#benedict cumberbatch is utter perfection

[thehiddenlawyer]

My sexual orientation right now is stocky Benedict Cumberbatch.

First of three finals today and I have a request!

Help me Cumbercollective, you’re my only hope! For reasons that I doubt I need to explain, I have a great need for more pictures of a more....solid BC. Especially the first one in the black suit because I can’t tell what the event is and his hair and his body........I need more Go ahead darlins, make my day.

[darkkitty1208]

Am I the only one who can't get enough of the portrayal of Sinister Strange? Whenever I'm looking at gifs I want to scream how perfect every minuscule mimic is. (And I could look at them for hours and I wouldn't be bored) The way his eyebrows move, and his eyes speak so much without words. We are truly fortunate to live in the time of Benedict Cumberbatch qwq

Oh god, anon. You get me so well. Sinny's appearance was one of the (*cough* *cough* only) best things that happened in the movie. And the mention of Donna? Absolute. Perfection. And Benedict definitely has a flair for microexpressions, which is why he nailed the character. The somber voice he had the moment he showed up was just... god, the feels. Despite loving every version of Stephen there is, Sinister comes as my second favourite Stephen variant (the first being What If!Stephen, I love myself some pathetic little boys).

It's a shame he died just as soon as he had appeared... though every variant seems to end up like that. I'm rather disappointed Stephen's variants were all killed instead of being incorporated to progress the plot further. Would've been more of a 'Doctor Strange' movie if that happened. Well, maybe they did try to make his variants seem important for the plot, but they literally got rid of them once done. (Hell, even Supreme was dead before the whole story happened)

But nevertheless... let me indulge us in some Sinister headcanons ;) I'm holding on to the little vague details we had of these Stephens, especially Sinny's, so... I made assumptions. Everything's under the cut.

Sinister had become accustomed to the sanctum's silence ever since... everything happened, really. The sanctum had always had a discreet thrumming of magic, and now that it was gone he couldn't help but be very aware of it. Which is why he's sensitive to every sound.

Sometimes, when he hears something, anything, he hoped in that moment that he wasn't truly alone. Or maybe when he saw a flicker of a shadow, a silhouette, a slight movement, he hoped he wasn't the only one left. But that was just wishful thinking.

It was never mentioned what happened to his cloak so I assumed it must have been either teared apart or lost its sentience or something.

Sometimes his tattered cloak would move (because of wind or whatever) and he would let himself believe for a second that it actually came back alive, that it hadn't died or gone away like everything did, but that glimmer of hope dissipated when it didn't respond to him when he called.

He didn't have much to do in his now-destroyed reality, but sometimes he liked to indulge himself by playing his harp. Music was one of the only good things that remained in his life reality.

There was no other person or being or anything living in his world anymore, so sometimes he talked to the cloak as if it were alive. He had always done this before the incursion, but the cloak was still sentient at the time, and the memory of it had always made him pause mid-way through his 'conversation' with it.

It's canon that his immense self-hate was what drove him to hate every version of himself, so he made sure that every version of him across the multiverse would die by using the darkhold to sleepwalk into his variants and driving them to suicide. He thought of it as 'mercy' from life, so he probably looked forward to dying himself (but not until he made sure he put other Stephens out of pain).

With that in mind, he was torn between anger and utter relief the moment he reached his death, anger that he hasn't finished his 'task' and relief that the pain would finally stop.

Sleep was always a difficult thing to achieve. He had ignored it the first few days, even if the bone-deep fatigue was present. One time he was too emotionally and/or physically exhausted that he might've just collapsed then and there. But that just led to more nightmares.

He had nightmares even before the whole... mess, but this time it was worse with the guilt of everything.

He never slept much after that.

These headcanons aren't much but I hope it was painful, because it was for me.

[paraparker-blog]

london boy - t.h.

but something happened, i heard him laughing, i saw the dimples first and then i heard the accent ...

-based off of taylor swift’s ‘london boy’! listen to it while you read :) -warnings: lil language, small sexual refernces, and FLUFF oh my gawd

-

You looked around at your surroundings in awe. Trains bustled, people ran about, chattering in their accented voices, fancy buildings towering over you. It was all so much- maybe even too much. However, that didn't stop you from digging a small notebook out of the crossbody purse slung across your shoulders.

You began walking again, scribbling enthusiastically about all the sights around you. You had grown up in a tiny town; a rural area. You were a quiet, shy, introverted kind of girl. Basically, you weren't used to this kinda thing at all. You were a small-town girl living in a lonely world, never been to New York, Los Angeles, Chicago- etc. But then, here you were, moved to Kingston, London, which was huge.

An elbow bumped into your journal, causing you to mess up your (already messy) records. "Hey," you said sharply, looking up and glaring at the culprit. You'd been bumped already six times today, and you were not having it. "Could you please watch out?"

However, no sooner when the words had escaped your mouth did you regret it. Because underneath that black baseball cap tugged halfway down his face and the black sunglasses framing his eyes, you recognized that face. That was most definitely the face of Tom Holland, Spider-Man actor and hottest British boy alive. Ho-oo-ly shit!

Obviously, acting the typical nerdy, shy, introverted person you were, of course you were also a big geek. A geek of Marvel was at the top of the list, and a geek of Tom Holland at that. Standing in front of him, right then, right here, was so surreal you just couldn't help it when the pen fell out of your hand and you started to say his name.

