#art films arent film bro movies!!! | Explore Tumblr Posts and Blogs

sodrippy · 4 years

Text

thank you @ecthelions for knowing me so well to tag me in this fdhcnhdcxn

your name and then what you would have named yourself: well i have a name and i chose val instead so fhdsjcxn

astrological sign (sun/moon/rising if you know them): scorp/sag/cap babey idk what that means except im sexy bc im a scorp

when did you join tumblr and why?: oh man uh when was year 9...2010? my mate who i probably had a crush on got one i think

top 5 fandoms: no<3

top 5 favorite films: i cant pick favourites bc i have adhd but some filmes i love are like. train to busan bc its the last movie i watched, into the spiderverse, the godfather pt i (shut UP i already know), spy kids 2 (unironic) and. the green knight when it comes out.

go to song when you wanna Feel something: what am i tryna Feel though. stream lay’s discography.

what’s your religion or faith if you have one?: bro i am jus. just sitting here.

a song that makes you feel seen: i never know what this question means but seriously stream lay’s discog

if you could have any career: i was supposed to have this anyway but genuinely i love film i wanna work on sets bc its just the right kind of brainrot for me<3 or sailor

do you have a type?: probably aye

what does your heart/soul yearn for: my wife, the ocean. also new tattoos

if you had to describe yourself in 5 words to someone who doesn’t know you: sexy, stupid, funny as fuck<3

favorite subjects in school: history and (cringe) legal studies

where does your soul feel most at home: in the sun or on the highway

top 5 fictional characters: jiang cheng, entire concept of the nie sect, i literally cant make my brain switch settings out of mdzs but i want to diversify so the other 3 are from the VOU (my and ellians ocs), lem, kai- WAIT SOKKA and sokka, king

top 3 moments in a show that made you ugly cry: sorry im edgy i dont cry but there were some moments in the untamed for sure. i cant remember which ones anymore but there were some. also in train to busan (not a show, i know) when the baseball teen died and the beefy guy sacrificed himself

the earth, the sun, the moon or the stars: sun babey

favorite kind of weather: BLUE skies, big sunny, 27C, gentle breeze

top 3 characters you kin with: jiang cheng...zuko when i was 10. i dont know. who else exists anymore.

favorite medium of art: oil paintings and every piece of digital art of my fave characters

introvert/extrovert/ambivert: idk i love my friends and being alone

a favorite literary quote: like from a book...bro i havent read anything in a year. this definitely doesnt count but i read it in spqr even though thats not where its from but whatever, the tacitus quote thats like ‘they make desolation and call it peace’

some of your favorite books: yall read the messenger by markus zusak? i thought it was good. i really do not read books fjdnxm

if you could live anywhere in the world where would it be?: new york but in a stupid bougie high rise apartment, i dont care what you think about that its sexy. or just a fuckoff nice house right on the beach somewhere in the mediterreanean

if you could live in any time in history when would it be?: ok first off id need to be a cis dude AND be mindwiped about the existence of sanitation but after that any pre british imperialism time for the culture. wait no i want to live like those sicilians in the godfather, just sitting on a chair outside a building in the sun all day until al pacino is like ‘hey man whats up’ and i die or something. fun

if you could play any instrument masterfully it would be: drums babey!! oh to be coordinated 😔

if you have one, what mythological god or goddess do you feel a connection to: yeah nah

and lastly, favorite recent selfie in your camera roll:

these arent super recent but i miss my burple hair 🥺💜

im gonna tag uhhh @weiwuxianisms @lesbianjiangcheng @wuxianphobic @adamsveins and anyone else who wants to do thisss

#tumblr will not let me review this on my laptop so i hope all of this is coherent god bless<3

10 notes · View notes

oscar-isaacs-number-one-bitch · 6 years

Photo

“The Lego Movie 2: The Second Part” Movie Review

Back on Oscar nomination day in 2014, the Academy of Motion Picture Arts and Sciences announced the 5 nominees for the Best Animated Feature of the year, and while that list included some crowd favorites like Big Hero 6 and more mature blockbusters like How to Train Your Dragon 2, the largest story that day wasn’t about any of the nominations, but one film that was left out of them. Most pundits and basically any critic who had seen the brilliantly creative, immensely funny, and more-emotionally-affecting-than-it-had-any-right-to-be Lego Movie had it pegged as not only a surefire nominee, but surefire winner of that award, and our jaws were left hanging on the floor at the lack of its mention during the announcement.

