#anyway it was a cute movie. good directing. good acting. good cinematography

[kominfyrirkattarnef]

Anyways I thought the girls in Topp 10 möst should’ve had passionate lesbian sex with that skeleton as their third

[chokherbalii]

kdramas i watched this month and what i think about them :

• hometown cha cha cha : this drama deserves a 5/5 rating for acting, plot, cinematography, script. this is a wonderful, comfort watch. you just cannot have enough of it in one watch. you NEED to rewatch it. (other dramas like this : i'll go to you when the weather is fine, soundtrack #1, welcome to samdalri, midnight romance in hagwon)

• taxi driver 1 : my friend suggested this to me. i love this. first of all let me talk about the female leads. OHMYGOD. this is basically about a taxi organisation who are also a secret organisation to fight crimes. i love the concept. (other dramas to watch if you liked this : a shop for killers, extraordinary attorney woo, wonderful world)

• see you in my 19th life : bro this drama had so much potential but idrk i'd give it a 3/5 maybe for the plot. i loved the acting. but the plot literally had so much potential to be better but it just felt off. (other dramas to watch if you liked this : a time called you, twinkling watermelon, 18 again, seasons of blossom, good day to be a dog, born again, goblin, midnight photo studio, destined with you, while you were sleeping)

• escape of the 7 + resurrection : kim soon-ok (writer) and joo dong-min (dir) slayed as always. like bro i literally felt so empty after watching penthouse. i HAD to watch this. the best thing i love about penthouse and this series is how the portray the characters. they're neither good nor bad. and i love how in the end they choose the ‘good’ side of them. plus, the plot twists had me dying. (other dramas like this : penthouse : war in life, pandora : beneath the paradise, lies hidden in your garden, mouse, born evil, cafe minamdang)

• born again : this drama is an absolute masterpiece. but. yes, BUT. the direction and cinematography was so weak like some of the scenes didn't even make sense. 5/5 for acting, plot. but the script could have been better. i mean honestly the plot is amazing. JUST AMAZING. there hasn't ever been anything like this drama. the actors absolutely devored but the direction bro. it was so ehe :(

• the atypical family : i started watching this because like it was being really popular in social media but i ended up binging it. it was amazing. like so good. this literally tells us why we DON'T need superpowers. like the concept of psychological disorders linked with their superpowers were really an amazing idea.

• hierarchy : wt actual fvck was this??? because i had SO MUCH hopes and excitement for this drama and it ended up being what — a 2/5? maybe. i liked the acting, but it wasn't a mystery drama at all. it was TOO westernised and it was just bland. just straight up bland. like bro a mystery/thriller set in highschool has so much potential to be good. eg : the pyramid game. IT WAS JUST A GOD DAMN MASTERPIECE.

• heartbeat : my blood boils everytime i remember this drama is literally THE MOST underrated drama of all time. if you need a good cry please watch it. it was just — WOW. like wow. i am literally at loss of words. idk. from the starting to the ending it was just WOW.

• midnight romance in hagwon : it is currently an ongoing drama. anyway, this is like one of those comfort dramas one goes to rewatch everytime they're down. it is just so cozy, and cute and amazing. i love it <3

• mouse : this. THIS. this altered my brain chemistry. dude wth was this????? this was just on another level. like after penthouse and escape of the 7, this is something one should definitely watch to fill the void in their heart. i cried so much bro this was so sad, and engaging and sometimes funny at the same time. i went through all the five stages of grief while watching it.

• highschool return of a gangster : this drama was STRAIGHTWASHED. ofc. why would they even show representation???? anyway i watched it because i loved the first episode but i hated the ending man. i hated it.

• hansel and gretel (movie) : literally deserves all the awards. you know what i mean. 5/5 for everything.

• destined with you : started watching it yesterday and im already halfway through. i love this bro. it is so funny ohmygod. and i absolutely love past lives and reincarnation tropes so this is a win-win!!

+ some jmovies i watched :

• monster : ion think i need to say something about this.

• re/member : loved this. 5/5 for everything. i loved the plot, especially how ‘loneliness brings people together to fight against the evil - which is literally their own loneliness’. i wish there was a part 2 of this movie tbh.

• the forbidden play : this shit messed with my head so bad, i literally had nightmares and couldn't sleep. no because this was horrendous. literally wtf???

[madhogthymaster]

Brain Bubble: That Time Willem DaFoe Klaus Kinski'd The Nosferatu!

One night, I was in a F.W. Murnau's Nosferatu, eine Symphonie des Grauens mood. As such, I watched Shadow of the Vampire (2000), directed by E. Elhias Merhige, which is about the making of the original 1922 German Expressionist film movement's masterpiece. John Malkovich plays Murnau and Willem DaFoe is Count Orlok actor, Max Schreck. There's a smaller yet almost show stealing role for a young Eddie Izzard as Gustav von Wangenheim, the lead in Nosferatu. The hook is that Schreck is an actual vampire who's pretending to be playing a vampire.

Aside from the obvious (and extremely self-indulgent) commentary on the idea of Cinema as the art form that captures, twists and reimagines Reality, film school's "The Camera is a Weapon" drivel, as well as a century's worth of Male Gaze rhetoric, this was a fun watch. Good cinematography, clever use of transitions between coloured and B/W footage, along with exceptional acting performances from everyone involved, carry it to the finish line. It has the distinct veneer of what used to pass as *pretentious* in festival circuits back in the day, which seems all rather cute by modern standards, but it does strike true on the subject of Auteur culture and its harmful implications. Incidentally, did you know that notable life-endangering "Artìste" Werner Herzog directed his own remake of Nosferatu in the 1970's and that it starred Klaus Kinski, one of the most infamously difficult actors of all time? My, what an interesting little fact! You cannot see me but I am winking.

Anyway, it's a treat to revisit Shadow of the Vampire as it is an underappreciated gem from a time when movies used to run elaborate credit sequences at the start instead of the end. Also, I deliberately buried the lead on DaFoe as The Nosferatu: a play ranging between farcical, creepy and melancholic. I would say it is worth your time and I did enjoy the climactic final scene regardless of how "clever" it tried to be. There aren't many works of fiction out there specifically about Nosferatu and German Expressionist cinema. I'll take what I can. As an addendum, I am looking forward to Robert Eggers' own take on the original bootleg vampyr and I do find it extremely funny that Willem DaFoe will also be in it... in a role that's not the actual vampire. You've got to love 24 years old in-jokes.

[sugarmaplewings-fics]

Horror Movie Headcanons

Pairing: BNHA boys x reader

Warnings: None

Characters: Midoriya, Bakugou, Todoroki, Kirishima, Kaminari, Shinsou, Amajiki

Author’s Note: Hey everyone! Welcome to my fall special!!

This is the first of five works that I will be posting throughout the month of October to get into that fall/Halloween mood! I’ve been meaning to do this concept for a minute now, so I thought, what better time than during spooky month itself?

Anyway, I hope you enjoy!

-Sugar

.🍂🎃🍂.

Midoriya:

● Surprisingly, Izuku is pretty okay with horror

● It's not his favorite genre, but he's seen the classics

● Is totally down to watch them with you and listen to what you have to say about the movie

● You've gotten into some pretty in-depth and interesting conversations both during and after the movie, discussing things like plot and characters and cinematography

● He loves having little horror movie marathons with you, turning out all the lights and snuggling together under a blanket with some snacks

● He doesn't get scared too easily, but he still is super appreciative to have you right next to him during the movie

● I'd say Izuku probably prefers the older horror movies. He thinks the stories tend to be better and likes the general vibe they give him, if that makes sense

● All in all, scary movie nights make a wonderful date!

____________

Bakugou:

● He likes horror movies well enough

● They're not his absolute favorite, but the occasional adrenaline rushes he can get from them are good

● Only wants to watch horror movies that are actually scary. If he finds the movie to be bad, he'll turn it off

● If you do force him to watch a bad horror movie with you, he'll yell at the TV or laptop the entire time. Sometimes what he says is actually pretty funny

● He laughs at you if you scream or startle at something, and if it's particularly stupid he'll tease you about it for the rest of the week

● Katsuki isn't generally huge on cuddling, but sometimes he can get himself in the mood if you're alone together in the dark on your couch. Then you might find yourself warmly tucked under his arm for the remainder of the movie

● I see Bakugou as being into slasher films. I have nO iDeA wHy *king explosion murder*

● Altogether a good scary movie buddy. He's got some good picks under his belt to choose from (though it's rare that he rewatches anything)

____________

Todoroki:

● Shouto's pretty neutral when it comes to scary movies

● He doesn't hate them, but he's not super into them like you are

● They don't really scare him, since he just sees them as non-real movies

● He can appreciate gore, though, especially if you're one to point out the makeup effects done on the actors

● He's a good person to watch horror with, 8/10. No, he won't have very animated reactions at certain scenes, but it feels good to clutch onto his side if you were to ever get scared. Shouto really likes it when you do this, actually

● He doesn't really have a preference when it comes to what sort of horror movie he likes. As long as it's what you want to watch, he'll be happy to watch it with you

____________

Kirishima:

● Isn't a huge fan of horror movies, but doesn't hate them

● He'll be happy to watch them with you, but is more interested in action stuff as a movie preference

● I feel like he'd be more into monster or supernatural horror movies, although he's down for pretty much anything if it would mean spending time with you

● The clincher for watching scary movies with you is the snuggle opportunity. He gets an extra manly-ego boost if you get scared and clutch onto his hand or his side

● That isn't to say that he's immune to getting scared himself. You may end up holding each other at certain parts

● Eijirou is more into the experience than the movie itself

● Yells at characters for not being manly

● I think he prefers bad horror movies since they're pretty chill and sometimes funny, but certainly doesn't want to watch anything boring

● 6/10, please let this boy feel like he's protecting you

____________

Kaminari:

● Denki loves horror movies

● He strikes me as someone who is easily frightened by them, but that's what he likes

● Lives for hiding his face as he cuddles with you under a blanket, whether it be by hugging himself into the crook of your neck or even simply putting his hands over his eyes

● You've accidentally gotten shocked by him a couple of times from jump scares, but it's never enough to actually hurt and he feels pretty bad afterward

● He loves all kinds of scary movies, from old to new, good to bad, of any rating and any genre

● He has a special place in his heart for bad horror movies. These are the ones that don't really scare him, but it's making fun of them that is really entertaining to him

● He likes to make jokes about acting or effects if there are some glaring issues, and he's really good at lightening a mood if you're feeling nervous

● On the rare occasion that you're scared and he isn't, he loves having you curl up into him

● Literally he can't focus on the movie for a quick minute because oh my god, you're so cute and so close and eeeeee

● Is a messy snacker. Literally somehow popcorn gets everywhere all over the floor by the end. Neither of you know how this happens (he blames you sometimes)

● Watching horror movies with him is such a blast, it's literally one of your favorite dates to do together

● 11/10, you picked a good one

____________

Shinsou:

● He likes them well enough

● Like Bakugou, they're not his number one, but maybe a close second

● I'll peg him as enjoying supernatural stories, with ghosts and poltergeists and stuff

● He LIVES for when you snuggle into him when you get to a suspenseful part

● He likes to have little movie marathons late into the night with you, sometimes getting to the point where you fall asleep on his shoulder

● He's pretty good to watch horror with. He doesn't necessarily get scared by much of anything, but he's good at picking films to watch

● Prefers good scary movies to bad ones

____________

Amajiki:

● #not a stan

● Literally the only reason he'd watch a scary movie with you is if you begged him

● And then promised him plenty of cuddles afterward

● He doesn't like the extra anxiety they give him and just in general doesn't see the appeal

● It would be best to go easy on him, maybe start with some of the older, worse ones that aren't all that scary

● He still gets a little freaked out by them, but if/when you start making jokes about plot holes in the story or poor acting and directing choices, you might find him start to lower his hands from his face

● He'll never be too into the horror genre, but it's a small price to pay if it means curling up into your side for an hour and a half

● You may still need to watch some cartoons afterward to help get his mind off it; something good like Adventure Time or Steven Universe

.🍂🎃🍂.

Taglist: @aahilovetheatre @heartpaw12 @todoroki-waifu @basicaegyo @iiminibattlehero @katsugay @nabo39 @pyrofanatic @sendhelpimstupid​ @sokkasangel @xoxopam4

[iron--spider]

I woke up at 3am yesterday to watch The Devil All the Time and I’ve been thinking about it since. I’m gonna put my thoughts and feelings and a review of sorts behind the cut, because I am gonna talk about it freely, so there will be spoilers! So don’t click if you don’t wanna see. I’ll also be discussing the content of the film and I know that might bother people, so that stuff is in here, too! And it’ll be really long because you know I can’t shut up.

So, I loved it. I loved it loved it loved it. I read the book a long time ago when I first found out Tom was gonna be in it, and the only problem I had with the book was that the POVs would change in the middle of a paragraph lmao, but other than that I thought it was pretty perfect. I knew the movie was gonna be pretty brutal, because the book is brutal, so I was prepared.

-BUT I think the critics HIGHLY HIGHLY exaggerated how bad the content was. Like, seriously, they acted as if this was gonna be a Saw movie. I was preparing for blatant, horrific gore, but it didn’t live up to their dramatics at all. There’s blood and nasty situations, but every single episode of Game of Thrones is worse than this movie, as are most episodes of any crime drama on a paid network. I actually thought they were super, super tactful of all their horrific shit. The dog death was off screen and the shot of the body (described by the critics as literally traumatic) was so quick (enough to shut your eyes) and in the dark. I also argue that particular moment is extremely important for Arvin’s journey, because it’s the moment he truly turns on his father and turns on religion entirely, and he carries it with him his whole life (it’s what he flashes back to when he says “I know what my daddy did” because it’s the marker of all Willard’s mistakes) and it winds up being one of the last things he does before he leaves everything behind. Burying Jack’s bones. So, like, I despise dog death or any animal death in my entertainment, but it’s important here and handled well. And all the worst death scenes are either extremely fast (Helen’s and Gary Matthew’s) or shown in negative (all the photos). I think Bodecker’s headshot with Bobo is probably the worst and is also pretty quick. I don’t know if this means I’m a jaded bitch, but God the way they were all whining and crying, I thought it’d be a million times worse. It could have been, with the book’s descriptions, so it was actually pretty tame. Lenora’s death affected me the most and they cut away from that, too. I guess it’ll still bother some people, but there are many, many mainstream things that are far more violent and gory than this was.

-I thought it was a beautiful movie. I never mind films that are slightly slower but I love ones that use their time to lay things out and really show us what’s going on, build the ambiance and the relationships. I loved the narration (which I was worried about), and it really made me feel like we were visiting a moment in time that was important. Like something that was written and should be learned about. Rumors in a town you’re passing through. The ghosts of past trauma and transgressions looming over everyone that’s left.

-I liked the changes they made with Roy and Theodore because I thought that storyline kinda meandered in the book and I’m glad that Roy was actually gone the whole time and not just neglecting to come back to Lenora.

-The only real complaints I can make, I’ll get out of the way here: I wanted a little bit more time with Carl and Sandy. Carl was really creepy, but he could have been much creepier. In the book he was the one looking at the pictures constantly, Not Sandy, and that really showed that he was the one with the sickness, the one pushing them forward and orchestrating it all. I thought they did well with showing how Sandy deteriorated in her efforts with him through the years, but I would have liked to see a bit more of their personal lives together and her fear of him and her genuine feelings about what they’re doing, because the book goes into that a lot more. I also wasn’t a fan of Lee finding the picture early and knowing some about what they were doing, because I liked how it was a surprise to him in the book and yet he still did all he could to cover it up. And lastly, in the book there’s a scene with Arvin after he kills Sandy and Carl where he’s in a motel and he takes like 18 showers because he can’t get the grime of what he’s done off of him, and he looks at the picture and has a nightmare about killing Sandy, and I really would have loved if they’d kept it in. It would have been another ‘acting’ moment for Tom, and it would have been nice for us to see his direct trauma and reaction to everything that’s piling on top of him.