Tom grabbed your hand and pulled you along quickly, away from the crowd. You couldn't even get yourself to pull away or consider the possibility he could be a serial killer, just focusing on the fact that holy-crap-Tom-Holland-actor-of-Spider-Man-hottest-man-alive was holding your hand. He led you to an alley before finally letting go.

"I'm so sorry," he apologized quickly. Inwardly, you swooned at that rich, deep accented voice of his. "It's just I needed a day off around the town, and nobody's seen me yet. I needed to stay undercover."

"Oh," you muttered, a light blush tinting your cheeks. "Oh, I'm sorry."

"'S no problem, love." He watched you as you hurriedly stuffed the journal back into your bag. He couldn't help thinking you were very pretty, as he watched you huff, blowing a piece of stray hair that had fallen into your eyes, your s/c skin gleaming in the weak light outside, your eyes sparkling and bright. And you were wearing a Midtown School of Science and Technology hoodie.

He couldn't help but grin. "So," he said as you straightened up. "Spider-Man fan, are you, then?" He nodded to your top.

You looked down at it and flushed. The one day you had chosen to dress lazy and wear your nerdy-ass hoodie... but you weren't about to act embarrassed in front of him. "Yeah," you answered haughtily. "I'm a really big fan! I love Marvel." You hoped you didn't sound like a dork.

Tom found it adorable. He laughed, a light, happy sound. "Cool. Hey, weird question. I know we just met, but, uh, can I have your number?"

Can you?! you thought. But instead, suppressing a squeal, you said calmly, "yeah, okay." How was this happening? And why? And why so fast?

You had so many questions, but curious looks were beginning to be thrown your way, and one girl had even stopped in the middle of the sidewalk, narrowing her eyes and craning her neck to get a better look at Tom. He turned his back on her quickly, before pulling a reciept out of his pocket and tearing a piece off.

"I'll just go ahead and give you mine, before the paparazzi come along." Tom said, writing his number neatly and legibly, the pen working fast. He clicked the pen, stuck it in his back pocket, and handed it to you. You took it, your fingers brushing his slightly, a buzz of electricity going through your fingers. He smiled at you. "I'll call you later, tonight, then? Maybe we can meet at Camden Market or something. See you around, love."

As soon as Tom left, you pressed the piece of precious paper to your chest, grinning like a lovestruck fool. You, Y/N M/N L/N were going on a date with Thomas freakin' Holland.

-

It had been about two months since you and Tom had first become an item. On the very first date, you both just clicked. Camden Market had been absolutely wonderful, and you and Tom had clicked at once. The awkwardness had melted once you heard him laughing, then you saw the dimples and the accent. Everything about the man was perfect, and you loved him for who he was. Not Spider-Man, but just a regular guy. (Not that he was 'regular' to you.)

That day, later, the sun had disappeared and the clouds arrived, raining hard upon you. You'd quickly grabbed your umbrella out of your tote, holding it above you and Tom's heads as you ran, Tom waving down a taxi. The two of you had tumbled into the car, giggling breathlessly, falling all over each other. The day had shown you a gray sky and a rainy cab ride, but it was the best gray sky and rainy cab ride you'd ever had.

The days you had ahead consisted of stereotypical London Boy things- rugby, hanging out with his best 'mates', high teas, West End shows, and it was all wonderful. You grew to enjoy the new things to do in London, and enjoyed it even more with Tom.

In the morning, Tom rolled over to face you. You were still asleep, sprawled out, bare body curled into the sheets from the night before. One of your hands were strewn across Tom's chest, nails slightly chipped from digging them into his back the night before. He chuckled and moved slightly, trying not disturb you, but of course you woke up anyways.

You opened your eyes. "Tommy?" you asked sleepily, voice dripping with morning love.

Tom pulled you closer and kissed your head tenderly. "G'morning, love. Sorry for waking you."

"'S no problem." You sighed, snuggling closer to him. "Jus' wanna cuddle you..."

"I have shooting in about two hours, baby," Tom told you regretfully. "Trust me, I want nothing more than to snuggle you all day." You nodded and watched Tom as he got up from the bed and went to your shared dresser, quietly pulling out an outfit. He turned to face you, giving you a smile as he slipped on a plain black tee. "You can go back to bed, Y/N. It's only six A.M."

"Don't wanna," you whined. "I just wanna be with you."

Tom raised an eyebrow teasingly, but the words made his heart skip a beat. "Do you really, now? I'm going to film a British movie. You into that? Because it might be kinda boring-"

"The British Office was good," you argued, energy filling you as you and Tom began your easy, familiar ritual of bantering. "And so were your movies! And Idris Elba's, and Benedict Cumberbatch's-"

"I get it. And for the record, the American Office was way better."

You rolled your eyes but felt your heart fill with love. You loved this boy- so much. Ever since the first time he'd ever uttered the phrase, "darling, I fancy you," you knew you had fallen deep into a hole you'd never get back out of, which was perfectly all right by you.

After all, he was your London Boy.

✨✨

(a/n: hi so yesyesyes this is very very bad, i know! i felt compelled to get it done sooner, since i've basically been promising EVERYBODY that i'd get this published soon, for like two weeks now? also, i feel as if i overused the phrase london boy lmao, it was in here a ridiculous amount of times. it IS my first imagine on here and i'm hoping to get more into writing more but, y’know... school. i hope you enjoyed 💞)

[jimmoriartyistyping]

First pic from Louis Wain starring Benedict Cumberbatch and Claire Foy.

You know it's a good Internet day when not only is there a pic of the new Benedict Cumberbatch project, but some utter genius immediately memes it to perfection.