Despite that though, The Lego Movie went on to be an animated hit in the homes of people all across the world, two mildly-to-wildly successful spinoffs were launched to critical praise, and the studio immediately began plans for a sequel, with directors Phil Lord & Chris Miller not returning to the project as they were already booked to direct the Solo movie for Lucasfilm (which they were fired from, and then they moved on to Into the Spider-Verse and we all saw how that shook out). Thus, we have The Lego Movie 2: The Second Part, which finds Emmet and the rest of the Lego people 5 years removed from the ending of that first film. Bricksburg has been ravaged and destroyed by the toys of DuPlon, and our heroes now live in Apocalypseburg. But when some of the residents are captured by a mysterious new character from the Sistar system, Emmet must embark on a daring new mission to rescue his friends and prove that he truly is The Special.

I’ve made it no small secret that I love The Lego Movie and thoroughly enjoyed Lego Batman. Lego Ninjago was…fine for me, but I mostly chalked that up to it being very much tied into the popular children’s Ninjago series, which I hadn’t watched. With the direct sequel to the film that birthed them all being not only released but also set 5 years after the original, I was curious to see if the team at Warner Bros. would be able to pull off the same magnificent feat they did in 2014, especially without the direction of Lord & Miller. And, for the most part, they almost do. Much like How to Train Your Dragon 3, I thought Lego Movie 2 was pretty good – just not as good as those initial outings. While there are certainly moments of levity and plenty of jokes from a script by Lord & Miller, something did feel missing in its direction and pacing.

For a start, there are too many musical numbers in this movie. That may seem like a strange thing to say about a Lego movie, especially as a critique to start with over something more significant, but that’s exactly my point. It doesn’t make much sense until one realizes that the studio fell so in love with what worked in the original that they just decided to do that again – but a lot more. Sure, the original film this one is following had an iconic original theme song, and even Lego Batman dabbled a bit in the introduction, but Lego movies are not musicals. Even Tiffany Haddish (who can’t sing very well, as we find out) gets no less than two numbers essentially all to herself, and basically all of them take place in the second act. This not only overcrowds the movie as a whole, but the second act is simply too repetitive. On a story level, that means there’s less time devoted to moving it along rather than just using the same jokes for a little while longer than necessary. They’re not bad jokes, and some of them are actually quite funny, but that zippiness that was so profound in the original film is missing here, giving way to a slightly more elementary-style humor, which follows, considering the director they found to replace Lord & Miller is Mike Mitchell, director of Trolls.

Not only is the second act overly repetitive and reliant on the same jokes, the newer characters added to the franchise aren’t exactly super memorable. None of them leave the lasting impact that a character like a Lego Batman did on the first movie, and there are basically zero interesting cameos throughout (save for one that actually does turn into a pretty hilarious real-world reference joke during the third act). General Mayhem seems to be the stand-in for the Batman character this time around, but apart from capturing the main heroes and transporting them to the Sistar system, there’s really not much else to her until the final couple of minutes and she doesn’t help craft other characters’ development like Batman did for Lucy. In addition to this, the villain this time around (whose name I’m not even going to attempt to type since I’m writing this at almost 2:00 in the morning) might be a more intimidating presence than Lord Business, but she’s not exactly as or more compelling.