-BUT that’s it. I loved pretty much every single other thing and decision that they made. The cinematography was TOP NOTCH. You could tell they filmed on 35mm film, you could see the grain, and it really, really added to it. Antonio Campos is a very skilled director and I trusted him at the helm of this story. Everything looked so authentic, all the sets and the costumes. The soundtrack and score were AMAZING and enhanced the film. Technically it was just perfect in every regard to me.

-Acting! Acting! God this was like...a massive testament to the casting department and the talent of these people. Everyone was on their A game. Bill Skarsgård has been on my radar since Castle Rock (which I recommend to everybody, both seasons) and he was so natural and great in this role. Haley Bennet was absolutely adorable as Charlotte, I loved her cute face and her sweet relationship with little Arvin. Riley Keough was so great as Sandy with the limited amount of time she had, and Jason Clarke is one of my favorites but he was unrecognizable in this as creepy ass Carl. Harry Melling was a far cry from Dudley Dursley and he did a great job with his screen time, too. Same with Mia Wasikowska, who didn’t have much to do (same as poor Helen in the book) but she was able to garner our sympathy anyway. Seb Stan was slimy and gross but he pulled it off so well. Eliza Scanlen has been one of my favorites since Sharp Objects (another one that’s brutal as hell but I recommend it, she’s so scary) and she was so, so great here. Robert Pattinson was ALRIGHT, everybody talks him up over this but he felt a little hammy to me and a little too over the top, but there’s no denying his talent.

-Now, the reason we’re all here. Tom. My God. As soon as it was over I just didn’t know what the hell to do, I didn’t even know how to....go on, lmfao. We all know he’s talented, that’s why we’re here, that’s why we love him, but his performance in this is just BEYOND all that. Beyond comprehension. The man is only 24 years old and he’s out here outacting people who have been in the industry for longer than he’s been alive. He is SHOCKINGLY good. I knew he’d be perfect for Arvin as soon as I read the book, but he just completely embodied this role in a way that I couldn’t have imagined. He doesn’t show up in the movie until about 45 minutes in (which doesn’t hurt it because of the strength of the leadup, Bill’s performance and the performance of little Arvin’s actor) but God, as soon as he’s there the whole thing comes to life in a way that it hadn’t before. Tom is literally just a shining light, and he draws your eye in every single scene he’s in, and when he’s not there you’re wondering when he’s gonna come back. Arvin, to me, is a very complex character—he has been inherently changed by how his father twisted religion in his childhood, how deeply he betrayed him by his behavior, but he still has a kind heart and a protective streak and the need to be strong despite the pain nearly breaking him apart from moment to moment. Tom is just outrageously good at portraying all Arvin’s little nuances, how he clenches his jaw, how his voice breaks when he’s afraid or trying to convince someone of something or get his point across, how his hands tremble after he’s done something he wishes he didn’t have to do, how his whole body wilts when he realizes he’s emulating his father. And his eyes. Tom can do so, so much with his eyes that it’s unbelievable. He tells you so much with just a simple look, a glance, a wince, a long blink. I’m not exaggerating when I say he’s just an absolute revelation in this, he cements his place in Hollywood with a firm hand and a tender look, and I will not be forgetting what he did here anytime soon. There’s a reason that everyone called him out for being so stunning in this. He is magnificent. He has a gift.

-I wanna say, in particular, how much I love Arvin’s relationship with Lenora. Their lives were both marked by such tragedy and pain and Arvin just took up the torch of protecting her from the moment he said hello as a child. He wants so badly to be tough, and he IS, but there’s just miles and miles of love in this boy’s heart, and it manifests itself for his family—for his uncle, for his grandma, but for Lenora in particular. I loved how he just showed up when she was being harassed and just ran in there without thinking, and it’s purely devastating that he was out taking care of her bullies while a worse predator was cornering her. The scene where she was sick wasn’t in the book but it was a beautiful addition. Tom sometimes wears this very open, unguarded, honest expression, and this is the only scene in which he shows it, and it really expresses the love between them and how much she means to him. Arvin didn’t find Lenora’s body in the book, but it was the right change for them to make. Tom was devastating here, and that pain and that moment truly fuel every second of his journey through the rest of the film. “My Lenora”. The saddest siblings. Both Eliza and Tom did so beautifully with this relationship and I hope they work together again.

-Favorite acting moments for Tom: when he’s in the car in the rain after beating up the bullies, when he’s in the church crowd and realizes Preston is insulting his Grandma (the way his face changes oh my GOD), when he finds Lenora, when the cop comes to tell him Lenora was pregnant (this is just....so damn good), when he was telling his uncle to look after his Grandma, THE ENTIRE CHURCH CONFRONTATION (the way he trembles when he’s trying to get his attention, how he speaks the whole time, how he slowly gathers his strength), when he thinks Sandy has shot him, the moment where he’s over Lee’s body and just....pleading with his eyes for him to listen and realize what he’s done. And the last scene, in the car, all the emphasis on his face....once again, he can do so, so much with a look, with his eyes. Someone called out the beautiful last shot in the film, and of course, it’s Arvin’s sleeping face. And it was so beautiful (and devastating, to think of him enlisting. Tom draws so much sympathy that you just want Arvin to have a normal life so badly. He deserves it, he does, but will he get it?)

-Last thing I’ll say, I really loved how, despite turning his back on religion, that God seems to be protecting Arvin the whole time. He’s terribly afraid confronting the preacher and that could have easily gone badly, especially when he tosses the book, but Arvin was somehow able to get a shot off and get the upper hand. And with Carl and Sandy, he senses something is off immediately once they pull off the road, and he would have absolutely been killed had Carl not switched out Sandy’s bullets for blanks. And in the confrontation with Lee, he once again shoots at the same time as him, shoots without looking, and manages to come out unscathed and on top. A few spoiler reviews pointed out that the last person that picks Arvin up is supposed to be a Jesus-like figure, almost like he’s finally been saved. It hurts that everyone around him that he loved is almost forsaken by God, but he himself is protected. It’s such a complicated commentary on religion throughout the entire piece, but it’s so interesting and engrossing.

So I’d recommend this movie to anyone that loves movies, loves Tom, can deal with a gritty story that takes its time laying out all the chess pieces. It is definitely heavy subject matter but it doesn’t go overboard with the horror as it easily could have. Yes, there are triggers to look for, but the critics hugely over exaggerated how awful it was. I can probably go get time stamps for certain things if people wanna ask me after reading this, but if you can get through a Tarantino film or any HBO drama, you can do this. And Tom’s performance is one for the ages and not one that deserves to be passed over or downplayed. It is beautiful and heart-wrenching—a magnificent turn that displays his monumental ability to reach out and guide you into any world he decides to make his own.

I loved The Devil All the Time.

[samnyangie]

Personal reviews on RSL filmography

Rsl, iI thought it’d be a good idea to record my thought on each films rsl was in, it was something I always wanted to do...

Rsl in total, was starred in (excluding tv series etc) 27-ish films, to be honest, considering his years as an actor(approximately more than 30 years) he wasn’t starred in that many. We all know why lol

Just saying I’m not a film expert, therefore the list is very subjective.

The reviews with trigger warning (r*pe, g*re etc): Tape, Killer: Journal of Murder, A glimpse of hell. Tho in the writing I’ve censored them with * since I don’t feel comfortable saying them here

There isn’t particular spoilers except for dps, tape, and ground control

The favourites (literally my life time films)

Dead Poets Society

I assume many would agree, and as many would have, it was my first ever rsl film, like I was on the plane and it was one of the films they offered, and I was like, oh I think i heard of this, so I watched and instantly loved it. The message is very relevant to this day, the cinematography is very beautiful and somehow nostalgic. I was horrified with Neil’s death. Tbh now I’ve seen too many memes and all kind of things from the fandom (which I’m grateful for!) I thought the heartfelt I once had would deluded a bit, however when I watched it again last April with my family at the cinema and it still moved me very deeply.

The age of Innocence

Okay, unpopular opinion here, I love this so much. It’s my all time favourite rsl film. It even outruns dps tiny winy bit haha. Aside from how he had tiny winy screen time, appearing at the end but the fact that he played quite an important role and him being gorgeous in it just<33 I couldn’t help but smiling! It just the whole film was so much of my cup of tea? The melodrama and the hypocrisy hidden by elegance among the upper social classes in 19th century is just what I needed. The more I watch it, the more I understand the characters and their emotions, it’s one of those films you should keep visit to discover the things you weren’t aware of before. I watched it again this morning and i couldn’t stop thinking about it. However, I know some people find it boring and I understand why, my sister is one of them lol(except for a bit where rsl was in) but i think it’s more complex than what it appears to be at a first glance haha. In conclusion, it became one of my comfort film to watch time to time. 

The ones I like<33

Swing kids

At first viewing, I didn’t expected much because it had underwhelming reviews but when I actually saw it, I thought it was quite decent and more and more I watched it, I felt like it was underrated. Yes, I think some directing choices were bit old fashioned and cheesy especially the ending, I’m not saying it was a perfect masterpiece but it deserves more recognition than it has now. Also in spite that there’re some parts being too simplified, it touched on something other films about ww2 normally don’t. It was interesting to see the German perspective on it than Jewish or the allies perspective like many of them does, but of course the latter perspectives matter, it could be argued that they more valid than the former, which partly was where sk criticised for, however, the portrayal of the varied reactions of the German people (in this one particular the teenagers) has its value in their on way. Anyway along side with it, the music and the dance scenes were great, without exaggeration, though Swing kids isn’t my fav, peter’s solo dance scene is my favourite scene in any movies I’ve ever watched. I mean that scene had both visuals and meaning as it demonstrated Peter’s determination as well as resentment with a hitch of unsureness. Rsl acting in that scene was just phenomenal, it’s not about showing off the dancing skills but he portrayed every mixed emotions peter has from his expression and the moves, I just can’t talk about this enough especially this scene was the reason I started fallen for him. lol

Much ado about nothing

Much ado is something I never seen anything like so it was a refreshing exprience. I barely watched Shakespeare on screen kind of thing. Though I felt there were some bits too cheesy for me but they are also the charms in the same time, and the cinematography was pretty also Claudio aka rsl, it was like an official announcement of declaring my worship on this man. Especially it was after SWING KIDSSSS so I couldn’t help it now everyone knows how I fallen for him but no one can blame meeeeee Anyway, it’s a really good film to watch when you want be relaxed with cup of tea maybe hehe

In the gloaming

I heard about it before I watched it, that it’s a heart wrenching, tearful piece, though I didn’t managed to cry, it’s just.... painful and in a way heartfelt. I liked that story telling was calm and collected rather than forcing you to join the sob party, just showing the characters to carry on. And thanks to the great acting from the cast, the characters could be emphasised and understood, personally the older sister was the most relatable character for me, well, eldest complex lol. In short I liked it but it’s not something I would watch it often.

Last days of Disco

As a person who looks at aesthetic in films, I simply enjoyed this for that tbh. I don’t know, I just liked the feeling. But I don’t think it’d be everyone’s cup of tea. I love the day time clothes the girls wore in the film. Tbh I love the music too, I think I love all the films of rsl with music in it. Speaking about rsl, oh rsl, he’s.... His character might be bit unlikable but he was just.... This is why I can’t unlove his characters even the debatable ones<33

They were decent! (I would recommend it)

Married to it

This is the first and last ever attempt of rsl of romcomssss The film itself is cliche to be frank it’s like love actually but it’s about marriage life + it’s not christmas but I like heartfelt cliche stories like this, if anyone also loves this type of story, it’s really worth watching, it’s one of my comfort films, also, rsl is so pretty I mean he always is but to see him being a office man with a baby face made me go awww my baby grew up heheh I wish he did another romcom like this or more preferably, melodramatic romance, I’d have made a shrine of it and worship it every morning lol

The boys next door

I kind of smiled while watching it throughout, if you want something that is heartfelt and touch on some serious topic about social workers and the people with mental disorder, Rsl plays a character who has (I think it was) Schizophrenia and troubled relationship with his father(Deja vu I know) but general atmosphere tend to be quite humourous. I don’t get me wrong, though it’s light hearted, it doesn’t mean they treat the topic in the same way. There’s a scene where the protagonist imagining the one of the characters with the disorder talking eloquently and honourably at the court on the rights and the dignity of the people with mental disorders deserve to/should have and they’re just the same people as the people without mental disorders. It was a powerful scene.

My two loves

Rsl’s first ever screen debut film! Hehe it’s about a woman who is discovering her sexual identity and the conflicts within I personally thought it was fairly sensible depiction but I can’t say for sure whether it was accurate or else, since I don’t think it’s my place to say it:) But if you’re interested, it’s on YouTube, you can just search for it or go to this post I made. Fun fact: since it was his debut film, it credits him as he’s real name, Robert L. Leonard, I just find it amusing haha

Tape

It’s another type of film I don’t encounter that often, I enjoyed it, especially with Neil and Todd’s reunion lol. Rsl mentioned how he enjoyed it because it felt like doing a play, my first impression was that the structure is like a play, though the camera work made me quite dizzy haha. But the dialogues, the acting, I think it was quite spot on. Especially the human contradictions and hypocrisy side of it. The most people assume the baddie in the film is Jon the character rsl played and has a distaste for him. I mean how can anyone love a character who is accused of r*pe but to be honest, Vincent for me seemed just as problematic, both of them are hypocrites for sure in their own different ways but in the end we can’t be sure what’s really the truth or not. It’s about the vagueness, and phychology and the uncertainty from the audience on who to believe(well, myself included, most would trust on Amy’s claims since she’s the victim in the accusation, but by her denying the claims, making everything way unclear,) so I don’t know. I don’t really have an opinion haha tho I don’t believe nothing happened because Amy denied so, even Umma Thurman who played her, said that her interpretation was that Amy lied. I felt it’s endless rabbit hole this film. Sorry I couldn’t worded it better.

My best friend is a Vampire

It’s cringey and weird but there’re odd charm to it. Vampire rsl’s so cute as well.... and I think it’s the only film, he acted kind of flirty ? So for that itself I’d like to appreciate itttt And it’s so 80s/90s, like it has general odd nostalgia like all films from that age has. I saw a Korean blog about rsl films and this was mentioned, that- they said- it’s a bible of rsl’s adorableness and I think that sum up the film perfectly.

Mr&Mrs Bridge

Before this was in ‘I mean it was fine” category, but I watched it again and now I want to retract my statement lol Still isn’t my fav but I noticed how delicately depicted each characters are, Mr and Mrs Bridge in particular. This film is alternatively about the changes in the young generation regarding liberty, feminism, free expression especially on sex. It’s in the perspective of the bridges, the mother and father who is old fashioned and conservative (as it was normal in their previous generation) and the children who are the young generation, and the misunderstanding and conflicts between them. After all it all happened not only because of the difference but also the lack of communication, which rsl emphasised in his interviews. I found it interesting that they made it seems like the Bridges truly existed with the video footage and (with the ending) describing what happened to each family member in text with photos. When I watched it at first I was really confused if it was based on a real life. I think what they wanted to suggest was that the Bridges every typical American family at the time. It was something everyone was going through. I said previously I didn’t get why Rsl’s character (the youngest in the Bridges) treated his mother so coldly. Honestly I do get why, but I guess I felt so bad so the mother haha

I mean it was fine

The safe passage

It was okay but to be honest it didn’t stood out to me. It was okay. The story, the characters weren’t that interesting. I wish they extended it longer to go depth with their family relationship or something.