[doctorofmagic]

I saw you mentioning the mcu. What are your thoughts on Doctor Strange movie? Do you think it's a good adaptation?

Greetings and thanks for asking!...

*breath in*

Boy. I need to apologize in advance because this answer will feel like an essay and for that I’m very sorry.

In short, I absolutely ADORE Doctor Strange. The first reason for that is Benedict Cumberbatch. He was born to play Stephen, not to mention that I love his work. Finally, he was very dedicated to know the character, reading lots of comic books. I couldn’t be more pleased about this cast (plus Tilda AND Mads? I couldn’t even ask for more).

Second, because Scott Derrickson is a fan. I’m certain he re-read most of Stephen’s chronology at least five times because he came up with some fantastic ideas and underground references that, honestly, I’m still amazed.

The cast? Such beautiful diversity. Besides the whitewashing issue with Tilda, I find the idea of a female Ancient One incredible. Wong is not poorly portrayed as an asian servant but a powerful sorcerer and guardian of one of the three sanctums (and he deserves more love in this fandom). Mordo is played by a black actor, Chiwetel Ejiofor, which still opens the possibility for him to be Transylvanian and add a lawyer of diversity. At last, Christine, who is a mix of Night Nurse and Christine from the animated movie (oh yes, I got the references), is also an intelligent and strong character.

Character’s development? They have it all.

Many people are not pleased at Kaecilius. I find him a great character. Mostly because he was Mordo but deeper. He was deceived by Dormammu but not for power or glory like comic Mordo. He wanted to create a better world in his mind. His speech when he fought Stephen in the Sanctum was very touching I cried just like him the first time I watched the movie. There’s also a deleted scene where he talks about God and gosh, it would add so much for his development and profundity. In other words, he was way better than Mordo himself in comics.

And this is good for MCU Mordo because there’s room for him to explore another perspective. Instead of an empty villain, there’s room to develop another vision, which is portrayed for him in the form of extremism (and I’m so certain they will develop this matter in Doctor Strange 2). Not to mention that he follows almost the same original premise.

The Ancient One is also deeper because Yao usually is a perfect wise master. Though we can see a tiny piece of his younghood as a brat, he expands his mind until becomes one with the universe when he finally dies. He wanted to be killed by Stephen in order to achieve this goal. But MCU Ancient One? Flaws, flaws everywhere. She was afraid of dying and for that she misused magic and lost her disciples. Sorcerers are not perfect. Masters are not perfect. They’re human and for that they make mistakes just like everybody else.

Wong? From a grumpy man who once thought Stephen was also a brat to a man that trusted him and followed him as a partner and a friend. Also he finally laughed.

Christine? The most human character. She knew Stephen was toxic for her at first but she still cared about him. She helped him even when he was a total asshole but she never lost her convictions about him. And that’s why they didn’t end up together. They care for each other but they’ll never work out, which is fine when you have the maturity to admit that.

I won’t even talk about Stephen’s development because it’s beyond words.

Finally, the references.

So. Damn. Perfect. The first act came directly from comics. Stephen’s downfall didn’t keep him from uttering his egoic words, prejudice and skepticism.

I was expecting some important artifact such as the Book of Vishanti, but we’ve got the book of Cagliostro instead. Is it canon? It is. And guess what? It deals with TIME.

I mean, the writers were forced to work with the Time Stone. But this was not a problem for they found a canon book with this subject. How great is that? AaAaAAAAaaA

The Sanctum Sanctorum? Just perfect. It has the window with the Seal of Vishanti, it has all the artifacts, it has it all, especially the Cloak of Levitation. You know that time when Stephen is fighting Kaecilius and he just randomly grabs something but has no idea of its functions? It was the Evil Eye.

When Mordo trains Stephen in Kamar-Taj, he mentions lots of relics such as the Wand of Watoomb (which Wong uses later at the last stand), the Vaulting Boots of Valtorr and, most importantly, the Staff of The Living Tribunal. This all means entities are real in the MCU. Personally, I love Marvel’s entities and almost yelled in the movies. Dormammu is not quite an entity, but his name can be summoned as a source of magic, just like the Ancient One does.

Daniel Drumm was also a good reference and it’s okay he’s dead because he’s literally a ghost in comics. The real important character is his brother, Jericho Drumm, who can also appear in the next movie.

Kaecilius and his followers seemly became the Mindless Ones, which is a good origin story for these beings. After all, Dormammu protects the Dark Dimension from them, and following the movie narrative, they could seek revenge on him.

The Dark Dimension is simply perfect. Besides its name, it’s based on the 60′s vibes of the hippie movement. Basically, acid. And Scott Derrickson was loyal to its design.

The wi-fi password? Also a reference.

Spells were very subtle, although they became clear in Infinity War, such as Images of Ikonn and Crimson Bands of Cyttorak.

The only thing that I didn’t quite enjoy was the fact that the Eye of Agamotto was the Time Stone. I hope the artifact still works on its primary function because it’s such an important part of Stephen’s design. There’s no Doctor Strange without the Eye of Agamotto.

And the most important part: THE BARGAIN.

It’s just perfect. Stephen may be the most powerful sorcerer on Earth, but he’s definitely NOT the strongest being across the dimensions. Yet he always finds a way to defeat his enemies using his intellect. Dormammu’s design may be different, but I loved because those strips reflected on his old design when they represented fire with the very same strips.