One of the things that made Lord Business compelling was his tie-in to the real world that informed the surprise reveal at the end of the original Lego Movie, but while the added-on real-world element to this entry in the series presents a beautiful intent with its message, the actual Lego sections don’t handle telling that message quite as clearly as the first one did its central themes, which makes understanding the villain character in The Second Part more difficult than it honestly should be. Most of the supporting cast that are introduced in this movie aren’t very memorable, which doesn’t bode well for a franchise plan. Even though the Rex Dangervest storyline does go to some pretty ambitious places, he remains sort of a watered-down version of what he’s probably meant to be, and a lot of that is wrapped up in his very convoluted storyline.

Even the animation seems to have taken a bit of a hit; in the original movie, it was made fairly obvious that everything was made of legos, and that was a super cool and innovative way to create an animated movie, but when this sequel gets busy in the Sistar system or with characters not from the Lego world, it becomes difficult to get very invested in the animation, as it no longer carries that particularly unique look. If we’re going to continue to get Lego movies in this vein for a while, spending more time outside of the Lego world than in it is a bad idea. Legos are fun! Spending time in the Lego world should take up the majority of a movie in this franchise, not a minority.

There is a fair amount to like about this movie though; pretty much all the original characters carry the same weight and charm they have since 5 years ago, and the story and themes this movie presents in conjunction with the last one are actually very sweet. Some of the music is actually quite catchy as well, and The Lonely Island come back again with a stellar closing credits sequence. While the direction could have used quite a bit of work, the script by Lord & Miller does what it can to keep the franchise fresh and new, and if nothing else, most of the jokes are funny on first arrival.

It may sound like I’m knocking on this movie too much, but much like How to Train Your Dragon 3 (the superior film between these two, if you’re wondering), I did enjoy it – I just find it to be a bit disappointing as a sequel. That’s the tough part about being a film critic; if you’re reviewing a sequel, talking about the stuff that worked again isn’t nearly interesting as what doesn’t work as well this time around or what works better because that sticks out more, which can make it sound like that’s all you think of the film. With Lego Movie 2, that means telling you that while what worked last time mostly works again this time, there are a few spots that don’t work as well, and that’s okay, if a little bit of a bummer.

“I’m giving The Lego Movie 2: The Second Part” a 7.6/10

6 notes · View notes

engoulevent · 8 years

Text

long annoying reflexion ahead

sometimes i wish i were more into animation i mean i watch animated movies from time to time, a few cartoons (even though i REALLY have to catch up on a couple of them), and overall think animation is really cool, but i see many ppl online who want to work in this field and are Very interested in it, i mean who blog about cartoons all the time, whose main interests are cartoons and anime and stuff.... and i feel like maybe i wont be accepted in schools or wont be very successful bc im not THAT into cartoons compared to some ppl? ive had phases when i was obsessed w one or a few of them but recently, not really. but then i think.. its important to be interested in other things too and an art cant really evolve if all the ppl involved in it are only inspired by this art, you feel me? i love animation bc its like, a mix of two things i like, which are drawing/comics (kinda) and movies/tv shows, basically. and i want animation to be like.. as great as live action stuff. i really want to create animated movies or tv shows w really good plotlines and amazing diverse characters and that are as good as things that arent animated - even though some things are, but since a lot of animated stuff is for kids, lots of creators tend to think kids are stupid and do mediocre stuff. of course lots of animated movies and cartoons are amazing but, yeah. i think.. its important to have lots of different influences - and ive seen other ppl say that...im thinking about someone in my book about pixar mostly. but im also thinking about other art forms like the coen bros whove been really inspired by some writers and books even though they dont write books, but make movies... and thats what make their movies great (i havent seen all of them, far from it, but yknow), like, their scenarios and what happened in their movies are very close to books. so yeah, i think.. i shouldnt worry about it cos.. animation will never get better if all the ppl working in it are just influenced only by cartoons, anime, and animated movies - even though they ARE a great source of inspiration, there are so many different animated films and tv shows out there, but its also important to be inspired by like... comics, novels, live action films, live action tv shows, music, paintings, video games (even though many of these ppl online who are super into animation are also into video games, and im.. not really), and whatnot.