A painted house

I find it likeable, it has a chill, old folk story vibe, but same as previous one. it didn’t really stand out except for shirtless rsl, do close ups you cowards

Bluffing it

I was really fond of the premise of this film and I think it has great intention. It was specifically made to promote the awareness of illiteracy and how to get support. However, I don’t get the reason of Jack the protagonist’s illiteracy. Unless, it was common occurrence in America at the time, I feel like it’d have been more convincing if he was in poor family hood, so there was no time to learn at school due to working at young age...? I mean, just finding it hard to believe he passed the high school just like that, I mean the teachers or anyone should have noticed it, maybe I’m missing something here but it seemed unlikely to me.

Ground control

Again, I liked the message, as it depicted how frightening and difficult job the ground controller is, by one mistake could take away the lives of hundreds, especially as someone who goes on planes a lot... But it was quite cliche throughout, I just couldn’t get engaged to it. But I do admit at the end when the protagonist runs off to the landing zone see the pilot who he had just saved, they acknowledged each other and have eye contacts was truly wholesome. Rsl as cocky, bad boy was such a icing on the cake, I loved it so much. Chewing gum in every scene lol I hope he plays these sort of characters more often. I saw someone criticising him saying he has narrow spectrum of just playing nice boy roles like Neil but I really wanted to debunk the narrative and this could be one of the examples! 

Chelsea walls

I knew that this has split reviews but nonetheless I think worth to watch it, 1. Ethan and rsl re union, 2. Ethan is the directer of the film and rsl sing in it. But I have to say, it’s one of those hard to follow art indie film so I couldn’t finish it on one go. I feel like I have to devour it over and over again. Maybe later on I grow fond of it more lol But his character, I loved him so much. He’s just has everyone don’t touch me, I’m a cocky artist vibe, there’s a scene where his annoying friend annoying him and he looks up and says: ‘Fck off’. Absolute golddddd not to mention he sings and plays guitar so beautifully<333

Well... it’s not my cup of tea

The Manhattan project

I don’t think the film it self was that bad, it’s about high school boy who find out the existence of some nuclear energy research lab and stole the energy to make his own nuclear bomb. I just don’t get the thinking process of the protagonist. It really frustrated me. He seemed apathetic and unlikable I disliked him throughout and that’s why I didn’t really enjoyed it. I mean it has humour and ridiculous storyline might be humorous to some. But more importantly there was such little screen time for rsl!! LIKE WHY? WHY PEOPLE?? HE LOOKS LIKE A FRESH HUMAN MOCHI!!! It makes me soooo mad to think about it

Killer: Journal of Murder

Well, first of all, it had a lot of graphic things than I imagined, brutally murd*red bodies, execution, and r*pe scene, gosh I was strucken by it when I saw that, I had to skipped that scene. It’s based on a real event and a real criminal called Carl Panzram, so if you’re aware of it, it might be more intriguiging to see. But personally for me... meh, I don’t think directing was good as it failed to portray it enough for me to comprehend fully.

A Glimpse of Hell

This is also based on a true event of a tragic accident in the us battleship in Iowa in 1989. They shows tragedy lin a blunt, brutal way by showing horribly damaged bodies of the soldiers torn into pieces, all the horrid things directly so be warned about that. I was quite alarmed because i didn’t expect to see it haha there’s no much to say. The film quality was so so for me. I feel their approach wasn’t appropriate, they were clearly trying to make it dramatic which is fine but in a melodramatic emotional way. It didn’t work because first, there aren’t enough portrayal of the characters for me to get attached, secondly it added the unnecessary exaggeration it prevented me from being emotionally involved or even to think about it. In my opinion, I think it’d have been better if they made it more restrained, dry, focus on the accuracy. For example like 1987 or Zodiac, I mean both of them has dramatic elements since they’re not a documentary but they were not overdone, in a contrary added emphasis to their message/conclusion. I know it’s easier said than done but it was something I consistently felt during it.

Sir.... I’m sorry but-

Standoff

Haha... it’s very peculiar... the directing is off and it just weird. I knew it was bad already but I watched it because rsl as a cop with gunssssssss just... so rare and just.... something else. There’s no way of me missing that seriously. Tbh him doing an action stunt isn’t what I imagine when it comes to him and there’s really any actions scenes anyway but it really was something. Like the character he played here really became my soft spot Hehehehe he was pretty and plus, tbh it’s kind of film I’d make fun of while watching so everything was (alomst) forgivable. There is a recent thing I think about, since this is about a cult, I kind of hope he’d at some day play a role like Eli Sunday from There will be blood: a manipulative, deceitful and maddened priest with twisted faith. Though Paul Dano did a grand job, the idea was in my head the whole time. Well, it’s a shame he wasn’t any of those here lol

Driven

From what I seen, the majority of people seem to unanimously hate this film, and after watching it I became one of those ppl. At least Standoff could be make fun of and rsl held gunssss but this...... I want to say so many things... I feel like they should have chose either fancy, fast paced, thrilling racing film or detailed depiction of emotions/relationships with the racers and people involved in it, I know both can be done, but I think that was outside of their ability, but since they tried to do that at once, it became a mess that doesn’t go either way. And the characters, any of them, including rsl’s are narrow or impossible to understand. I mean rsl did great himself, it was not about acting, the problem lies on the script and editing in my opinion. Also there were so many unnecessary characters made me question of their existence. Luckily rsl’s character isn’t one of them, however because of them, he had to squeeze in and unable to elaborate, which is a shame as he was an interesting character and someone rsl rarely plays; a arrogant and opportunist agent/brother of the protagonist, who would do anything for success... ha.... whyyyyy

This is it. If I watch other stuff I might add to it in the future. Overall, I know I’m biased but I do like His filmography, I do have appreciations in every one of them in different way to the good ones to bad. He may have disagree, but I love his acting on screen, well, I barely seen him on stage (crying)

Edit: as some of you could see, I’ve edited this over and over again haha elaborating on thing or the contrary. I can say with a glimpse of hell I practically managed to watch every rsl films out there lol except for the i inside and the short film he did called a dog race in Alaska. But with the former I’m not interested and already know the storyline, and the latter is just impossible to find, trust me I did my best;; 

So to sum up: I HAVE MASTERED THE RSL FILMOGRAPHY!

[mcustorm]

45 M/M Gay Movies, Ranked

The other day I bit the bullet and decided to watch Brokeback Mountain for the first time. All I knew about that movie was that it was basically the CMBYN of yesteryear and somebody got killed with a tire iron. Anyways, so I finish the movie and realize that I’ve seen a *lot* of gay movies, especially in the last couple of years. So here are my rankings according to nothing but my personal preference. I won’t write about all of them, but you can ask about something if I leave it out.

I wish I could give you a rubric for this. The reality is, there are some radically different movies on this list with different tones and intentions. There’s buddy comedies, tearjerkers, small indie features, big theater releases. So trying to rank them all is TUFF.

The Way He Looks - Such a beautiful coming-of-age movie. Maybe the 2nd one I saw on this list? Perfect length, perfect characterization, simple yet compelling, clever. And nothing feels better than reaching a happy ending (for once, because some of these movies’ endings-- SHEESH) that’s been earned. It just hasn’t been topped.

2. God’s Own Country

3. Pride

4. Kanarie - Yea, we don’t talk about this movie enough. It’s one of the most recent that I’ve seen. Beautiful. The way that it references apartheid and the war to reflect the protagonist’s feelings? Flawless.

5. Jongens - The first movie that I saw on this list, gets many a bonus point for that.

6. Moonlight - Yes, I am black. Yes, I understand this movie may be too low. Moonlight kind of scares me. In general, there’s not nearly enough discourse surrounding this one for me. But while it’s not exactly a popcorn-muncher, to me it’s the most personal movie on the list. When I look at Chiron and all that he’s been through, I can’t help but draw parallels to my own story up to this point. It holds a mirror up to me in a way that no other movie on this list does. That makes me uncomfortable.

But it is so poetic. Have you guys seen the script for this? The directing, the SOUNDTRACK, the acting. Phenomenal. 

7. Weekend

8. Call Me By Your Name - Yes, I am aware of people’s beef with this one. Yes, I understand a lot of people may feel this one is overrated. While I do think this one gets worse on rewatch, the truth is, it’s not really *that* overrated because hot take: most (meaning over half) of the movies on this list range somewhere from “just okay” to “painstakingly bad”.

It’s the score, the cinematography, the subtext in most all of the dialogue, the acting, the way that you can smell the apricots through the fucking screen. People who say this movie is a vacation ad are fucking CORRECT. One of my biggest gripes however is that it’s too fucking long. And uh, that age difference...

And Armie Hammer’s a weirdo...

9. Dating Amber* - Dating Amber has one of those “Duh” premises that sounds like it could’ve been done like 30 times before yet I can’t think of any other examples of it. So what you’d think would be a wacky premise actually turns out to be a frankly poignant movie with an emotional story arc for the main two characters.

10. Hello Stranger: The Movie* - This movie, which is the first sequel (sorta) on the list, frankly had no business being as good as it was. Even though the web series is required viewing, I felt the movie fixed like all of the series’ issues: pacing, lack of compelling drama, the awkward quarantine format. The drama and stakes are there without us having to visit Angst City. And the theme and the ending reprise is HEAT.

11. Uncle Frank* -  Uncle Frank is like The Help of gay movies. Like The Help, it’s *overall* a short, sweet and fluffy movie set decades ago. Like The Help, you’ll still come out of it feeling pretty good even though it has some dark moments. Also like The Help, you’ll wonder after the fact if the central white girl absolutely needed to be so...well, central for this story to be told. Bonus points for Paul Bettany and Character Actress Margo Martindale.

12. Brokeback Mountain - Tragic.

13. Moffie - Set during the South African border war, same as Kanarie. You even hear the word “moffie” throughout Kanarie. Anyways, this is a war movie for the gays, and a very intense watch. I liked that it was a much more realistic view of what a soldier endured during that period, and of course on the flip side I thought it was more thorough in its depiction of the rampant racism. I gotta find a good book on this era.

14. A Moment In the Reeds

15. Get Real - Maybe the most out of place movie on the list. I need to rewatch it. I do recall absolutely loving the score, however. Like, I fucks with this:

16. Freier Fall - When I finished Brokeback I was like, “Wait, wasn’t that just Free Fall with extra steps?” And yea, it kinda is. But even discount Brokeback is still pretty good.

17. Beautiful Thing - There are few things to like about this one, the relationship between the two guys, the mother’s love for her son even though it’s not all rainbows, that nice little final scene. I did not care for the dark-skinned woman being portrayed as, you know, the drug abusing, school dropout, gossipy, butt of jokes neighbor. But that guy really looks like Tom Holland tho.

18. Love, Simon - It’s at this point that I move from “Yea, that movie is good, you should watch it!” to “Look, you may like it, you may not.”

19. The 10 Year Plan - This movie is so fucking cheesy that there was cheddar coming though my speakers. But when I think of “Hallmark/Lifetime, but for the gays” this is the crown jewel. There’s some other movies on this list that could’ve taken some notes.

20. The Christmas Setup* - The trend of fluffy-white-gay-cable-network-movie continues and in good form. It’s not deep. It’s not really thought provoking. It’s cute. Fran Drescher is there. You should watch it.

21. Giant Little Ones

22. Hidden Kisses

23. Alex Strangelove - In a unique twist, the emotional core of this one is arguably between Alex and his girlfriend. All that ends up happening, however, is we the viewer keep wanting more Alex/Elliott scenes; those are the most electric in the whole movie. The end result is a hot yet endearing mess.

24. Fair Haven

25. The Thing About Harry - Freeform’s attempt at making a cheesy rom-com for the gays. It’s...okay. I personally feel like the main character’s friend is highkey trifling but it’s whatever.

26. Your Name Engraved Herein* - So I guess I’ve decided I officially hate angst. I mean, I get how it’s often necessary to tell an effective story, but I’m just not here for 2 hour indie angst fests that get passed off as “high art” anymore. I cannot do it. Somehow this is Brokeback’s fault...there just has to be a better way to tell gay stories in the 2020′s. Anyways, the last song was fuego.

27. The Perfect Wedding - Easily the most bizarre movie on this list. It’s so bad, I liked it a lot.

28. Naz and Maalik - The first half of the movie with the two leads just riffing is some pretty great stuff. The back half starts throwing plot developments that are just less than interesting.

29. My Best Friend

30. The Curiosity of Chance

31. Being 17 - Boring. Angsty.

32. And Then We Danced

33. Center of My World - Has some of the most trifling characters EVER. I was so angry. This movie for me has *0* rewatchability.

34. Just Friends

35. 4th Man Out - This movie was basically “a bro/Hangover-style movie, but for the gays.” I absolutely love the intention, but the execution was a little shoddy. One day we’re gonna get a flawless movie that nails what this movie was going for. I hope we remember this movie whenever that day comes.

36. Latter Days - So fucking preachy. 

37. GBF - Another bizarre one, but at least this movie gets how wacky it is.

38. Beach Rats

39. Shelter - I’ve noticed a lot of people like this one. To that I say...yikes. Remember that scene from Family Guy where Peter says he doesn’t care for The Godfather? I did not care for Shelter. It insists upon itself (not really, but still).

40. Handsome Devil

41. Esteros - It’s at this point of the list that we shift from “Movies that are the definition of ‘ight’ “ to “These movies are bad. Bad. BAAAAAD.”

42. Monster Pies

43. Were the World Mine - I couldn’t even finish it. Wanna watch a better musical? Go watch Kanarie. Wanna watch a better Shakespeare adaptation? The Lion King is the movie for you, or even fucking She’s the Man.

44. North Sea Texas - So boring. I actually think this one may need a rewatch, because I swear it shouldn’t have been as terrible as it was.

45. Salvation Army - I have no idea what this movie was going for. I understand that it is autobiographical, however...it simultaneously barely has any plot or character developments. This one has shades of Beach Rats, but it’s significantly worse, and I didn’t even like Beach Rats that much.

So that’s it, thanks if you made it down this far. I guess I’ll update the list as I inevitably watch more of these. I would love movie recommendations! 

[365days365movies]

February 12, 2021: If Beale Street Could Talk (Review)

This one was tough emotionally...and a very good movie!

Fact of the matter is, this movie was not only topical, but also very well-made and acted. Makes me want to read James Baldwin’s novel one of these days, if I’m honest. 

This film, at its very core, is a film about young love. And it does that VERY well, I gotta say. It captures the emotions and benchmarks of relationships, but is able to effectively balance that with the environment and politics of the times. It’s a downright masterpiece on that front. Oh, and by the way: NO INFIDELITY!!! WHOOOOOOOOOO! Hopefully THAT trend continues. Anyway, lemme get into my full thoughts on this movie, in the Review! Recap is here and here, if you wanna take a look!

Review

Cast and Acting: 9/10

Right off the bat, KiKi Layne and Stephan James have perfect chemistry. I mean it, this might have set my bar for perfect chemistry in film that’s actually consummated. Their past, while largely unseen, carries a lot of weight, and you can feel that every time the interact on the screen. What I’m saying is, they’re cute together, and I ship them hard. Yeah, I just said that, sue me. Here’s the things, though...individually, they’re only OK. Yeah, sorry, neither of them get a big chance to shine alone, and when they do, the film does most of the acting for them. When I say that, I think back to the perfume counter scene. It’s not KiKi’s acting that sells it for me, it’s the environment, the setting, the situation. Sorry to say it...but I kind of get why they weren’t nominated for Best Actress and Actor. NOT THAT THEY AREN’T GOOD. THEY ARE GREAT. But they aren’t really stellar alone, is what I’m saying.