Oh, the ending credits with Thor? One of the first Stephen’s team-ups was with Thor against Loki. In comics, Loki is way more powerful, but I loved how Stephen trapped him on an infinite looping lmao.

Am I forgetting something? Probably. It’s just… Too perfect. The movie is great. If you want to know the real Stephen, the movie will delivery this mission to you. It’s a tribute for old and new fans. We stan MCU Stephen Strange.

Thank you for dropping an ask, I hope you enjoyed this endless essay!

[thehiddenlawyer]

[douxreviews]

Parade's End - Series Review

"What I stand for is gone."

"But to live for. You have something to live for."

Without question, "Parade's End" is the best television miniseries I have seen in recent years. This five-part installment from 2012 is something as rare as a classic love triangle both expertly crafted and superbly acted, with a sentimental and optimistic ending which feels both earned and logical, while simultaneously addressing political questions, moral values and social class dimensions in such a way that it does not come off as shoehorned but rather as a vital element of the story.

The show is based on a series of World War I-era novels written by Ford Madox Ford. This review does not go into detail on all the storylines but nevertheless it does contain spoilers for the entire series.

The reason I came across this gem was me looking through the filmography of Adelaide Clemens. I was very impressed with her role as Tawney Talbot on the television show Rectify and I wanted to see more of her. Okay, so maybe I just thought she's one of the prettiest girls I've seen on screen over the last decade. Sue me. Anyway I wasn't disappointed.

The two other main characters of the drama are played by Benedict Cumberbatch (Sherlock, The Hollow Crown) and Rebecca Hall (The Prestige, Transcendence). We all know they're talented performers and every single one of the cast brought their A-game to this series.

This is a very beautiful show, a wonderfully filmed BBC costume drama at its finest. One nice touch is how it often establishes the time frame for a given scene with people reading period newspapers, such as the famous article of Kerensky vowing to continue the war against Germany. The dialog sometimes comes across as a bit stilted, but I believe it's more of a conscious choice than anything, lending a certain formal way to how the characters speak, and it's often supremely clever, packed with the trademark English dry humor. It wasn't exactly hard to find stunning screenshots for it.

The protagonist of the show is Christopher Tietjens, who is probably the most perplexing character of the series. The two ladies competing for his affection - in their own and vastly dissimilar ways - are his wife Sylvia and the young, idealistic and well-educated suffragette girl Valentine Wannop, who is quite a bit below them on the social ladder.

Christopher is an anachronism, and this is that which drives the entire plot of the story. It defines his problems, drives the action and points to the solution of the piece. He represents the old values of the bourgeoisie. It would then be easy to dismiss him as a mere reactionary but this absolutely misses the point. Christopher embodies an idealized version of the morals of the bourgeoisie during and after the French revolution, the values of the class at a time where it was still a revolutionary force. He's actually speaking out in favor of the women's vote at a tea party even before he meets Valentine.

As she notes, Christopher is living in a "glass cabinet" - he is championing a class, a system of values and a society which no longer exists, and perhaps never truly did, more resembling the role of the perfect feudal lord. He is a devotedly ascetic, old-school moral man believing in leading by example and protecting the rights of those under his charge. More than this, he is invested in what he refers to as the "parade" - the sanctity of marriage and keeping up appearances so as to not disgrace oneself or one's peers. In one of his most confusing yet significant ramblings, he tells Valentine how he's joining the war to "protect the 18th Century from the 20th". No, Valentine, I didn't quite get that either.

In contrast, Sylvia Tietjens is a monster. It would be rather boring if she was just a monster, but she isn't. She's a spectacular monster, played with incredible panache by Hall. Sylvia is representing the rotten bourgeoisie of the beginning of the 1900's, the laissez faire attitude - the vampires and exploiters of men to the point of virtual slavery, spitting at those beneath her. She is completely amoral and depraved, even seemingly taking pride in being so. She's the embodiment of the upper class as a cancer. In her most comical and recurring theme she consistently accuses Christopher of being "too perfect" such as that she comes off feeling inferior to him, yet her response is never truly to attempt to better herself, but rather to provoke him into striking back and lower himself to her level with increasingly outrageous behavior, being unapologetically unfaithful and scandalizing him at every turn. I would think there are very few actresses who could pull off a line like "you forgave, without mercy" in a way that makes herself out to be the victim.

Her weakness lies in how she gradually becomes absolutely obsessed with Christopher precisely because, after everything she does, she is still utterly unable to break him. In a ridiculous sense, Sylvia is in touch with her times and her social status - the predatory Capitalism, the subjugation of the colonies, the trampling of the working class under her iron heel and a life in shameless luxury - whereas Christopher is not. This is further indicated by the ire Christopher is drawing from his peers, precisely because of his devotion to his work, his utter inability to compromise his ideals and his brutal, acidic verbal beatdowns of other men in power who fail to respect or even be honest towards their subjects, leading him ultimately to be regarded as the most vile and debauched man in London due to slander from his enemies - an adulterer and a traitor to his country, none of it true. He can't even help doing his job well when it goes against his own interests, as evidenced by this brilliant piece of dialog between him and Valentine:

C- "The French were bleating about the devastation of bricks and mortar they've incurred by enemy action. I saw suddenly it was no more than one year's normal peacetime dilapidation spread over the whole country." A- "How wonderful!" C- "So the argument for French command of the Western Front gets kicked out of court for a season." A- "But weren't you arguing against your own convictions?" C- "Yes, of course. But Macmaster depends on me."