3 notes · View notes

viralhottopics · 7 years

Text

An incomplete list of Hollywood’s favorite excuses for whitewashing and why they’re nonsense

Scarlett Johansson in Ghost in the Shell

Image: paramount

Between Iron Fist, Ghost in the Shell and that first Death Note trailer, it’s been a banner month for racially insensitive casting.

But while the problem may be getting extra attention right now, it’s not new and it doesn’t seem to be going away anytime soon, either. In fact, with each passing controversy, the excuses have just started to sound more and more familiar.

SEE ALSO: Netflix’s ‘Death Note’ teaser trailer opens the book on horror and destruction

Hollywood’s racial bias comes in many forms. Sometimes it’s “whitewashing” casting a white actor to play a character who was originally conceived of as non-white, like the Major in Ghost in the Shell or Light in Death Note. (John Oliver has an excellent primer on the industry’s long history of whitewashing here.)

Other times, it might be favoring a white lead character in a narrative that borrows problematically from non-white cultures like positioning Iron Fist‘s Danny Rand and Doctor Strange‘s Stephen Strange as the ultimate practitioners of mystical martial arts that they learned in made-up Asian countries.

Perhaps most insidiously, it can also mean simply overlooking POC talent, and defaulting to white characters and white actors time and time again, even when there’s no narrative reason to do so. We adore Tim Burton and the Coens as much as the next person, for example, but it’s hard to deny that their films tend to be pretty homogenous.

(And we’re just talking about casting here, though the data shows that there’s racial inequality in basically all areas, at basically all levels of the industry. More on that here.)

Image: giphy

If there’s a bright side to these seemingly endless controversies, it’s that they’re making headlines moviegoers seem less and less willing to let this kind of prejudice slide. Even as journalists and audiences have become more critical, though, too many stars and filmmakers seem to be stuck pushing the same old defenses.

So in the interest of saving everyone some time, we’ve compiled some of Hollywood’s favorite excuses for favoring white people in casting and some thoughts on why each one falls apart.

Actually, this is a really diverse cast.

Eddie Redmayne and Katherine Waterston in Fantastic Beasts and Where to Find Them

Image: Warner Bros.

Recently used by: J.K. Rowling, who insisted, “Everyone in Fantastic Beasts is not white.”

Also used by: Steven Paul (Ghost in the Shell), Joe Wright (Pan), Ridley Scott (Exodus: Gods and Kings), Finn Jones (Iron Fist).

Why it’s nonsense: This excuse might hold up if it were actually true in any meaningful sense if, in fact, the real problem was that detractors were just woefully misinformed about the makeup of the cast and/or the significance of their roles.

But very often, the “diverse” cast members turn out to be supporting players or even extras, while white stars get the meaty leading roles. Yes, it’s nice that America’s wizarding community has a black female leader in Fantastic Beasts, or that Tiger Lily’s tribe is a racially diverse bunch in Pan. It’s just too bad they get fuck-all to do compared to the white leads.

Even in Iron Fist, which is a bit more evenhanded than some of these other examples, there’s no question of whose story gets top priority and it’s not Claire Temple’s or Colleen Wing’s.

This argument, then, turns out to be disingenuous. It makes no distinction between a high-profile hero and a half-baked love interest, a one-off guest star, or a non-speaking extra.

This is a universal story.

Russell Crowe in Noah

Image: paramount

Recently used by: Producer Ari Handel, explaining why Darren Aronofsky’s Noah was about a bunch of white people. “From the beginning, we were concerned about casting, the issue of race,” he stressed, before going ahead to put his foot in his mouth:

What we realized is that this story is functioning at the level of myth, and as a mythical story, the race of the individuals doesnt matter. Theyre supposed to be stand-ins for all people. Either you end up with a Bennetton ad or the crew of the Starship Enterprise. You either try to put everything in there, which just calls attention to it, or you just say, Lets make that not a factor, because were trying to deal with everyman.