Most of the supporting cast is also fantastic, even if some of them don’t get nearly as much time. Teyonah Parris, whom I’ve been enjoying THOROUGHLY in WandaVision, does a great turn as Ernestine, while Colman Domingo and Michael Beach are great as the fathers, even if their plot line sort of drops off. Even Aunjanue Ellis is good in her brief appearance as Fonny’s mom, and Brian Tyree Henry’s monologue about prison, and Emily Rios’ about rape are...hauntingly good. Ah, but wait...I’m forgetting someone, aren’t I?

REGINA FUCKING KING EVERYBODY. This woman ABSOLUTELY deserved Best Supporting Actress, and was WITHOUT A SINGLE DOUBT the best actor in the film. My Lord, she was amazing, and I’m really happy that she’s finally been able to carve an illustrious career in the 2010s. Seriously, she’s been acting since the ‘90s, and I feel like she’s only come to prominence in the last 10 years or so. Which sucks, because I’ve known about her since WAY before that, and it’s really nice to see her in the spotlight. WHOO!

Plot and Writing: 10/10

Y’know, the plot was a legitimate surprise to me. I guess that, after this month, I’ve been expecting happy endings and all that. But this ending was...bittersweet, and not even really that. Which is by absolutely no means a bad thing, just to be clear. No, this film was a touching diatribe on young love’s intersection with an unfair society, while also serving as a look at racial politics in the past, and serving as a harsh lens on today’s world as well. Barry Jenkins is the one who adapted James Baldwin’s novel into the screenplay, and...yeah, it’s fantastic. Moving, insightful, affecting, hertbreaking, you name it.

Directing and Cinematography: 9/10

Barry Jenkins, man. I was going to watch his other film Moonlight this month, but I’m putting off for another month to make room for some other films. But this film LOOKS gorgeous. There’s too much to go into in terms of how many good shots there are here, but one of these scenes was good enough to win Regina King the Oscar. Which does bring something up, though. HOW DID THIS FILM GET SNUBBED SO HARD

Look, I liked Black Panther as much as the next guy, BUT IT WASN’T BETTER THAN THIS MOVIE. And yet, it got nominated for a Best Picture Oscar, and THIS MOVIE DIDN’T? Not just that, but it didn’t get nominated for Best Director OR Best Cinematography (by James Laxton)? The Oscars are BULLSHIT, full stop.

Production and Art Design: 8/10

But I will say, this film wasn’t as good as Black Panther in Production and Art Design, but that’s because those categories were basically perfect in Black Panther. I tell you, if that movie had NOTHING ELSE going for it (and it did, hello Eric Killmonger), it had the look. But, that said, Beale Street still deserved a nomination at least! I mean, this film looks fantastic, no complaints. Well...one complaint. It really wasn’t very ‘70s to me. It was, sure, but it could’ve passed for other time periods easily. Definitely very good...but not perfect.

Music and Editing: 9/10

Fun fact! Nicholas Britell was brought on to this project after previously working on Moonlight with Barry Jenkins. This score took a lot of tinkering, but was meant to revolve around the ideals of love. In fact, some of the pieces are named after the Greek forms of love. You know, philia, agape, etc.? Neat, right? Anyway, the work shows, as not only did it get nominated for Best Original Score (which it lost to...Black PantherCOMEON), but it’s also quite an impactful score on its own. While it’s nt soundtrack-worth for me, it’s still extremely memorable, and I’d recognize it upon hearing it. So, yeah, nice one, Britell!

90%! And it’s well-deserved.

This was a beautiful movie, and it really did move me. I mean, it’s not like it’s changed my opinions about anything; in fact, it’s really just strengthened them, but it’s still a gorgeous movie. And outside of the sociopolitical folderol, this film has a gorgeous portrait of love that I can’t ignore, and won’t forget for a while. Fantastic.

And as for period romances...let’s take a break, huh? Let’s go for something set while the film was made, but also along the lines of a traditional love story. We are getting close to Valentine’s after all.

February 13, 2021: Before Sunrise (1995)

[kanene-yaaay-o-retorno]

You’re a WHAT

Kanene’s Notes:

I’m weak for carzy scenarios  and glitter, so BOOOM!! Why don’t get these two things together??? :D)/ This fic marks the end of my break, I will be (trying to) going back to my old projects and probably won’t be writing for some weeks kjnhgfvghjkjhg. Wish me luck! <33

This wasn’t suppose to take so much to be written but I lost my PC and life got in the way :v   Buuuut! I manage to finish it and I already count this as a victory! xP

Warnings, fun facts, random things and stuff:

* That fanfic has Remy and Roman. They’re friendos yay :3. Oh, and this is pretty crazy. Context: The morning after Black Friday when you’re grumpy and wanting to kick the society in the face. A LOT of swearing, Patton does not approve.  

* This characters do not belongs to me. They all belongs to the amazing Thomas Sanders in his series of Sanders Sides.

* Something around 2.900 words. -w-)b.

* Sorry for any spelling, pontuation and grammar mistakes! Any advice is very very welcome!

* Tô com preguiça de postar a versão em português brasileiro aaaa! Thankys for reading, my lollipops! Try and have fun with new hobbies, be safe, talk with the one that you love, drink water and sleep well! Byeioo!~

                             [~*~]

Roman thought himself as a really lucky human being. Unbelievable lucky.

 It wasn't due to the apartment where he currently lived - Too much dull for his personal taste and space, getting even smaller from the day he admitted a messy, sassy and with sleep problems roommate, since Roman just started his musical career and couldn't afford an own house yet. - or the fact that was finally able to pursue his dream after years and years of just picturing, painting this moment on his future, only to find out his fantastic breathtaking and incredible goals weren’t nearly close of the cold reality, at least for now (Who would know that, after umpteenth days of hard studying and training he would need years and years of experience in order to even START wondering in get out of his partial-time job on that Electronic Store) or any other reason someone would be able to consider himself a receptacle of pure, brute luck, enlightened by the spotlights of the good, pleasant destiny...

 ... Or at least the most pleasant it could be in the horrible and exhaustive middle of the night after a whole day filled with his attempts to survive and treat respectfully the unmerciful, dirty jungle that humanity was at Black Friday. Something around fifteen  hours working with massive hordes of unscrupulous zombies starved for a sale and able to even kill and die (more likely the first option) to get what they want and with souls (if they still got one) free of any slight sight of education, patience and morals to be inserted in a society which, as it seemed, was equally rotten as them. View point only proved as Roman was obligated to be working after his shift to "clean all the mess" - more like hide the bodies of exhausted warriors after such bloody battle. – the store because those sons of a...

 "... Bitch, YOU GOTTA BE KIDDING ME!!!!" The poor, frustrated employed shouted to nowhere specific, his face turning towards the sky, seeking in some way to show his all his hate to the cinematography - because this was too much coincidence to NOT be part of a movie or some random fanfic on the black hole that was internet - rain falling at full force leading the weather to became even more freezing as soaked them both with its cool, thick drops.

Anyway, what he was daydreaming about?

"Roman." Oh, yeah, the reason why he viewed himself as a truly lucky person. "My gurl, if you try to impersonate a fucking, dramatic, bitch crow in my ear even again, I swear in the name of my life juice bean that I'm going to KILL you with my bare hands and these sunglasses."

 At least his best friend since, honestly, diapers, who coincidentally was his roommate and even more coincidentally, his coworker was just screwed as Roman himself. Which automatically made the duo less screwed, however equally pissed off, something that neither of them discovered if that was a good or bad thing, yet.

 "Fuck you, Remy" Roman whispered between an tired yawn, too much tired to even think about some nickname or to put real heat in his words as he got instinctively closer to the other, the one called taking off his jacket and lazily throwing it over their heads, doing his best to cover they both with the small available black leathered fabric, the act intertwined with grumpy grumbling and motions which would probably slap Roman's face if he wasn't careful. "I'm the one who buys your coffee."

 "Having my incredible, unique personality in your life should be motivation enough for you to buy me the entire Starbucks Company, be glad I'm weak to your cute face and am going easy on ya."

 " 'Cute'? Excuse me, I'm the most handsome, hottest and fabulous man you will ever met in your lowly life, mortal."

 Remy snorted at this "Whatever helps you sleep at night, babe, but if it's going to be like that your ego soon will have to pay his part at the rent."

 "Well, this 'ego' here was the only thing between your highness and jail after stopping you from committing all those murders today."

 "Bold of you to assume I wouldn't use my contacts to hide the evidences." Their tune were already completely sleepy, bodies instinctively leaning onto each other as the words stumbled, mixed and almost lost themselves in the soundly wind as slipped from their lips. Roman just laughed.

 "Well, if by ‘contacts’ mean 'Virgil' good luck getting him out of his bed on his free day. You would became the fucking new King Arthur." Roman rubbed his eyes, trying to physically force his eyelashes to not close, a new yawn finding its way to his mouth. He didn't even know about what they were talking anymore.

 "I roll the dice to cast Badass Nerd Bitch."

 “Logan??”

 “He likes to study nature stuff, especially at night, I’m sure he already knows some good spots to hide bodies. Glasses.”

 “Glasses?”

 “Glasses.”

 “OMG, the anime character with glasses.” Roman stopped, his mouth wide open as if all the secrets of the universe had been revealed to him.

 “Exactly.” Remy extended each syllable, grinning smugly.

 “I’ve never-“

“THIS IS A ROBERY!!”

 The sentence, which appeared to came out from nowhere, cut the air in a harsh, sharp tune, breaking the barriers and tying them up in the same place in a frozen position and wide eyes staring astonished the hooded form and their unreadable features under the bad illumination of the light poles helped by the increased storm. The wind trespassed them, stirring their clothes and making the muscles shake both of the alone employees in the middle of a dark, empty street at the dawn, even if the dangerously shiny knife directed towards their direction still in a hatred silence. 

 “My.” Roman knew he probably should be afraid, the freezing feeling running across his veins and frightening his brain and actions as infected his words in an unspeakable terror impossible to ignore nor escape. “fucking.” However, the only thing that slipped through his next was the purest, deepest, truest... “ASS.” Indignation.

 Roman thought about a lot of things. He thought about running away, grabbing Remy’s arm and sprinting across the street, about scream in the top of his lungs the waterfall of swearing already racing half way to his throat and even about kicking the knife out of the other’s hands and then kicking him - with a couple of cool moves he saw in some actions films - together with their frecking audacity to try to rob him of all the people in the world. Roman, who asked himself if he would have enough money to eat in the next week with a concerning frequency, who wondered if this is the life he will have until the end of his existence, if he will ever be able to accomplish his dreams.

 His gaze changed to Remy, who was paralyzed, trembling between the poor light of the street and the massive rain. Roman swallowed. Everything was in his hands.

 For a piece of Roman felt the strange urge to spill to the figure before him the story of his life, all his tries, all his battles, his everyday fights to make his dreams real. Blow by blow. Day by day. A life destined to go after everything he wished to himself, everything he wanted to life, to experience, to savor, to do everything in his hands to ignore and one day maybe, hopefully forget all the ghosts - these ones always accompanied by those emotionless, sharp whispers - asking, doubting nonstop if he ever would be able to do all of this, if he was doing the rights thing, if it was really worth all of it.

 However, before the first word even slipped of Roman’s tongue or his mind came fully back to Earth, Remy was already positioning himself strategically between the robber and his friend, the currently only one with the leather jacket falling on his shoulders. However, Remy didn’t seem nearly soaked as he should be, and for a heartbeat, the same one which Remy moved his hands to his jeans’ pocket, his fingers touching and firmly holding something there, Roman could swear that the unexpectedly shiver running across his spine wasn’t due the cold wind.

 Nor the sentence hurled in the clouds.

 “You know what?? Fuck it.”

 And then he unsheathed his magic wand.

 Roman loved with the entirety of his heart all kind of magic, he could easily spend an entire afternoon (which he already had, by the way) listing his favorites movies, musicals and stories with that theme. That also could be easily said by the thousands and thousands of worlds, universes and lifes he invented – in and out of his head - about the subject trough his childhood and handful of teenage years, random ideas and inspirations appearing and dancing in his mind until nowadays. If that only wasn’t enough to convince someone then the umpteenth memories of mornings and afternoons bathed in the smell of books, rocked by the calm silene of the public library as he turned one more page, his back lightly aching by the bad position assumed behind the shelters, in a place he strategically found and claimed as his own Bridge to Terabithia, enjoying every moment as if nothing else mattered. Perhaps you wouldn’t even need to swim in such deep, ancient waters to find out his love, since at least fifty percent of his day was dedicated to shout, hummer or murmur Disney songs.

 However, as rays of pure energy  - shiny and kind of glittery one - involved and swirled from Remy’s, who now was floating a few centimeters above the ground, wand in stripes that got lighter and lighter, begging to spin faster around the aforementioned, creating a spere of a power stunning and big enough to stop the rain in the corner.

 The silence resulting from the lack of the storm didn’t had the opportunity to fill the moment, being obligated to give its space to a soft, intense melody whispered in their ears. The notes standing some more moments in the air, the beating following the changes in the shadowed figure inside the spere. Hesitations taking over the loud, quick heartbeats when the song finally stopped.

 The power’s spere finally exploded, the impact leading to an unbelief and intensive force push both human meters away.

 “Get. Out.”  Remy’s tune still the same, his form – Now adorned by a gleaming crop top, his fluttering skirt over shorts floating in synchrony with the veils which surrounded his clothes and wrapping his arms, the ending spreading in the air as a bunch of angry powered and fancy snakes. - even with the new vestments full of glitter (this probably would be a hell to get off, later) still the same, his gaze, powerful – a new meaning pouring from this word – strong, still the same. But yet…

 Yet his wide eyed, heart hammering in his chest friend since he could remember found himself struggling to connect the same Remy who he had known – if he could still say that? -  all his life with the same being who gleamed dangerously before him.

 The magic wand danced in a quick flick and a trash can came of what seemed nowhere to hit the wobbled and absolutely terrified robber, who fell with a soft thumph in the ground, unconscious.

 “-man, Roman!!! Don’t just stay standing there like a tree, help me here, gurl!” Suddenly the called snapped from his own sea of thoughts, submerging and astonished blinking in Remy’s direction. The rain started to fell on them again, and when their eyes met, when Roman saw the same guy who spent afternoons climbing trees and pretending they were knights and dragons attacking or saving the world, when he recalled the silent sleepovers where they just sat near of each other enjoying the mutual company, the grumpy mornings in their apartment, the comfort hugs, the looks full of words, the smiles filled with meaning, the friendship stuffed with so many, many memories... 

 Nostalgia. The feeling that everything was changed albeit something… something important always stayed. Roman felt, truly felt it and fixed his glare into that brilliant – quite literally - glare adorned with a ‘I’m about to punch your cocky face if you keep fucking narrating every freaking second of your life, ya bitch’ he realized... 

 It was Remy.

 He took a deep breath, moving closer and gradually relaxing as the aforementioned focused in trying to lift the guy, swearing more frequently than raindrops fell from the sky.

 “Remy?”

 “Yeah?”

 “First crush.”

 The other stopped, frowning confused. Roman didn’t quiver, feeling he deserved some sort of answer. At least about this. “What?”

 “My first crush. Who?”

 “Kovu.” Remy maybe was a bit cold hearted, maybe he wasn’t the best with human interactions or knew exactly what Roman wanted with that… but he knew Roman enough to realize this was important. Essentially when the said seemed to relax, his form untensing itself and being allowed to get closer of the magic being.

 “Okay. Okay, okay…” Roman took a deep breath, grounding himself. Their gaze met, his next words coming a little calmer. “Okay.”