The third player, Valentine Wallop, is a symbol of the petty-bourgeois sympathizing with the plights of the proletariat amidst the increasing social contradictions of her age, which at this time and place were actually threatening her class with extinction. She's working for the vote for women and she's intensely pacifist. Her little brother, occupying a rather small role on the show, is a socialist and later a Bolshevik, writing her a postcard in Latin from the front, afraid it will get picked up by the censorship - "long live the October revolution!"

Where a lesser work would find this a golden opportunity to insert some synthetic plug against Communism, "Parade's End" significantly has Valentine exclaiming to her horrified mother, "well, it's enough to make anyone Bolshevik sending men and boys to murder each other in millions!" She is the least nuanced but most admirable of the three characters - outspoken, disrespectful of authority, perhaps a bit naïve and with a big heart.

This sets the stage for our drama - the love triangle between the moral traditionalist aristocrat, the corrupt would-be tyrant from his own class and the moral revolutionary commoner.

The conflict is symbolized by the Tietjens family tree at his grounds at Groby estate, where people from all walks of life have been hanging good luck charms for centuries. It is a symbol for tradition and the bond between the ruling class and its subjects. The tree's roots have grown too deep and wide and threaten to destabilize the very ground on which the estate is seated - another symbol for how the morals of times past have turned into obstacles for the needs of modern Capitalism - but in Sylvia's inimitable, shallow manner of thinking the main reason she wants to get rid of it is because it "darkens the view out the window". That, and out of spite for her husband, who dearly loves it and all it stands for - as he says, "young men and maidens have made their marriage vows under the Groby tree for longer than memory."

Her mother urges her to stay her hand and wait for her son to decide what to do with it once he is Lord of Groby but Sylvia bluntly states that his son will "grow up to be a Tietjens", so she won't even give him that choice. When she has the tree cut down with no sanction, that is the breaking point and the true conclusion of the triangle, in a single stroke showing Christopher that all the old values he lived for are dead.

In the end, Christopher chooses and chooses wisely. As his godfather told him on the field of battle, "well, there are no more parades for that regiment. It held out to the last man, but you were him", and as he himself says to Valentine, in a defining, game-changing piece of conversation: "My colours are in the mud. It's not a good thing to find oneself living by an outmoded code of conduct. People take you to be a fool. I'm coming round to their opinion."

The final shot of the series, with Christopher burning the last log of wood from the tree in the fireplace, dancing with Valentine at the post-war party with his fellow soldiers, is one of the most satisfying ends to any show I have ever seen.

It is good precisely because when I watched through this series for the first time, I fully expected Christopher to die in the finale, bleeding out in some ditch half-way to Belgium and setting up the standard tragic conclusion, as most of these great stories do - but this ending sends a powerful message. It is possible to change, and it is possible to find happiness even after you have let go of all your old baggage and sentiments. It is not a happy ending for the sake of it. It's a happy ending because ultimately that is what best serves the story.

There are of course many other characters in this drama - the timid, upstart Macmaster and his hypocrite mistress, Christopher's dad who commits suicide poisoned by false rumors about his son, the likable Irish priest most likely connected to the Irish Republican Army, executed on false charges of treason by Ulstermen, and Christopher's brother, who finally comes to understand him and take Valentine's side against his wife, and they are all well-crafted and well-played - but if I were to address them all, this would turn from an essay into a novel. You might as well go read the novels.

It's inspiring television. In one word, it's perfect.

Thomas Ijon Tichy

[jigensass]

2018, 2018, 2018

Guess I should probably let how my overall evaluation of this year as a whole. 

Well, it was long. Very long. Black Panther felt almost forever ago as well as every other movie I watched on the big screen including Crazy Rick Asians. 

Subjectively, I thought it was okay. Then again I did something big that a lot of people are hesitant to do. I deleted both my Twitter and Facebook accounts which gave me back some of my life. I felt less dead inside especially after a certain orange idiot came to my city and it made me very upset that people I liked at work were indeed the most stubborn assholes I have ever met. And facebook went before that because I was getting overwhelmed with all this nonsense coming through and such. Which was a part of this...journey that I don’t know where in the world I’m going. 

2017 was the year I decided to finally start this quest (I guess I’ll call it) to find myself after an ex of mine who mentally scarred me came back into my life and broke me right in front of my coworkers after what was already a very stressful week. I couldn’t take it and I started taking medication and I took some therapy sessions to find out what was going on and why I was feeling cramped in this imaginary world that my mind was making for me and come to find out, there were a lot of skeletons in the closet that I needed to burn. And that was for the 2nd time in my life I turned to meditation and Buddhism as my first stepping stone. 

This helped a lot to unravel and deal with daily problems as time went on, but it wasn’t enough. My boss in the six-seven months I have been hunkering down in her office has helped me and I have helped a lot of other people so much as to I am the multi-tool in everyone’s back pocket that they want to keep around. But that’s only at the forefront of my work ethic. I’ve always done my best with small tasks and keeping busy work ahead of me. Work is what kept me going because well, my social life was and continues to be utter garbage. 

As you probably know I could write my way out of a cave, but to talk my way out of a paper sack would be impossible. This reflects me as a person. Right now, I feel as if I’m that middleman in everyone’s lives that is used to find the better thing. I’m never the end goal. I’m always the support, never play of the game. Don’t get me wrong I love playing support because if you don’t have the cushion to the backbone in any situation, you’re pretty much fucked.  But with me, everyone sees that I can make POTGs, I can “be the hero”. So they let me, and I always get put in that middle way of ‘should I or should I not’. It’s stupid. Do I stay in my bubble or do I answer the call of duty? I’ve been put into those situations so many times without warning and then I get anxious and screw up! 

