, ultimately, her character is mad flaccid and it’s a crying shame.

This isn’t a knock on the film at all but the fact i had to watch it on a regular ass television, however large and 4K that is, just ain’t the same. Nolan films are meant to be seen on the biggest screen possible, at least at first. I hope to god this thing gets a re-release when this COVID sh*t blows over.

The Verdict

I loved Tenet. Loved it. I loved the concept going in but actually seeing it, finally experiencing it, and i am hooked. It’s a stunning f*cking film and Nolan pulled out all of the stops. His writing, direction, and overall vision to put this jigsaw of  movie together is absolutely profound. Even with all of this on his plate, he Nolan was able to articulate this to one of his best casts and two of his strongest leads. John David Washington and Robert Pattinson come through and kill this sh*t. This movie would not work without these two cats. Seriously, JDW was to be a star after this, and he still might be, even if this thing didn’t get the theatrical release it absolutely needs and deserves. BatPats did his thing and killed another performance, further proving he’s a real actor and not some flash-in-the-pan, sparkling, vampire. Even the supporting cast comes through and delivers outstanding performances. Nolan uses every bit of this two and a half hour run time to deliver a heart-pounding spectacle of espionage and intrigue, rivaling the very best modern Bond films. The only issue i have with this thing is the usual Nolan issue; Bad female characters. Dude can’t write a woman to save his goddamn life. Also, the main antagonist is a bit weak. He's a little too Goldmember when he probably should have been more Goldfinger. Tenet is the best goddamn film I've seen all year and i wish, more than anything, i could have seen this thing in a proper theater It would have been quite the experience.