 “Please don’t make me sing that serenate you made for him. I’m gonna fucking quit.”

 “Oh, shut up!! Our first love is something special, mister I-Can’t-Choose-Between-The-Beast-And-The-Beauty.”

 Remy decided to ignore the words, slightly lowing his sunglasses with his special Judgmental ‘Bold of you to assume I have enough shame to be mocked’ Look. Roman just flipped in his direction, taking advantage that the other’s hands were occupied.

 It was still Remy, with a whole more of style and glitter – Why are there so much glitter here?? - but it was just Remy. Like just any other day.

 Before he even realized, Roman was already at his friend’s - and as it seems a magical being - side, helping him to carry the robber’s body to somewhere dry so he wouldn’t die of hypothermia.

 “Why don’t you- Ouch!! My feet, dammit!” His breaths came out as puffs, the effort leading to his already exhausted muscles only protest even more and very much probably curse him later with sore movements for the audacity to transport anything heavier than a pen. “Why don’t you use your... Wizard magic or something to carry him??”

 “Oh. My. Gosh. Roman, you are sooo intelligent, why aren’t you in Harvard? Ow! Ow! Ow!!” Remy’s sarcasm was cut when the other kicked, or did his best to with their actual position, him in protest.  “Homophobic.” He exhaled a mix of irritation and a snort, receiving a playful punch in his arm by their inside joke.  “I’m your Fairy Godmother, brainless. Unless it was you laid in this stupid, cold ground I can’t use my magic anymore... Except if this is someone of your family but I doubt-”

 “Wait, wait, wait, WAIT!!! YOU ARE MY FAIRY GODM-”

 “No, no way, nope, we are NOT having this conversation right now.” Remy, the Fairy Godmother let go of the unconscious body in a way that probably will make the guy wake up sore, perhaps with a concussion even, directing his index finger in Roman’s direction in a deep, determined stare full of darkness and things that Roman could swear would make Remy be expelled from the group of Friendly Fairy GodmotherS  or whatever... thing he was inserted. “Let me tell you what we are doing right now: We are going to home, change our clothes then I’m getting coffee and you will get sleep so I don’t have to face nor care about the freak consequences of my damn actions.”

 ...

 “That...” Roman stop, as if was considering his next words. Remy’s face just scrunched in a bigger, firmer frown. “That would be hella scary if you didn’t look like someone who just stole a store of glitter and got attacked by the gay, glitterly, shiny fairies who protected the place.”

 “Go fuck yourself. I’m locking you outside when we get there.”

 “Noo, please don’t! My evil stepmother didn’t let me go to the prince castle and now I need help! Crying emoji, crying emoji.” Roman mocked, imitating sad sobs and sniffles as quick his pace to follow the other, who flipped him.

 “I’m this far from knock you out with my magical wand and then you will see who is the evil stepmother.” His wand gleamed in warning, the red color getting mixed and trembled by the fast movements of his veils, one of them getting dangerously next to Roman’s face, who cleverly got silent for some heartbeats, the sound of the rain slowly calming their heartbeats and rocking them, the tiredness gaining the space which, piece by piece, was being unhanded by their adrenaline.

 They arrived home, both still quiet, feeling free as a relieved sign left their lips. Remy threw his soaked jacket in some dark corner, the bed being the only thing which was allowed to take over all his thoughts and will. 

 An awed gasp echoed behind him and he immediately regretted his move.

 “YOU HAVE WINGS????”

 Before his eyelashes closed, the shiny of the wand disappearing gradually as an ungodly amount of sleepiness gained complete control over his body, relaxing each one of his fibers and as a warm, magic good feeling fills every single cell in his being, Roman wondered if ‘Fuck it’ was the name of Remy’s spell.

[stingysbitch]

April 2020 Film Festival

A formal documentation of the shit I watched last month. If you’re actually reading this, I thank you <3

Beach Rats

Directed by Eliza Hittman

6 out of 10.

Honestly, the only reason this movie is over five stars because it was really, really pretty. Seriously, the cinematography and the overall aesthetic was to die for. However, as much as I wanted a queer story that defied most cinematic expectations for its genre, Beach Rats was not that. It’s raunchy, atmospheric, and anticlimactic. Wouldn’t bother watching unless you can handle stuff like that.

Portrait of a Lady on Fire

Directed by Céline Sciamma

10 out of 10.

Y’ALL. This movie was chef’s kiss and a HALF. It wasn’t too boring, wasn’t too pointless, and wasn’t too sad (although I did cry at the end —that was mainly because I realllyyy didn’t want this movie to end!). Basically, it’s the antithesis of the average gay movie. Now, given that it is set in this time period, I wouldn’t watch it if you’re not in the headspace for some heartbreak.

Anyway, onto the good stuff, the stuff that makes me believe this movie was one of the most beautiful, wonderfully symbolic, and awesomely crafted films of all time. First all, the colorization, the setting, the cinematography — simply divine. And then there was the carefully placed foreshadowing and symbolism. Oh my god. I cannot put how much I enjoyed this movie into WORDS. Watch it!!

Jojo Rabbit

Directed by Taika Waititi

9 out of 10.

I have very little bad things to say about this film. I mean, what isn’t there to love? It’s got comedy, hopefulness, Sam Rockwell, cute lil gays... this movie was very well done and exTREMELY relevant. Just watch it, you’ll see what I mean. Taika knew what he was doing.

Also, take note of the score. My boy Michael outdid himself, and for what? A BAFTA nod? Nothing more? Shame.

Marriage Story

Directed by Noah Baumbach

8 out of 10.

This was a nice, quiet film. Its score was top-notch, which is always good. The acting was great, particularly, I think, Adam Driver’s. This is the kind of movie you should watch, ya know, when there’s nothing else on your mind. There’s no loss, no particular gain.

But I’m A Cheerleader!

Directed by Jamie Babbit

7 out of 10.

It is better than people give it credit for! It was very funny, the plot was easy to follow and made sense for the most part. This movie was way ahead of its time in terms of the queer genre. It had a hopeful ending, which is RARE. It had a very impressive cast, starring Natasha Lyonne, RuPaul, and Michelle Williams. Honestly, this movie is super wholesome and there is absolutely no reason why you should not watch it (if you’re gay, which I’m assuming you are).

[angedemystere]

My Rewatch of Les Miserables, 1998

Ah, yes, I have decided to revisit that much panned film version, directed by Bille August and starring Liam Neeson, Geoffrey Rush, Uma Thurman and Claire Danes (and Hans Matheson and Toby Jones thrown in for good measure). This movie holds a complicated place in my heart by being the adaptation that introduced me to Les Miz, inspiring love for these characters and spurring me to look into the musical and the Brick itself .... only to then earn my distaste for all the inaccuracies from the original text.

So, now that I’ve revisited it with fresh eyes and a barometer by which to compare it to other adaptions, is it as bad as everyone says?

Well ... it depends.

Let’s start with how this stands as a movie.

First, the cinematography. In terms of setting and sets, this film is gorgeous. It starts with nature scenes (opens early on with a shot of the river ~ooohh~ foreshadowing) and provides a strong sense of location and space. Now I think in certain urban scenes, especially when the story moves to Paris, there’s a lot of washed-out grey that kind of blends together. It does have a purpose: to portray the desolation plaguing the poor that’s stirring l’ABC to action. Even so, it can be harder to focus on the details when color blends too much. Other than that (and some not necessary close-ups), the filming is dynamic, easy to follow, and overall really nice to look at.

Next, the script and pacing. The scenes within themselves are for the most part effective at getting across character and important information and making interactions feel natural. (The one bench scene between Cosette and Marius might be the exception - can no one write romantic banter well? Or is this true to how awkward romantic banter is in real life? Tell me, I have no idea). Of course you’re dealing with characters like Javert (and lovestruck teens) who make natural dialogue a challenge, but in the movie’s first half, there’s a strong reliance on exchanges from the book itself to make it work. 

Pacing within scenes keeps at a steady clip while giving time for important moments to breathe. But then the movie has to deal with time jumps, which can be awkward since we the audience are forced to reorient ourselves. The first jump works better because we’re meant to feel some suspense about what’s happened to Valjean between his encounter with Bishop Myriel and his being mayor. We instead meet Javert and follow him to his new post in Montreuil-sur-Mer I’ll ... get to that later. When he’s introduced to the mayor, we realize it’s Jean Valjean! That’s pretty satisfying. This movie most succeeds in the first half in giving us enough about Valjean, Javert and Fantine to get who they are, what their situation is and why we should pay attention. 

The next time jump brings us to 1832 and teenage Cosette. This time we’ve missed out on seeing Valjean and Cosette’s relationship grow, and not a whole lot is shown to solidify what their relationship has been like in the convent and what they stand to gain or lose by leaving that environment. We do get some insight, just not as much as I would’ve liked. 

Now, how are the actors? Everyone does at least a decent job, even sometimes a brilliant one. Liam Neeson brings warmth, shy awkwardness, and humanity to the character in ways that feel genuine. The awkwardness is most endearing when he’s interacting with Fantine, which is a deviation from the novel that I really don’t mind because, damn it, they’re just so cute! Speaking of which, this addition of a mild Valjean/Fantine romance (don’t worry, it’s as raunchy as kindergartners holding hands) actually plays a role in how Valjean handles Cosette and Marius’s romance. There’s a bit of lampshading when Cosette acknowledges that she has pretty strong feelings for a guy she’s known only a few weeks and it’s not rational, but her feelings are no less real. And Valjean respects those feelings because he experienced them in his own way with Fantine.

Hang on ... hang on a sec ...

Okay, I’m fine. BBC 2019 miniseries, eat your heart out.

Uma Thurman captures Fantine’s vulnerability without overselling it. She pleads for her case while flip-flopping between honest frustration and appeasing servility. But I must ask this: when her hair was cut, why wasn’t it cropped shorter? Maybe a clause in her contract? Also, no tooth removal. The filmmakers probably wanted Fantine to still look attractive enough for the little romance budding between her and Valjean. Points off for accuracy but still effective in pathos.

I remember not being a fan of Cosette when I first saw this film, not through any fault of Claire Danes or the writing but because I cared more about the Valjean-Javert dynamic than her romance (not predictable of me at all). And she can be pouty, but that poutiness is often justified by her cooped-up existence and a desire to live more freely. I also have renewed appreciation for the fact that Cosette 1) stood up to Valjean when he slapped her, especially given her abuse at Mme. Thenardier’s hands, 2) stayed fairly calm while lying to Javert’s face, and 3) held Javert at gunpoint while she freed Marius. For her sheltered upbringing, girl’s got nerves of steel.

This Marius, while still foolish (slipping out of the barricade that he’s supposed to be in charge of to visit Cosette and being not at all subtle while stalking her), has more sense than book!Marius. Granted, he’s undergone a fusion with Enjolras, but I understand the decision, which I’ll address shortly.

And Javert .... Javert is probably the hardest major Les Miz character to pin perfectly in any adaptation. This is for a couple reasons. One, because films have limited time, certain scenes that can establish an otherwise unseen facet of a character are often cut. This frequently happens with Javert’s later scenes: the police station (where he burns his coattails) and the Gorbeau house (twice - one when he’s disguised as a beggar, the other when he jokes about offering his hat and rebuffs Mme. Thenardier’s assault with his “claws of a woman” comment). Two, his frequent run-ins with Valjean are altered from being coincidences to international face-offs orchestrated by him, making him much more fixated, even downright obsessive, about catching Valjean. On both fronts, Rush’s Javert suffers from these cuts or alterations. But when it comes to the performance he delivers? 

This is the silhouette of a man who makes criminals wet themselves.

Is he my definitive Javert? Oh no. That dream has yet to come true for me. But I rank him in my top five preferred Javerts. I do have issues with some of his actions, like toppling the mail coach (just .....why?), smacking Fantine, and pointing a gun in Cosette’s face. That’s the wrong kind of asshole or creep for him. I do think it interesting, on this rewatch, to be reminded that this Javert’s mother was a prostitute, and when Fantine is harassed by Bamatabois and then retaliates, he first holds back from interfering (and stops the captain from interfering) and then “takes care of this” by slapping Fantine when she tells him the gentlemen started it. I don’t see Brickvert doing any of these things, but the purpose of this moment is to give us a glimpse into the depth of his hatred for the class of people his parents came from. We don’t know why he hates them so much apart from his overall moral and philosophical perspective, but you can’t help but wonder about what he experienced in his early life that would make him act violently toward a woman with the same occupation as his mother, but ONLY when she lashes out (understandably) at a member of good society. This outburst could also explain why he fixates on Valjean, a thief like his father. It’s not just his commitment to his ideals; he’s living a morality play with his parents as the criminals he needs to punish in order to prove he’s not one of them, that he’s risen above them, that he will not and CANNOT fall to their level. The fact this movie captured that nuance and had it carry out in subtext is a credit, even if I don’t agree with all the actions this version has him do.

No surprise that, given how much attention has clearly been given to Javert’s character by the film, this adaptation chooses to keep the center of narrative focus on Javert and Valjean, sacrificing a lot of other characters in the process. Eponine? Gone. The Thenardiers overall, gone in the second half once Valjean has rescued Cosette (except for Gavroche, but you wouldn’t know he’s a Thenardier in this). The Les Amis exist as a collective but have no individual identities apart from Marius and, arguably, this movie’s Enjolras, who is reduced to a team lieutenant and stripped of all other book!Enjolras characterization. Again, a good chunk of Enjolras’s charisma and commitment to the cause is lumped into Marius. The writers were likely interested in making Marius a more dashing love interest. This doesn’t always jive with the moments he’s actually Marius: stalking Cosette, writing her pages of love letters, ducking out of meetings early to see her when he’s supposed to be heading the planning of the uprising. The clash can be distracting. Still, Matheson tries to balances these two sides as well as he can.

This is where a lot of Les Miz fans have or will have problems with this version. If you’re anything other than a fan of Valjean, Javert, Fantine or Cosette, you’re going to feel deprived. I don’t actually consider this a major flaw of the film because the filmmakers were at least consistent in their focus, preferring to develop a few characters than stretch too thin with more characters who would have ended up with shallow portrayals anyway. But I will highly suggest that if you’re a diehard Les Amis or Eponine fan and are annoyed when adaptations reduce those characters, you might want to skip this version.

Now that the issue of character omissions or reductions has been dealt with, let’s get to what I have problems with that are actually on screen:

Valjean’s outbursts toward Cosette - this aspect of his character isn’t as prevalent as I remember, to be fair. There is one scene where he snaps at her as a child (and he immediately apologizes) and two scenes where he yells at her as a teen and/or hits her. Nonetheless, the notion that physical assault was necessary in his character toward Cosette of all people--please no. There’s no reason for it. In fact, there’s better reason to go against it to show contrast with how Valjean reacted to stressful situations in the past. Yes, those knee-jerk reactions can be hard to shake, but Cosette’s presence in his life is meant to show how much he’s grown. Granted, Cosette acknowledges that his outbursts are out of character, that he’s “acting so strangely,” and we do see tenderness between them most of the time. Still, it taints the relationship when his and Cosette’s book relationship, while plagued by secrecy, is entirely wholesome. Any hint of violence makes me wary of when Cosette says she needs to be there for him after learning about his past and plans to flee the country.

Javert’s suicide - again, more on Valjean’s end. Obviously this version is different from canon; Javert makes it seem like he’s going to murder Valjean and let his body fall in the river, only to free him and do it to himself, and Valjean is there to watch. And he fails to attempt saving him, which, given his actions at the barricade and the kind of man he’s become, comes across painfully out of character. So does the glee he expresses when a man has killed himself in front of him only a minute ago. Maybe if Javert had said something or done something to make saving him impossible or clearly against his wishes, Valjean’s inaction would’ve been more understandable. I do also question Javert’s wisdom in killing himself in front of a man who tried to save him mere hours ago. Why did he not consider that Valjean might try rescuing him again? Well, he seemed to make the right call.