Right now, I decided to make this journey to descend to whateverthefuck is at the top of my mountain of life and I’m at like....maybe a third of the way there?  There’s definitely a clash somewhere between wanting to play support and people around me knowing the potential I have and want to throw me into the sun. And I have those days where people don’t want to do anything so I have to end up doing it, then people complain as to why I’m doing it.  Okay, enough ranting. Back to 2018. Yeah, I’ve made progress but I still don’t feel ready for this ‘higher calling�� I lived a lie for at least 23 years and I’m just now trying to figure out the core mechanics of what being ‘Crystal Short’ entails.  Because there are lives I could live, things I could do, but they don’t feel right at all for who I'm supposed to be.  At the end of this year, Buddhism tells you to be compassionate to all beings. I really can’t get behind that. There I some people who poisoned my soul who I want to watch burn so I guess that’s a plus of finding out that I agree with some things, but not all things, that one idea has to state that it is the true ideal in life. The only person who I want to burn so far is my dad because my mother makes me tolerate his ass whenever we go out and he acts like a toddler when he’s 50something. The therapy did pull up that he and my mom both did a lot of physical abuse when I was a kid and he was a good block for the mental and emotional abuse I have. He forced me to go see my grandma who also mentally scarred me when I was 12 and I had a panic attack in the nursing home and my dad started getting mad about it. Let alone I’m sure the CNAs noticed and did nothing.

fuck that man. And he’s a sexist, racist homophobe so that is kindling for the fire.

‘oh she’s not bad’  ‘yeah she’s not a bad person, but did she give you trauma’ (I’m convinced there are slivers of PTSD somewhere in my brain)

Maybe I have been looking at core mechanics but people around me keep trying to drown my thoughts. I don’t know. Next off, Relationships. My body and society tells me to do one thing and everyone else tells me to fuck off probably because I’m a terrible partner who tries too hard and isn’t interesting!

THAT’S ANOTHER THING! CAN’T SAY IT ENOUGH BECAUSE I’M ANXIOUS, PARANOID, HAVE ADHD AND REJECTION SENSITIVE DYSPHORIA YOU GOTTA FUCKING PROBLEM WITH ME YA GOTTA SAY IT TO MY FACE OR YOUR PERSONAL CONNECTION TO ME IS GONNA GET QUESTIONED EVERY TIME I BREATHE SPECIALLY IF I KNOW SOMETHING SMELLS FISHY.

Last thing in 2018, this blog. We here at Doctor Strange are staler than toast. Despite the massive surge of everyone else, I’ve only had a slight incline in followers this year. Probably because I love Doctor Strange in the MCU, but I’m not IN love with him. One, Benedict Cumberbatch is not attractive and two: I relate to him on a metaphysically level that he’s the longest thing that has been engraved in my interests. When I watched Infinity War, I was upset at the decision he made to hand over the Stone initially but I went back, reevaluated, and discovered that Ben was the perfect person to play this character. (I’ve spoken about this in buried posts, so I don’t want to sound like a record). And maybe it’s my age that’s showing.  I will flow with what comes out and what comes but there are so many other things I want to do such as play video games and watch movies. 

So conclusion of 2018. 1. Let me take my own journey because unlike everyone else I’m slow as shit 2. I’m at the bottom of the mountain because I was fed lies 3. The Super Beard Bros are still cops 4. I get bitter about stupid people. (House Slytherin is my home don’t give me no Hufflepuff schpeel) 5. I gotta be confident and stand up for myself 2019 sorry 20BITEEN is gonna be the year I kick names and take ass. No mercy

If I could put 2018 in one gif for me it would be.

2019 goals

[thehiddenlawyer]

Good God!

Day 94 of Benedict Cumberbatch

[the-desolated-quill]

Avengers: Infinity War - Quill’s Quickies (No Spoilers)

Sometimes I think back to when the MCU first started. How excited I was that the Avengers were finally on the big screen. The attention to detail in regards to world building and character dynamics. There was no limit to the possibilities involved here. Us geeks were living the dream. Compare that to the MCU now. A bloated, cynical sequel factory churning out blander and blander movies each year, over-saturating the medium with what is, essentially, glorified B movies. Whenever I think about the MCU nowadays, I recall that scene near the end of The Dark Knight when the Joker says to Batman; “I think you and I are destined to do this forever.” That’s how I feel about Marvel movies now. I just feel this permanent sense of ennui. It’s like being trapped in a loveless marriage. Once there was passion and fireworks, but now the spark has gone out of the relationship and I’m silently praying for some kind of respite that will never come.

Avengers: Infinity War is a landmark movie in more ways than one. It represents the culmination of 10 years worth of collaborative filmmaking, it’s quite possibly the most ambitious crossover to date, but it also in many ways signifies just what a stupid, dull, incoherent mess this shared universe has turned into.

As you can probably tell by now, I didn’t exactly go into this film with high expectations. Going through the MCU in recent years has been like walking through a scorching desert without end. Black Panther provided a kind of temporary oasis, full of palm trees, beautiful lagoons and a luxury spa, but sadly I had to leave this paradise behind to brave the desert wastes once again. And having experienced that moment of sheer bliss in that oasis, the harshness of the desert sands feel all the more unbearable. But even then, as I took my seat in the cinema, I foolishly had a small glimmer of hope. Maybe, just maybe, Infinity War wouldn’t be so bad. It’s directed by the Russo Brothers after all. They made the brilliant Captain America: The Winter Soldier and pleasantly surprised me with Captain America: Civil War. I remember going into Civil War with the same pessimistic feeling, and while it wasn’t a perfect movie by any means, it was a lot better than it had any right to be. If anyone could make Infinity War work, surely it would be them, right?