Also used by: Lilly Wachowski (Cloud Atlas).

Why it’s nonsense: Leaving aside that it’d actually be really nice to see a cast diverse enough to make up a Benetton ad, why should “everyman” default to white? (We can’t know the ins and outs of casting for Noah, but Handel makes no indication that they ever seriously considered the possibility of, say, an all-Middle Eastern cast.) The assumption here seems to be that only people of color have race, while white serves as a totally neutral default.

Cloud Atlas and Noah might think they’re beyond race somehow, because they’re concerned with lofty ideas but they’re still movies made by and for people who live in this world, with all of our weird racial hangups and troubling cultural contexts.

We wanted to avoid stereotypes.

Tilda Swinton in Doctor Strange.

Image: marvel/disney

Recently used by: Doctor Strange director Scott Derrickson, who in trying to avoid one controversy face-planted straight into another. It was a challenge from the beginning that I knew I was facing with both Wong and the Ancient One being pretty bad racial stereotypes1960s versions of what Western white people thought Asians were like,” he said. “We werent going to have the Ancient One as the Fu Manchu magical Asian on the hill being the mentor to the white hero. I knew that we had a long way to go to get away from that stereotype and clich.

Also used by: Johnny Depp (The Lone Ranger).

Why it’s nonsense: Avoiding stereotypes is a good goal to start with, but casting a white person to play the part of a person of color doesn’t fix that problem. It just creates a different one. The better approach in scenarios like these would be to subvert the stereotype, maybe by using the character to comment on it or simply by fleshing them out so much that they’re not a flat, two-dimensional archetype any more. Or, better yet, start by asking yourself it’s even worth resurrecting such an outdated and possibly racist property in the first place.

But we hired a woman.

Scarlett Johansson in Ghost in the Shell

Image: paramount

Recently used by: Ghost in the Shell star Scarlett Johansson, who used Hollywood’s woman problem to deflect a question about Hollywood’s race problem. “I certainly would never presume to play another race of a person. Diversity is important in Hollywood, and I would never want to feel like I was playing a character that was offensive.”

However, she continued, “having a franchise with a female protagonist driving it is such a rare opportunity. Certainly, I feel the enormous pressure of that the weight of such a big property on my shoulders.”

Also used by: Tilda Swinton and Kevin Feige (Doctor Strange).

Why it’s nonsense: We’re all for seeing more and better female roles, but gender and race aren’t somehow equivalent or interchangeable. Bringing in a white lady doesn’t magically make up for erasing a person of color. Plus, this line of argument conveniently forgets that women of color exist. Ghost in the Shell wouldn’t have been any less female-led if its star had been an Asian or Asian-American woman.

We hired the best person for the job.

Characters voiced by Charlize Theron, Art Parkinson and Matthew McConaughey in Kubo and the Two Strings

Image: Moviestore/REX/Shutterstock

Recently used by: Director Travis Knight, addressing why his Japan-set fantasy Kubo and the Two Strings has a mostly-white voice cast. Ultimately, what matters most for us is the ability for an actor to convey the nuance and the emotional truth of the role using the only tool that they have at their disposal, which is their voice, he said. “There are very few actors in the world that can do that. There are a lot of great actors that cant do that.

Also used by: Tina Fey (Whiskey Tango Foxtrot), Scott Buck (Iron Fist), Rupert Sanders (Ghost in the Shell).

Why it’s nonsense: “Hiring the best person for the job” sounds all good and fair in theory. But “best” is a subjective measure, and the specific criteria are set by the filmmakers. If they believe the “best” person for a non-white role is a white person, it means the filmmakers decided that racially sensitive casting wasn’t something they felt they needed to address.

(Keep in mind, too, that “best” can encompass all sorts of qualities that have little to do with the actual quality of an actor’s work, like how famous they are or what their public image is. It’s not as if the casting process exists in some artistically pure plane before race is factored in.)