Both of these choices point to an attempt to make Jean Valjean more flawed. This is a conversation the fandom has had before, and the question of slipping in a sharpness to redeemed!Valjean has come up in other versions, even some actors’ portrayals in the Broadway show. I see the argument on both sides--he’s human, he suffered years of conditioning that turned him hateful and willing to harm others. But it should be noted that, while Valjean is physically capable of throwing someone around like a sack of potatoes, he’s never demonstrated an inclination to do so, not even from what few details we have of his life in prison. The movie adds that violent edge to Valjean’s narrative, from when he first hits Bishop Myriel on the head to smacking Cosette in the face. Javert gets some of this treatment, too--never shown violent behavior in canon, smacks around Fantine and manhandles Cosette in the film. Maybe the filmmakers were worried a modern audience wouldn’t find a nonviolent ex-con and a non-violent policeman believable. Yeesh.

All right, some minor issues:

The changing of names - Montreuil-sur-Mer becomes Vigau. Fauchelevent becomes Lafitte. Champmathieu becomes Carnot. What’s going on? Were they scared of pronouncing French names longer than two syllables? Oh, and Valjean as the mayor never has a name. He’s just “monsieur le maire” wherever he goes. You think his alias is M. Maire? So he became Maire Maire? No wonder he was pushed to take office.

Child actors - they aren’t great. Hardly any get dialogue and it’s no surprise why. For those who do, it’s obvious they’re being prompted offscreen. The kid playing Gavroche is the exception and there’s too little of him.

Illiteracy - eh, I kind of give this a pass. It’s not book canon that Valjean is illiterate post-Toulon, and I don’t remember if book!Fantine is illiterate, but it gives them a little bonding moment and gives Neeson the opportunity to show off his first-grader-concentration face when he practices his cursive.

Having addressed the big (and not so big) problems of the film, were there good parts in terms of adaptation? Yes--I think Neeson and Rush have a scintillating Valjean-Javert dynamic. I like how they have some understated snark jousting in the Vigau scenes. The 2019 series wishes it could achieve that level of sniping. But then, Brickvert wasn’t very subtle when he brought up how he knew only ONE man, one CONVICT, who could lift the cart, and Valjean is trying to deflect or ignore him while Fauchelevant is being crushed. Maybe not book-accurate, but entertaining as hell.

Also, while I don’t ship them, the Valjean-Fantine scenes were cute and made my heart squeeze. I know it was gratuitous. Their bond provided a little spot of light in their miserable (hah!) lives.

Also also, I like Javert’s informant in the 1832 scenes. He’s funny, cynical (he complains how nauseating Cosette and Marius’s romance is and swears off having daughters), committed to his job (he catches a cold from watching Cosette and Marius in the rain on Javert’s behalf), and respects Javert without being afraid of him. They even walk together to the barricade so Javert can get in and not draw suspicion. And for some reason he doesn’t have a name! Guys, if you like Rivette from the BBC series, let’s give this unnamed informant some love. I want a buddy cop series with him and Javert.

To wrap this up, I’ll say that Les Miserables (1998) is certainly flawed as an adaptation. Jean Valjean and Javert get injected with violent tendencies, Fantine stays prettier than she should, Marius and Enjolras have undergone fusion, and 80% of the book characters have vaporized or barely exist as bit parts. But I wont say stay away from this abomination because it’s not abominable. It’s ... ok. It’s serviceable in capturing the main plot arc of Les Miserables and a couple of its crucial themes. I think Les Miserables is one of those books where you’re probably not going to get the screen adaptation you want, so maybe watch a bunch, pick a few that least offend you, and fuse them together into your own imagined adaptation. With luck, the components are more cohesive than those of Marijolras.

[softspiderling]

you mocha me crazy | t.h.

Summary: an encounter at a coffee shop leaves you with more than a cup full of coffee

Pairing: Tom Holland x Reader

Song I listened to while writing: Here With Me by Marshmello

Author’s Note: while doing research for this piece  fell in love with the LA film school *sigh* Germany is so fucking boring. Also be proud of me, I finished writing to pieces today! *yay*

Warnings: swearing, otherwise only fluff!

Word Count: 1,8k cute words

It has been fairly difficult adjusting to the Los Angeles lifestyle, to say the least. Everything was so loud and bright, and the time difference was horrendous.

Los Angeles was nine hours behind your usual time zone; you haven’t even been here for a week and your classes have already started in full force. Even though the courses were so interesting and your fellow students were really nice, you just were so tired and barely found the motivation to smile at other people and exchange phone numbers.

Which was the reason why you were staggering into the nearest coffee shop after your first class of film history, inhaling the smell of freshly ground coffee beans. You stood in line to order as your eyes scanned the display of baked goods, contemplating whether you should pick up a cookie with your coffee.

“Hi, welcome to Yo Jo Coffee, what can I get ya?”

The greeting pulled you from your thoughts and you smiled tiredly at the cheery barista.

“Hey, can I get a large mocha and uh…” you trailed off, biting your lip as you were trying to pick between the cookies. “A double chocolate cookie please,” you decided and fished your wallet out.

“A mocha and a double chocolate cookie coming right up. Name?” the barista asked as her sharpie hovered over the side of a coffee cup.

“Y/N.”

“That’ll be six dollars and 41 cents,” the barista told you and you waved your credit card around, sticking it into the EC cash terminal to pay. As you were handed the cookie in a small paper bag, you moved to the side of the counter to wait for your coffee.

Juggling your cookie in one and your phone in the other hand, you stuffed your wallet back into your backpack, you looked around in the busy coffee shop.

Warm sunlight streamed through the windows and you fingered at the hem of your shirt, glancing down at your chest where your camera was usually hanging off your neck. Emphasis on usually. You were in such a rush in the morning, you forgot to grab the camera.

You broke off a half from the cookie and took a bite, wondering if you should try to capture a few pictures with your phone, when your name was called. You whirled around and smiled at the barista who prepared your coffee, your hand curling around the warm coffee cup.

“Thanks!” you called over your shoulder as you turned to leave, but before you could even take a sip from your mocha, you collided with someone, sending your cup flying and spilling the hot beverage all over you and the person you bumped into.

“Son of a bitch!” you cursed as the scalding fluid soaked your t shirt and most of your bare legs. Now you were really glad that you forgot to take your camera with you, you didn’t even want to imagine having to try to replace your camera. “Shit!” you heard from the other person and you looked up to see a brown haired guy you bumped into. You couldn’t quiet see his face, because he was looking down at his white t shirt. The white t shirt that was stained with brown blotches from your mocha.

“I am so sorry!” you said quickly and grabbed some tissues, starting to pat the other person down. “That’s quiet alright love, I wasn’t looking where I was going either,” he chuckled with a thick English accent and you furrowed a brow.

“You’re English,” you noted pleasantly surprised at the change from the usual American accent and looked up, finally catching a glimpse of his face. Your hands stilled as you see a face in front of you that has been plastered all over the movie posters, his brown hair tucked under a black baseball cap

“You’re Tom Holland,” you blurted out and Tom grinned boyishly at you. “Why yes, I am. Do you mind?” he asked and gestured towards his torso, where your hands were resting.

“Oh, yeah, sorry!” your cheeks tinged pink and you pulled your hands off of him, handing him a few tissues.

“Thanks,” he smiled at you and started dabbing at the stains, before grimacing and giving up. A barista, lugging a bucket and a mop behind him, gave you a dirty look as he started mopping up the puddle on the floor.

“Sorry!” you squawked and picked your empty coffee cup up from the floor before tossing it in the trash can, looking at it longingly.

“Come on, go order another one. My treat,” Tom said to you, noticing your expression. You turn your eyes back to him and he nodded in the direction of the counter, which made you shake your head quickly. “No, you don’t have to! I was the one who bumped into you, I should be the one buying you coffee,” you protested, which only made him chuckle.

“I insist. I am picking up coffees for my friends anyway, what’s one more?” Tom said and you eyed him before giving in, nodding.  

“Fine. I guess you don’t get treated for a coffee from a famous actor every day,” you mumbled and he laughed, walking up to the counter.

“Hi, I’ll have two iced coffees, an americano and…” he trailed off, looking in your direction. “A mocha.” You added, tucking your hair behind your ear, while you watched Tom pay, before following him to the end of the counter.

“So, what do you usually do besides dumping coffee down other people’s shirts?” he asked you curiously.

“I am really sorry about that,” you said again, ducking your head. “I uh, just started at LA film school.”

Tom laughed a genuine laugh, his eyes sparkling with amusement. “I am just messing with you, love, it’s not a big deal. So, film school, huh? What are you there for?”

“Cinematography. I am really into making videos and uh, I guess photography,” you told him with a small smile.

“Oh that’s sick. You seem to have the same interests as my younger brother Harry. Can I see some of your stuff?”

You raised your eyebrows in surprise at his interest in you, before nodding, pleased. You liked sharing your work with other people, getting various opinions from different people. Art always affected people differently and you liked watching their reaction.

“Uh, yeah sure. I mainly shoot with my camera and I forgot to grab it when I left in the morning, so I just have a couple pictures on my phone that I can show you,” you reached for your phone and swiped to your gallery to show Tom some of your pictures.

“I took most of them back home, I haven’t been in LA that long, and I am swamped with classes so I didn’t really have the time to take a day off to take pictures,” you explained to him while he peered into your phone screen.

You had noticed that he was leaning over your shoulder to look at your pictures, and even though he wasn’t the tallest guy, you were still quiet shorter than him. His cheek brushed yours gently and you swallowed thickly, turning to look at him.

His face was only a few inches away from yours and you could see the faint freckles that were speckled across his cheeks.

“Your photos are really good,” he said softly and you stared at him, your lips slightly parted, before you cleared your throat and turned away with flushed cheeks. “Thanks,” you mumbled and tucked your hair behind your ear.

“I am not the best photographer, can you give me some pointers?” he asked and you look at him amusedly.

“I could try,” you chuckled and he lifted his phone with a grin. “Okay then, look away and act like I am not here, yeah?” Tom instructed you, making you laugh, before doing as you’re told. You can hear a few clicks of the phone as Tom snapped pictures of you, trying your hardest to strike a natural pose.

“I am pretty sure there are a few good ones,” he said proudly as he lowered his phone, swiping through the pictures with you leaning over his shoulder.

“Yeah, they’re not so bad,” you complimented him. Tom managed to capture you with a soft smile, the sun streaming on your face, giving you a golden glow. It was a rather good picture, you had to admit.

“We’ll make a photographer out of you yet.”

Tom smirked at you proudly, pocketing his phone. “I am just that talented.”

“Oh please,” you snorted and rolled your eyes good naturedly. “I got an order for Tom!” the barista called out and Tom lifted his hand, walking over to the counter. You watched his back as he fumbled around with the coffees for quite a while.

“You need any help?” you asked with a grin, your arms crossed.

“No no, I am all good love,” he called over his shoulder, handing the barista a pen before he turned around to you, four coffee cups in a carrier in his hand.

“Here,” Tom said, handing you your coffee.

“Thanks,” you smiled softly, taking a big gulp while the two of you walked out of the coffee shop.

“Well, I guess this is it,” you sighed as you stood outside the doors. Tom chuckled and nodded gesturing to two boys standing by the sidewalk.

“Yeah, my friends are waiting for me and their coffees,” he told you and you nodded. “I gotta get back to class, too,” you said slowly, waiting. You weren’t sure what you were expecting, maybe him giving you his number.

But when he waved at you with a friendly smile, and a “See you around, Y/N.” you realized this was probably your first and last time meeting Tom Holland. With a wave of your hand, you turned on your heel and walked the other way, your cheeks burning.

It was a dream, thinking Tom Holland, out of all people, would give you his phone number after one friendly conversation. He probably met hundreds of people a day, you were merely a friendly face in the mass, you thought bitterly as you sipped on your coffee, heading to your lecture for Digital Editing I.

“Hey, thanks for saving me a seat,” you said to Jane, a friendly girl you’ve met in class.

“Yeah, no worries,” she told you with a smile as you sat down. She eyed your coffee cup before grinning.

“Already picking up guys at coffee shops, huh?” she teased and you looked at her in confusion before turning the coffee cup in your hands, a smile spreading on your face. On the white paper cup, Tom had scribbled his phone number with a black marker, the number adorned with a wide smiley.

“I guess I am,” you chuckled sheepishly, already grabbing your phone. As the lights dimmed and the professor started the lecture, you were typing away on your phone.

Y/N: writing your phone number on my cup was a pretty risky move. What would you have done if I hadn’t seen it?

Your smile widened as your message’s status quickly changed from delivered to read, the ellipses popping up, before disappearing and then reappearing.

Tom: I guess we’ll never find out 😉

Taglist: @sunflowercth

[vampanic]

i finished the movie and i thought it was good, entertaining, but felt like something was missing. i don’t know maybe it’s just me watching these types of movies lately, but i was expecting something sinister/spooky to happen in it because it definitely felt that way at one point the way one character was talking and then half way through the movie it decides to become kooky. anyway i’ve only seen a few scorse.se movies (hugo, shutter island, and goodfellas. i don’t remember the first 2 so i dont even count them), but i really dug the direction of this movie. pacing, angles, editing, the way it was acted, the cinematography. griff.in dunne is cute! idk i like his face a lot. and i like all the cameos, but i wish rocco sisto wasn’t in movies for two seconds. i saw him in one movie and he blew me away, but in everything he has bit parts :(

anyway maybe watch this movie if ya wanna watch a night time flick or a nyc flick

[riverdames-blog]

Disappointed But Not Disheartened: Reflections on A Wrinkle In Time

In early 2016, when it was announced that Ava DuVernay was attached to A Wrinkle In Time, I tweeted about how excited I was for it and she favorited my tweet so I screenshotted the notification and showed it to everyone on the planet and have been anxiously awaiting this movie ever since.  Jennifer Lee, one of the two screenwriters for the project, is who I aspire to be, and Ava DuVernay is, as far as I’m concerned, one of the best filmmakers of all time, and, although I honestly don’t remember much about the plot, I read at least 3 books in Madeleine L’Engle’s Time Quintet as a child and definitely really enjoyed them.  (I may have read Many Waters and completely forgotten it, but I think I was just not that interested in transitioning to the next generation and so peaced out after A Swiftly Tilting Planet.)  In the months before its release, I declared multiple times that A Wrinkle In Time would probably be the movie of the year for me.

Now that I’ve seen it, I can say more confidently: it’s not my movie of the year.  Just to be sure, I saw it twice this weekend (and I also watched the 2003 TV Movie in between to compare – it’s not great but it’s also not, like… resoundingly worse).  The second time around, I enjoyed it way more than the first, and I think it’ll only continue to grow on me with time.  Visually, it’s just spectacular: Ava DuVernay and Naomi Shohan have built a gorgeous and imaginative world.  Production design is maybe the only element of cinema that L’Engle’s original novel lends itself to easily, and they tapped that to its fullest potential.  But something about the storytelling just didn’t quite click for me.