Sadly it seems we’ve finally found the Russos’ breaking point. Avengers: Infinity War was utterly tedious to sit through. I was bored to tears. Not only was I struggling to make sense of what was going on half the time, I didn’t care about what was going on neither.

Let’s start with the most glaring and obvious problem. The characters. There are WAY too many of them. I swear you could easily have gotten a whole trilogy out of this. In fact I honestly would have preferred that. It would have given the story more room to breathe. Instead everything is just crammed into one overly long film that constantly jumps to different locations every couple of minutes as though the filmmakers have some form of ADHD, and none of the characters are allowed to get any kind of development. In fact they’re not characters at all. They’re chess pieces. They show up on screen, do what the script requires them to do, and then disappear once their purpose has been fulfilled.

There were some moments that could have been more impactful, like scenes involving Thanos and Gamora, Vision and Scarlet Witch, or Loki and Thor, but they don’t have nearly the emotional resonance they should have because they’re essentially fighting for space in this gigantic clusterfuck. Other characters, like Captain America and Black Panther, are forced to become these dull, shallow caricatures because the story just doesn’t have any room for them to really shine or come into their own. The focus isn’t on telling an engaging story or developing the characters, but instead on these massive, computer generated action scenes that I simply don’t give a shit about (in fact the final fight in Wakanda reminded me rather horribly of the battle on Naboo in Star Wars: The Phantom Menace). Not to mention, due to how poorly this whole arc with the Infinity Stones has been handled over the course of these movies, Infinity War spends most of its time explaining to the audience just what the fuck is going on and reminding everyone where all the characters are at. Doctor Strange in particular seems to only be there to provide exposition. (Quick side note, the Eye of Agamotto is an Infinity Stone? I’m sorry, have Marvel Studios ever even so much as glanced at a Doctor Strange comic before?!)

Oh yes. After all my ranting over the years about what a racist piece of shit the Doctor Strange movie is and how I stubbornly refuse to watch it despite being a huge fan of the comics, you’re no doubt wondering what I thought of the Sorcerer Supreme considering this is the first time I’ve properly got to see him in action. He’s... fine, I guess. Benedict Cumberbatch was about as good as I expected him to be, given what he has to work with here. Aside from a bit near the end, they don’t go nearly as psychedelic or as imaginative with the magic as I would have liked them to. All Strange ever seemed to do was just use these glowing disc things or this energy whip. Also the Cloak of Levitation seems to have a mind of its own. I don’t get the purpose behind that at all. But do you know what the biggest problem is with Doctor Strange? The same problem as most of the other male characters. They all sound exactly the fucking same. This is something a few people on Tumblr have commented on before, and it’s really noticeable in this film. The dialogue is practically interchangeable to the point where characters like Strange, Iron Man and Star Lord start to just blur together. There’s no two ways around it. This is just bad writing.

The crappiness isn’t limited to the protagonists neither. No, the villain Thanos is just as shit, although that didn’t come as much of a surprise. He’s meant to be the supposed Big Bad of the MCU, and yet there’s been no buildup whatsoever. In these 19 Marvel movies, Thanos has only appeared twice, both in post credit scenes. We have no idea who the fuck he is or what he’s doing. So the Russos have to shove in a hackneyed backstory and motivation for the fucker, and good God is it bad. Like... insultingly bad. Marvel often like to brag about how they planned all of this from the beginning, but Infinity War proves otherwise. His whole plot doesn’t make any sense and was clearly just pulled out of some hack screenwriter’s nether regions, we don’t fully understand what’s driving him to do something so mind bogglingly daft in the first place, and any attempts to wring any emotion out of us and make us empathise with the prat just end up falling flat on their face. I know Marvel have always had a villain problem, but this is just embarrassing now.

And then there’s the ending. Holy fuck do I hate the ending! Marvel have done some bad shit before, but this has got to be the most insulting thing I think I’ve ever seen from them. Without giving too much away, critics and fans (aka idiots) have been using buzzwords like ‘shocking’ and ‘gamechanging’ to describe the ending, but that’s objectively bollocks. For one thing, the Russos have had ‘gamechanging’ moments in their movies before and they never seem to stick (think back to SHIELD being destroyed in Winter Soldier or Iron Man’s dubious morality in Civil War), but the big pisstake for me is that Marvel have already announced their next set of movies. So we know what happens at the end of Infinity War isn’t permanent... and yet they still expect us to be emotionally devastated by it. Fuck off!

I’ve said a few times in the past that Marvel need to take a break. I’m now going to go one further. Marvel need to stop making movies altogether. 

The Marvel Cinematic Universe needs to end. 

I’m sorry, but I’m just so bloody sick of this. I’m sick of these cut and paste movies with no thought or effort being put into them. I’m sick of Marvel’s cynical greed and utter contempt for their audience. I’m sick of fans and critics kissing their arses and saying that MCU movies are the best when they’re so clearly fucking not. Ever since Doctor Strange came out, I’ve come to the conclusion that nobody is actually watching these movies. They’re basically the cinematic equivalent of dangling your keys in front of a toddlers face. Just show a few pretty colours, some punch-ups and bad jokes, and that should keep the plebs quiet for a couple of hours. But if you were to actually engage your brain, these movies quickly fall apart. I mean just look at the sheer bloody number of news articles discussing what happened leading up to Infinity War and posing theories as to why certain characters behaved the way that they did in the movie. Shouldn’t that give just a little bit of a hint? if your story has become so stupid and convoluted that people have to read news articles and stuff to make any sense of the fucking thing, maybe you’re doing something wrong.