Furthermore, there are plenty of films that seem to fare just fine with racially appropriate casts. Kubo itself was shown up a few weeks later by Moana, which went out of its way to find stars of Polynesian descent and was rewarded with praise in addition to all its of excellent reviews and truckloads of money.

Non-white stars arent bankable.

Joel Edgerton, Sigourney Weaver, John Turturro and Christian Bale in Exodus: Gods and Kings

Image: Fox/Scott Free

Recently used by: Ridley Scott, who blamed the business for making his Egypt look so white in Exodus: Gods and Kings. “I cant mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such,” he said. “Im just not going to get it financed. So the question doesnt even come up.”

Also used by: Dana Brunetti (21).

Why it’s nonsense: This argument sounds kiiinda pragmatic until you start to break it down. Sure, Exodus star Christian Bale is world famous. But is Joel Edgerton’s international fanbase really that big? Is 21 star Jim Sturgess’? And why are the options here “white A-lister” or “nameless nobody”? Non-white stars exist some of them even starred in Scott’s next movie, The Martian.

This rationale also conveniently forgets that Hollywood doesn’t just employ stars it creates them. Indeed, Sturgess himself was just a scrappy up-and-comer when he landed 21, which would turn out to be one of his first big breakthroughs. Brunetti could’ve used this opportunity to boost an Asian-American actor; he just chose not to.

And yes, while conventional wisdom might state that only white-led movies do well overseas, the conventional wisdom in this case is wrong.

Why would we need non-white people in this?

Ella Purnell, Asa Butterfield, Eva Green and more in Miss Peregrine’s Home for Peculiar Children

Image: fox

Recently used by: Tim Burton, justifying the lily-whiteness of Miss Peregrines Home for Peculiar Children. “[T]hings either call for things, or they dont. I remember back when I was a child watching The Brady Bunch and they started to get all politically correct. Like, OK, lets have an Asian child and a black,” he said.

“I used to get more offended by that than just … I grew up watching blaxploitation movies, right? And I said, thats great. I didnt go like, O.K., there should be more white people in these movies.”

Also used by: Joel and Ethan Coen (Hail, Caesar!).

Why it’s nonsense: Once again, this argument only makes sense if you assume that white stories and white characters are the default, whereas non-white stories and non-white characters have to be specifically “called for.”

This, by the way, is how you end up with stereotypes: by presuming that, say, a Latino character should only exist if there’s something “Latino” about the story.

And never mind that the blaxploitation genre, which Burton cites in his own defense, was created specifically because black people weren’t being represented in “mainstream” (i.e., white) movies.

This character is supposed to be (or look) white.

Matt Damon in The Great Wall

Image: Universal

Recently used by: Matt Damon (The Great Wall). I didn’t take a role away from a Chinese actor … it wasn’t altered because of me in any way,” Damon said, adding that he hopes criticism of the film will die down once people see that its a monster movie and its a historical fantasy.

Also used by: Cameron Crowe (Aloha), Ben Palmer (Urban Myths)

Why it’s nonsense: Of course you can have white characters in a story full of non-white people. Of course some non-white people can pass for white. But that doesn’t mean it makes sense to cast a white person as the star of a story about a person or a culture of a different background.

The reason it’s frustrating to see Damon in The Great Wall or Emma Stone in Aloha or Joseph Fiennes in Urban Myths is that it’s hard enough for an actor of color to snag a meaty role without getting shut out of stories that borrow from their culture or revolve around people of their heritage.

In short, as Hollywood continues to drag its feet on casting actors of color, their arguments are only wearing thinner. The only real fix is for this industry to become more inclusive.

That might mean reinventing an old property by bringing in a Native-American lead. Or launching the next big movie star from the pool of overlooked Latino actors. It might even mean gasp! hiring an actual Asian person to play an Asian person.

What it definitely doesn’t mean is returning to the same old excuses for keeping out people of color. We’ve heard it all already, Hollywood. It’s time to write a new story.

WATCH: Viola Davis is the first black woman to win an Emmy, Tony, and now, an Oscar for acting