And before I go on, I want to be clear: no one working on this movie had anything to prove.  People will frame it that way – can a black woman direct a $100 million movie? or can a little brown girl carry an action-adventure blockbuster? – but none of that is really up in the air.  Black creatives have proven time and time again that they can and will carry franchises, so we can stop pretending that was ever even a question.  And we all saw The Dark Knight Rises and were like, “hm, very middle of the road”, and yet no one raised an eyebrow when Christopher Nolan got a Best Director nod this year.  Ava is still one of the best working visual storytellers in Hollywood (and has increasingly excellent brand recognition – any studio would be lucky to have her helm another blockbuster).  Storm Reid is charming and will continue to get work.  Jennifer Lee is still my hero.  It is dumb that I’m nervous to admit that I was disappointed by A Wrinkle In Time, like if it wasn’t the perfect movie no one will ever try to make movies like it again.  Creatives do not have to break new ground with every movie they make for their work to be considered valuable.  And in a lot of ways, A Wrinkle In Time was groundbreaking.

So, bearing in mind that this movie doesn’t in anyway reflect on anyone’s capacity for great filmmaking, what made A Wrinkle In Time feel disjointed to me?

My first thought was maybe it was just a failure of casting.  They apparently searched for 7 months for someone to play Charles Wallace, and as cute as he is, Deric McCabe felt awkward and stilted to me the entire movie on first watching.  Levi Miller was the cutest stalk of celery I’ve ever seen but that’s kinda the most I can say for him.  Everyone was charming, but no one – Storm Reid included – really had the chops to carry the weight of all the bonkers exposition this movie demanded of them.

That said, the performances felt less stilted to me when I watched it a second time – Storm Reid and Deric McCabe did have some really keen and nuanced moments, and Levi Miler, despite speaking like he’s never met another human being before, gives truly excellent face.  And the adult casting was superb; Chris Pine as the affirming father of a biracial daughter seems like an obvious and sincere choice, and also ZACH GALIFIANAKIS.  Clearly Aisha Coley knew what she was doing because it takes some serious insight to look at Zach Galifinakis and think, “this schlubby comedian will play the kindest, gentlest father figure in cinematic history.”  No actor is actively wrong for their part, and no one is phoning it in – the younger folks are maybe just still figuring some things out.

So if the performances felt awkward but it wasn’t a failure of casting, I hate to even suggest it, but maybe then it’s a failure of direction.  If these actors had the potential to perform this script well, maybe Ava just didn’t direct them appropriately.  There are some moments where I think this is actually true: if you’re working with young talent struggling to create a genuine sense of chemistry, maybe don’t block things so they’re standing several yards apart as they exchange intimate dialogue.  There were multiple weirdly slow, far apart exchanges between Meg and Calvin that probably would’ve felt loaded with meaning with more competent actors but just felt bizarre and confusing with these kids.

That said, I am reluctant to criticize Ava’s work here, largely because these children have spoken quite sincerely multiple times about how kind Ava was and how safe they felt working with her.  When working with young actors, I think that’s the most important thing.  And so if these kids felt most comfortable shouting at each other from across a football field, then fine.  I’m okay with that.  And also, let’s not forget: Zach. Gala-friggin-akis.  Ava knows how to get what she needs.

So then perhaps there was something weird about the camera.  The cinematography of this movie felt deliberate, like it was meant to create a real mood around this story.  It felt like the idea was to shoot this thing in a way that was disorienting to reflect the magic and uncertainty of the world these characters occupy.  But that didn’t really click for me: I mostly just felt like the camera placement was in the way.  Maybe because the performances weren’t strong enough to come through, but maybe because cutting from a traditional over-the-shoulder shot to a strikingly tight 90 degree profile is always going to take you a little bit out of the moment.  (There were two particularly striking moments that made me chuckle they were so disorienting: one when Ms. Whatsit and Meg’s mother talk in such a tight, shallow-focus profile shot, I could’ve sworn they were about to kiss; the other when, in the middle of a conversation between Meg and Principal Jenkins, there was a cut to a close, shallow-focus shot of his name placard, and then a very artistic but completely unnecessary tilt up as the focus racks a very tight shot of Mr. Jenkin’s face.)

Weird cinematography can interrupt the flow of even the best scenes.  But maybe – and I hate to say this even more than I hate to suggest Ava’s work wasn’t as good as it could be – but maybe, I am just making excuses here for Jennifer Lee.  Maybe this was a failure of script.  And I do think that Jennifer Lee and her writing partner, Jeff Stockwell, made some really positive changes.  I think they captured and amplified the essential relationships and motivations in this story.  I think getting rid of the twins and playing around with the Murry family structure, as well as adding a lot of scenes with the dad and giving him a central character flaw, gave this story a clearer and cleaner direction than the Weinstein-produced adaptation in 2003.  And I think that the whimsy of the book was captured in a way that felt visual and cinematic in this screenplay.

But it’s hard to deny that this screenplay felt a little clunky.  There was a lot of exposition and no clear moment when a goal or central question was obviously stated, which probably would’ve helped me enjoy the film a bit more on my first watching.  It was somewhat unclear when the acts were changing, which made it hard to be totally swept up in the beautiful and immersive imagery.  The sequencing at the end is awkward – why does Calvin just watch a deeply intimate conversation between Meg and her dad?  (He’s just smiling in the corner of one shot when they hug at the end and I truly burst out laughing in the theater.)  What did Calvin and Mr. Murry do in the backyard for all that time when they tessered away without Meg and Charles Wallace?  Why did Charles Wallace get so easily distracted by the family dog (for a seemingly very long stretch of time) when he ran into the house to get his mom?  Why did Meg not laugh out loud at Calvin when he said, “Funny how it took a trip around the universe for me to have the strength to confront my crazy dad!”?  And speaking of Calvin, while I think the decision to trim a lot of the fat around the Meg-Charles Wallace sibling dynamic was a good one, it sort of begged the question: why is Calvin even here?  (It’s actually sort of nice bit of commentary – to help save the universe, men simply need to trust women and affirm that their ideas and instincts are correct – but it felt undeniably odd that Calvin came along when all he did was fall off Reese Witherspoon’s lettuce leaf body and then eat a bunch of sand.)

Having said that, it does seem like there were some fairly substantial reshoots or at least major cuts made after principle production, because based on the trailer, what seems like a big expositional scene got left on the chopping block.  I’ve also heard in interviews that they shot and were starting to animate an Aunt Beast scene between Mr. Murry’s tesser and Meg’s final confrontation with The It.  Perhaps the original script did a better job of integrating Calvin and establishing clearer act breaks and character voices.  Maybe, for reasons beyond their control, this script needed to be torn up a bit and it was too late for the writers to polish the rough edges that were left behind.   Or hey, maybe Jeff Stockwell took hostage of the whole thing and made a bunch of bad changes at the last minute that Jennifer Lee couldn’t talk him down from and her hands are clean!  (I don’t know enough about WGA rules to totally tease out what that cowriting process looked like based on the billing – that is maybe very possible – but it’s not very kind to Jeff to just assume that about the script so I won’t.)

At the end of the day, A Wrinkle In Time did not come together for me like I hoped it would.  It’s not easy to tell why major sequences got cut pretty late in the game or why the cinematography decisions and acting decisions came together as awkwardly as they did.  Whatever the reason, this movie just didn’t do it for me.  But even as I left the theater feeling a little disappointed, I was not disheartened.  This movie wasn’t anything like, say, Suicide Squad, which feels like a project that was fought over, a project where everyone involved seemingly knew the movie was a train-wreck but also “knew” it wasn’t their fault.  It’s hard to point the finger at anyone here; everyone has something to be proud of (and something to be less proud of).  No sequence feels pulled because the studio didn’t trust its creatives or because the director didn’t trust her actors.  It feels like a product that was made by a whole, a whole who struggled with this beast together.  A Wrinkle In Time feels delightfully collaborative, a movie made by committee in the best possible way.

Perhaps the biggest takeaway, then, is that adapting L’Engle’s bonkers novel is a hard thing to do.  To no one’s fault, the stakes of her story are simultaneously impossibly large and surprisingly small.  Her characters speak with a rhythm that is odd even when done well, and the world she built evokes more the concept of beauty than actual images of it.  (And let’s not even begin to unpack cinema’s troubled troubled relationship with Christian-influenced fantasy storytelling.)

But here is a group of people who all earnestly rose to the challenge.  They made the thing.  And it is flawed in a lot of ways.  But as Meg Murry knows better than most, its faults are not undeserving of love.

[thefudge]

TLJ thoughts, post-viewing

sooo, i have a lot of feelings about a lot of things. also the subtitles didn’t prepare me. for a lot.

this movie is made up of many quiet, non-verbal moments and rian johnson lets those moments sink in and dwell with you and that’s great

rey exploring the workings of the force, for example. there’s a really cool sequence where she’s trying to find out who her parents are and she lowers herself in the embodiment of the dark side and it’s very trippy and cool. it’s not rushed and it’s v atmospheric. she gets the incentive to do that thanks to kylo. his revelations about luke and his general aura of “troubled darkness” inspire her to dig deeper.

i think what i liked most about reylo was its sense of gratuitous intimacy. what i mean by this is that they seemed to connect without effort, without having to manipulate the plot to make it fit. they seemed be in their own little movie, dealing with things beyond the usual surface level of star wars ‘good vs. evil’. kylo’s philosophy about letting the past go is definitely flawed, but the way the movie frames reylo, they do seem to “let go” of their surroundings and circumstances when they’re together. it’s sort of timeless. 

i will say, i don’t think the romance was that "romantic”, if that makes sense? and i think it’s a good thing. their bond is very real, but it goes beyond “romantic drama” and your usual hero/villain trope. it has shades of that, ofc, and there is palpable sexual and romantic tension, imo. but i sensed something more mature and interesting between them. it could go either way. do i want reylo to have a future in ep 9 and after? yep. is it possible they won’t? also yep. mainly because kylo let rey down. and here’s the kicker: it’s not rey that really rejects him. it’s him that rejects rey. because she tries quite a few times to bring him over to her side, and i think her anger and sadness stem from the fact that, ultimately, kylo didn’t choose her, and ergo the light. he’s still v much conflicted and i think she can sense that. but rey is hungry. she wants all or nothing. she can’t have half of him. so she doesn’t reject him as much as tell him straight up that she won’t stand for being second. for instance, she expects him to fold to her side immediately after taking down snoke. when he doesn’t, she’s quite literally in tears. this hurts her on a deeper level than “oh no, the dark side won and the resistance lost an important ally.” no, this feels like her parents all over. leaving her, deserting her. that’s how i read it, tbh. 

and kylo does some reprehensible shit in the latter quarter of the movie, lol, like i won’t woobify him, since i like my antiheroes to be antiheroes.  but he's not quite villain level?  if u look at snoke, if u take that cool, collected snarky asshole - that’s a villain. he knows who he is, and what he wants. kylo is hopelessly confused and always looking for validation. he tells rey that she’s the one always looking for father figures - but oh, benny ben. it’s actually you. he wants someone to really see him, and that’s why he’s drawn to rey. but just to clarify: he doesn’t have it in him to kill his mother. he has an open, unambiguous chance and he stops. he is willing to destroy her when she stands behind walls and is shielded by the resistance. yet when she’s in the open, no. that was my read on it. 

his fight with luke is...very much one-sided. luke appears as a force-hologram to fight him and kylo just wants to obliterate him for very, very personal reasons. kylo is not the cool, collected new emperor who is going to “kill the past”. he lives so much in the past that he doesn’t even realize luke isn’t even there. 

and btw, kylo doesn’t kill luke, though he wishes he had. early on we get this foreshadowing. when the first force-bond happens between him and rey, he goes “no, you’re not doing this. the effort would kill you.” meaning that, to transport yourself through space via force (without a bond) takes a looooot of energy. luke goes on a suicide mission, basically. he knows using the force like this will kill him. he’s almost having fun toying with kylo at the end. 

when kylo realizes he’s a force-hologram, luke smiles and says “see you around, kid.” not exactly anakin vs obi-wan, if u know what i mean.

and then back on the island, we see luke peacefully give himself over to the force and vanish. it’s v tranquil and quite satisfying and the original star wars theme is used so well, imo. do i think we could’ve had more of luke? sure. but he went out on his own terms. that’s the whole point - kylo didn’t kill him. he killed himself.

again, i want to emphasize that kylo is still very much an antihero, dipping his toe into villainy (and failing - which makes him more angry, which only makes it harder to be the villain he wants to be haha). he’s not a Good Guy. many posts will crop up in the tag about what a poor, lost soul he is. yes and no. rey actually understands him when she closes the falcon door on him. she knows him and appreciates him. he will never really be ben solo and that’s a good thing. trying to be ben solo so hard is what got him in this mess. he isn’t supposed to be a Good Guy. so no, i don’t want him to “turn” (see my thoughts on “turning” below). i want him to truly move beyond the past and reform himself on his own terms, just like luke. because hey fam, luke isn’t a Good Guy in this movie either AND THAT’S GREAT. anyway, i certainly won’t be romanticizing him (kylo). he’s a compelling antihero who definitely has baggage and trauma (luke did try to kill him as a boy, though he has a wildly dramatized version of the event lol) but he is also someone who has to help himself. ultimately, rey’s goal isn’t to “save” him but to push him to save himself. honestly, if kylo had followed her and “turned” and reluctantly joined the resistance, it would’ve been a total let down and a betrayal of his character. him “turning” wouldn’t help him. he’d still have that darkness and that anger inside of him, multiplied. boy needs therapy - aka working through his issues, not ignoring them and joining the Good Side. 

Other things I liked: 

- admiral holdo’s arc - beautiful, well-done and surprising. laura dern kills it. 

- benicio del toro!!!!! no small parts with this man. he is delightful. imagine rick from “rick and morty” but way hotter lol. he was probably my favorite addition, after rose. he’s the middle-ground guy, he’s more han solo than fucking han solo. he doesn’t believe in good guys vs bad guys and he shows both finn and the audience that the two sides err because they believe their path is the only path. he perfectly encapsulates the very real contradictions in modern-day ethics and how our “pure and wholesome” activism often shields us from some terrible truths. he does have a semblance of a heart underneath his cynicism but i love that in the end he doesn’t suddenly discover the power of friendship with finn and rose. he’s a jaded asshole with shades of good, who’s probably seen some rough shit. BUT, he has this super cute moment with rose before things go to shit regarding her necklace and it’s !!!!!! it shows how much he understands human nature. i kinda ship them. aaaanyway. i definitely think he will return, his arc is not done. 

- ROSE TICO SMILING AND BEING HAPPY. ROSE TICO RIDING THAT KANGAROO CREATURE AND ENJOYING LIFE. i treasured those scenes a lot. she’s a great combo of feisty and childlike, tough and innocent. gosh, she reminds me of bonnie bennett so much ;___;

- general hux. yall, it’s true. it’s all true. hux may have won me over. hux in TFA was just a lite over-the-top villain imo. but here??? he’s such a fun, dynamic character, rian gave him a lot of fun, humorous moments. and honest to god, he’s also given some humanity. when kylo takes over, he is genuinely affected and disturbed by his level of aggression. and he’s....idk, much less evil in this one. probably because of the humor. he just seems like a man dead-set on fulfilling his mission, brainwashed to the core. and underneath the brainwashing, he seems to be your average overwhelmed white dude. i don’t think he’ll be redeemed or anything but...it’s weird how at the end of TLJ he is probably the MOST reasonable dude from the first order???

- there’s this great little message about failure. i think here TLJ was inspired by Rogue One. because a lot of the characters in this movie learn to let go and accept defeat. you can’t always save everyone, you can’t always fight back. sometimes, the brave thing is to retreat and treasure the ppl you love. so i def liked that.

- GODDAMN GHOST YODA. i honestly thought i’d hate it because...gimmick, amirite? but that scene with luke was SO emotional and also funny and visceral and just - i was a bit teary-eyed, ME, THE GRINCH. i was suddenly nine again, watching star wars for the first time. ANYWAY. 

- luke skywalker deserves a separate entry. mark hamill did so much with this character in the last few scenes. also some of the stuff he says about the force in this movie is legit beautiful and i love how he criticizes the vanity of the jedi - because this was what was missing from the prequels. anakin fell because the council was tone-deaf. the jedi are often responsible for their own doom and so they must always be vigilant - which is a goddamn thankless job. i love that luke acknowledges this. 

-luke/leia moment. GAAAAH. HE KISSES HER FOREHEAD GOODBYE AND SHE KNOWS HE’S NOT COMING BACK FROM THIS. I DIED.

- in that order of business, leia finally FIIIINALLY gets to show off a bit and use the force in a pro-active manner. it’s also clear to me that episode 9 would’ve been the story of her and “ben” and i think she would have been the catalyst for his eventual development. but sadly, we’ll never see that ;____; 

-there is some gorgeous cinematography and visual direction in this movie. particularly in the third act, on that salt planet? the red trails? shivers. 

-i didn’t hate any of the new creatures like i thought i would??? probably because they were used sparingly and with a sense of humor.

Stuff i kind of didn’t like:

- phasma. phasma, phasma, phasma. WHAT was that??? like tell me that wasn’t anticlimactic as hell. she was, sadly, a pointless character. unless she somehow survived the fire and destruction, which i doubt, i really don’t see the point of casting wonderful gwendolyn christie just to stand there in armor. 

- MAZ KANATA. is barely in this. i call bullshit. 

-sigh, okay so i loved rose to death, but her arc revolved way too much around finn. on the one hand i get it, on the other hand.... i was hyped because ppl were saying she gets this big moment to shine. and granted, imo, she shines every moment she’s on screen. but i think her climactic scene was... *fart noises*. it’s completely centered around finn. she saves him basically, and it’s definitely heartfelt and lovely but also...it’s finn’s moment 100%. because it’s him who has to learn about his own worth. i do think they make a good team and i ship them a little bit, but the one-sided kiss was not satisfying and i’m tired of having to watch my darling woc give their love and devotion freely, only to be  tertiary characters in their own story. like, imo, it should’ve been rose who flew straight into that cannon and tried to take it down for her sister. she should’ve been the one determined to take it down. and it should’ve been finn to save her and tell her they must find meaning in other things. finn definitely cares for her and in the last scene we have of him, he’s tending over rose and waiting for her to wake up BUT. will rose ever be number one for anyone, like the white girls, i wonder? eh, i’m probably just grumpy old aunt. she does get to have an internal world, she’s a believable human being, she matters. the thing is, white girls in these movies can bend their little finger and they’re considered worthy and complex. rose has to jump through hoops to be seen the same way. anyway.

- i liked poe dameron’s arc, which is “hey, maybe i should stop posturing and listen to women more lol” which is “learn when to retreat and stand down” but...honestly, you hire gorgeous oscar isaac who can give you real emotional weight and you just...kinda under-utilize him. yes, he did a lot of stuff, but he...didn’t take time to internalize it. this dude feels like he’s got a lot of demons and conflicting desires and a rich inner life, yet we only skim the surface of that. like, he’s aways in go-mode, we rarely get a quiet moment with him. like pls fix this, episode 9. 

-luke’s reaction to han’s death is pfffffffffffff. maybe we’ll get more in a deleted scene? 

- also....can we stop pussyfooting and legit talk about han as a dad? because they keep hinting he wasn’t a good one, nor a very good husband to leia. but...it’s very unsatisfying to keep hearing about it without good storytelling to back it up. 

- the world-building & the origins of the first order. i had problems with this in TFA and, big surprise, i still have problems with it here. basically, why has the first order taken over the new republic? how did they gain support? were there remnants of the old empire that survived and thrived as the first order? what about the knights of ren? luke mentions kylo took some students with him when he destroyed the jedi temple, so....what about those guys? like, this very fraught and war-torn landscape doesn’t have a solid history. how did A become B? why is every corner of the galaxy oppressed? why are some planets thriving more? are they all arm-dealers??? i find that hard to believe. yeah, we have the expanded universe for that, we have books and comics etc. but i need these movies to give us a sense of their own universe. i’m...still not convinced. 

-lolol, snoke dies like a bitch. and it’s so anticlimactic and duuuumb. dude, a five-year old coulda seen that coming but your ancient super powerful ass couldn’t? laaaame. he’s like “oh, yes, i sense no more conflict in you, kylo ren. just a deep certainty”. YES FOOL, because he’s decided to remove u, because he’s confident he wants rey, and not you, by his side. it was soooo lame. but i guess we had to remove him to make the audience think kylo was turning good for a second there.

-which reminds me... and you probably saw this coming, i hate the idea of “turning”. rey keeps talking about ben turning to the light. and this verb annoys me to no end. it’s made clear that they both already have a lot of light and darkness in each other. it’s about finding balance. where’s my grey jedi??? episode 9 pls????

Extra Reylo stuff i didn’t see mentioned which i adored: 

- during their first force-bond moment when they sense each other, kylo ren runs out of the medical unit and into the corridor like a goddamn luckless teenager, expecting to see rey pop up in a prom dress.  it’s precious. i love awkward!kylo. also rey tries to shoot him bc she thinks he’s actually there and kylo bends down, thinking he was shot. it’s a rly cool moment. and it doesn’t feel malicious like, he doesn’t expect anything less from her. 

- there’s so much charged electricity between them and it’s not all sexual. it’s kinda mystical and i dig it. i’m weirdly reminded of xavier and magneto??? as in two enemies who have such a rich history and whose bond transcends human morality. 

-OKAY. i saw no one talking about this but THAT GODDAMN SNOW WHITE SCENE. so rey decides she’s going to turn kylo to the light because that’s their one hope of defeating the first order etc. luke tries to stop her, but she’s like i’m going after my man. okay. she gets on the falcon, then she puts herself in this casket-like pod and AND. we get this lovely, breath-taking sequence of her arriving at the first order base, slipping gently into the hangar in her casket. and she’s def nervous. AND THEN. she looks up through the glass and there’s steam at first and through the steam we see kylo’s face, looking down at her wistfully. IT’S SO WEIRDLY FAIRY-TALE WTF. and then ofc the guards come in to shackle her. BUT JESUS. the prince looking into the casket to find snow-white WHAT ARE THESE AESTHETICS. it felt like a nod to the infamous scene in TFA where he carries her bridal style. it’s very fairy-tale-esque. 

- i love that in the scene with the multiple reys, when she reaches through the mirror to see her parents, the shadowy figure who appears and touches her hand seems at first to be kylo and then she realizes it’s herself. i also love that she talks to kylo about that experience. GAH. 

- i just rly loved that there was so much humanity in their interactions.

Reylo stuff which sort of bothered me/left me wanting more: 

- like excuse u rian,  during the praetorian guards fight, i needed more moments where kylo looks at rey and is worried for her sake. i needed that fight to be a bit more visceral and about the two of them and their survival. they do fight together and it’s great but then...they’re sort of separated and carry their own small battles (i did love how rey saved him with that lightsaber throw)

- the whole “you come from nothing, you are nothing.” yea yeah, he’s a dummy who doesnt know how to express his feelings, he’s mr. darcy x 1000 of faux pas. but i still think adam driver’s acting went a little much there. the way he delivered that line was a bit off for me. ofc, he follows it with “but not to me”, because he’s basically proposing to her, but i needed a bit more, an extra line from him confirming her importance. or maybe no extra line, but a bit more feeling. did i mention i love wrecked!kylo? the “please” killed me haha. 

Final thoughts:

- enjoyed it more than i expected to, and it does operate with way more nuance than TFA but it stiiiill fell short with some characters. it didn’t have the weight of rogue one for me, but it’s more lighthearted and entertaining, which i appreciate, cuz it reminded me of my childhood. and ultimately, whether we like it or not, disney does operate on nostalgia. all in all, it’s a worthy star wars movie, 8/10. rian deserves an A-. (he also wrote this thing and whoaaa...i wonder how much more ambiguous and dark this movie woulda been if he’d been given full non-disney freedom)

[janeaustentextposts]

Hi! You talk quite a bit about adaptations, could you give your thoughts on some adaptations of other classic novels, ones you particularly like or hate?

Well, let me think. I’ll give you the rundown on literary adaptations I like or love, as it’s getting late in the evening here and a bout of solid rage isn’t going to send me off to sleep so much as bring on a bout of indigestion. Also I went to review my DVD collection and for obvious reasons I don’t own many DVDs of things that I loathed. (I do recall nearly bursting into tears after a matinee viewing of I Capture the Castle because I felt the movie ended on such a bittersweet note that I was not prepared to walk out of a darkened cinema into a sunny day with birds singing while I was still Feeling a Lot of Unhappy Things, and so I felt like I hated that movie for a long time because of the sheer mood whiplash of it all. Also I wish I’d read the book first. The book is lovely, and I think I’d’ve stomached the film better, had I gone through the book first.)

Oh! I just remembered The Wings of the Dove (1997). I should have loved it, it had a lot going for it, buuuut fuck that movie and everyone involved in it, it just fell flat, for me. I don’t even care how critically-acclaimed it was, all the characters are The Worst and I never have a moment’s sympathy enough to care what happens to any of them. I hate even thinking about this movie and it is largely responsible for how much I despise Helena Bonham-Carter to this very day. Her and Jeremy Irons (who I admit I have many more personal issues with ‘cause he’s a silver-spoon gross-ass fuckshit.) A movie has got to be pretty damn brilliant on several other points for me to get past the knee-jerk rage I feel whenever either of them appear on-screen.

Also The Portrait of a Lady was terrible and riddled with pointless alterations and please just read The Making of a Marchioness, instead. Maybe I should add Linus Roache to my shitlist as he’s in this one, as well as The Wings of the Dove.

And now for adaptations I liked:

Wives and Daughters (1999) is quite good, in my view, and the ending they added to Gaskell’s unfinished work is quite satisfying, I think. (I don’t know about realistic, but it was sweet and simple and I dug it.)

Orlando (1992) Beautifully done. (Billy Zane! I love him in everything and I literally don’t even know why.)

Little Women (1994) is a classic, but I’m also very excited to see what Heidi Thomas and Vanessa Caswill do with the new miniseries from the BBC and PBS next year.

Daniel Deronda (2002) It’s prettyyyyyy. And so is Jodhi Maaaay.

Washington Square (1997) has a beautiful soundtrack, solid direction, and a stellar cast.

Girl with a Pearl Earring (2003) had some great cinematography and a good cast.

Dangerous Liasons (1988) I have such mixed feelings about Malkovich in this one but Glenn Close, holy shit she’s good.

Bridget Jones’s Diary (2001) A TRUE CLASSIC LITERARY ADAPTATION I WILL FIGHT EVERYONE. THEN PAY FOR THE RUINED GREEK RESTAURANT.The Remains of the Day (1993) A somewhat underrated classic that I think perhaps unfairly sits in the shadow of Howard’s End a lot of the time, what with the comparisons of the Thompson-Hopkins casting in a Merchant-Ivory film. (I do like Howard’s End, but, again, Helena Bonham-Carter, and I just connect a lot more with The Remains of the Day, as a story.)

Wide Sargasso Sea (2006) I don’t recall unabashedly loving this one, but I own it, so I feel like I must’ve liked it well enough. Then again, I also just found a copy of Sweeney Todd still in its plastic-wrap that I don’t know how I came by, I don’t even like the concept enough to want to watch it in the first place. Also, Helena Bonham-Carter is in it. And Johnny Depp. Why the fuck do I even own Sweeney Todd? Anyway, Wide Sargasso Sea is alright, though I feel like I preferred Karina Lombard’s Antoinette to Rebecca Hall’s.

The Scarlet Pimpernel (1982) I’m pretty sure this is where Jane Seymour and Anthony Andrews made me bi and SIR IAN MCKELLEN HOW DO YOU DO?

Perfume: The Story of a Murderer (2006) HOW DO YOU FILM SMELLS? LIKE THIS. MY GOD. (Also please read the book.)

Dracula (1992) I mean, the cast swings between pretty good and absolutely wooden, but from a literary standpoint this is one of the more faithful adaptations of Stoker’s novel out there–though this movie is by no means The Best Anyone Could Do. There’s a lot wrong with it. But then Coppola didn’t need to include the blue fire thing, but he did, and I appreciate that.

Mary Shelley’s Frankenstein (1994) is worth it for Robert de Niro, alone; and maybe a handful of really, really good shots. Otherwise there’s too much Helena Bonham-Carter and also Ken Branagh just recently hauled himself onto my shitlist but GOOD NEWS the character of Victor Frankenstein was always an annoying fucko and that’s canon, so feel free to hate him throughout, anyhow.

The Tenant of Wildfell Hall (1996) Does not get enough love. A good antidote to Jane Eyre and Wuthering Heights for anyone who sat there thinking Rochester and Heathcliff were BIG PILES OF RED FLAGS. Wildfell is a cautionary tale, but actually ends reasonably happily (and more believably happily, IMO, than Jane Eyre.)

The Secret Garden (1993) Pure nostalgia for this one, excellent casting, and the same director as Washington Square.

Ivanhoe (1982) Sam Neill has no business making a villain that compelling. (I know, I know, Bois-Gilbert’s characterization is softened a lot in this adaptation.) And this time I’m bi for Neill and Olivia Hussey. Sorry, Anthony Andrews, you drop to second-slot in this love-fest. Also Rowena ruins everything but that’s canon, so what can you do?

Maurice (1987) Who doesn’t love a fluffy gay gamekeeper?

Cousin Bette (1998) Changes stuff from the book, and on the whole the story can be a bit rocky, especially in the second half or so, but it’s worth seeing for Jessica Lange, alone, I think, as well as some broadly comic notes from side-characters in Hugh Laurie and Bob Hoskins.

Possession (2002) Ignore Gwyneth Paltrow as best you can and otherwise enjoy the literary mystery unfolding in between some amazing flashbacks. Most of the good actors are crammed into the flashback bits, but at least there’s some snarky Tom Hollander and dastardly-but-personally-I-think-he’s-in-love-with-Roland Toby Stephens in the modern-day sections to give us some fun.

Twelfth Night (1996) Again, ignoring Helena Bonham-Carter, this one’s got a lot going for it. Trevor Nunn directing, Toby Stephens managing to be damn fine and somehow I don’t entirely mind that Orsino’s kind of a douchebag, Imogen Stubbs being cute as fuck, and stellar supporting actors.

The Inheritance (1997) Look, this is a little-known Louisa May Alcott thing, and I’ll be honest, it’s not Groundbreaking Television. As far as direction and score and acting and script goes, there is no danger of anyone ever losing sight of the fact that it’s a made-for-TV-movie from 1997 and Meredith Baxter was probably the biggest name they could get for it at the time. Anyway, there’s a reason I own it, and that reason is that watching it is the equivalent of a big mug of hot chocolate after a terrible day. It is pretty and sweet and funny and the villains and heroes are clearly marked from the moment they appear on-screen, and is it perhaps a bit too sweet? Yes. Embrace the sugar-shock.Titus (1999) Goes on a little long, perhaps, but you can’t look away. Anthony Hopkins and Jessica Lange go toe to toe and it’s a thing of horrific beauty. Shhh don’t question the batshit bloodbath, just let Julie Taymor do her thing.

Enchanted April (1991) Run away to Italy with your girlfriends. Just do it.

The Princess Diaries (2001) A modern masterpiece. GET OFF THE GRASS.

Bleak House (2005) Oh my God, this cast??? Is so magnificent?

Persepolis (2007) One of those films that are so good you need to lie down afterwards. Again, please also read the graphic novels.

Any Agatha Christie adaptation, ever–I am HERE FOR IT.

I know I’m forgetting one I thought of earlier, but oh well.