No. That’s it. I’m done. I’m not watching anymore of these bloody movies. Infinity War sucked donkey balls and I never want to see it or any other MCU movie ever again.

[mdwatchestv]

Everything I’m Going to Watch In May: MAYbe!

You guys April was a good time, and luckily there is almost nothing I care about watching in May (editor’s note: this turns out to be utter bollocks) so you will have plenty of time to catch up on all the sweet sweet goodness of April . And I have a LOT to say about the April premieres (and even some of the March ones I just now got to! You see I DON’T completely abandon shows that fall by the wayside, I only do that with MOST of them.

The Terror - This was on the March list that I finally got around to, but wanted to report it is excellent! A chilling (literally and figuratively) classic horror tale of hubris, colonization, and polar bears.

A Series of Unfortunate Events - Also from March, this could double as the alternate title for The Terror. This show is so purely enjoyable and this season boasts Tony Hale, Lucy Punch and Nathan Fillion amongst the guest cast. Expand your vocabulary and witness something truly unfortunate.

Legion - Legion is quite simply unlike anything else on TV. I can't believe Marvel has allowed this strangle little idea to grow into such a giant weird, beautiful, butterfly. I mean the first episode has an interpretive dance battle. C'MON.

The Last OG -  Tiffany Haddish continues to be a force of nature.

Killing Eve - Guys if you take one thing away from our time together, let it be to watch Killing Eve. If you have a TV list going perhaps on your phone, or gmail drafts, or in a beloved notebook - delete it all and write this at the top. A darkly funny spy thriller with on the money performances from Jodie Comer and Sandra Oh, I cannot say enough about it. Perhaps the only spy genre content with realistic female characters. This show has brought me to life, it is the light, it is the way. I know I have a lot of lights and ways, but this is the ONE.

Howard's End- As a fan of the book this mini-series is a very pleasant visitation to the world of Howard's End, but I'm not sure how well it works as a standalone adaptation. Great cast though!

Rellik -  siht hctaw t'ndid i

Westworld - Pretty much exactly what you would expect from season 2 of Westworld. If you are so inclined I have chosen to engage in a recapping of this season which you can check out here. I got theories, yes I do.

Handmaid's Tale -  This season has been getting rave reviews, and Elisabeth Moss continues to be masterful (as is Ann Dowd, eternal love). But to be honest I am losing my appetite for viewing extreme violence against women through a male lens. The writer and director of the two episodes were men and it shows. As the series veers away from it’s source material, I find myself losing the desire to continue to engage. 

Now here are some things for you to watch on Netflix in May!

Friday May 4th

Dear White People  (Netflix)

Although season one didn't quite capture the same magic as the movie, when it's jokes landed they landed hard. With season 2 going after the alt right ("what's wrong with being white?" etc.) it promises to continue to be equally cathartic and cutting. Also Lena Waithe in season 2!

The Rain (Netflix)

This is a Danish YA series about an apocalyptic future where a virus or contaminate in rainwater has killed almost everything and everyone! There is nothing better than well-executed sci-fi about dystopias populated by teens so I am tentatively here for this! Also look cool and say you watch your YA with subtitles.

Friday May 11th- Evil Genius: The True Story of America’s Most Diabolical Bank Heist (Netflix)

YOOOOOO this is a miniseries about the Pizza Bomber Heist case, which, if you do not know about it already, is WILD. If you are a true crime lover chances are you already know about this one, and are already rejoicing accordingly. One of the most bizarre, twistiest, turniest cases ever, if you like true crime even an iota this is can't miss. 

 Saturday May 12th - Patrick Melrose (9pm Showtime)

I am usually super skeptical of these kinds of shows where it's clearly a leading man wanting to do some kind of tour de force role, but Benedict Cumberbatch has consistently proven himself to be an interesting actor (as long as he has his natural accent), so in this case I am willing to give the benefit of the doubt. However just one whiff of anything too self aggrandizing and I am outtie.

Sunday, May 13th- Little Women (8pm on PBS)

Although I can't imagine this will approach the greatness achieved by previous adaptations, I would be remiss not to inform you gentle people that there is a new Little Women miniseries. #AmyLyfe

Friday, May 18th - 13 Reasons Why (Netflix)

Minnette help me I had literally typed the final word of this blog (it was Andromedon) when Netflix announced the season 2 date of 13 Reasons. Season one was by no means perfect television, but my god was it bingeable. I poured that show into my eye holes faster than you can say 'welcome to your tape'.

Wednesday, May 30th -Unbreakable Kimmy Schmidt (Netflix)

Titus Andromedon.

Well, I, for one, welcome our new Netflix overlord.

XO MD

[bazypitchandsimonsnow]

Night Time in NYC

Rating: T

Genre: Fluff

Word Count: 3645

Summary: Simon has no sense of direction and ends up lost in his recent home city of New York. But a helpful stranger offers to get him home. Based on "kiss that was regretted/more than one kiss" request.

Read on AO3

AN: Once again, Theo returns with the ridiculous and cheesy snowbaz fic. This is just pure tooth rotting fluff for all your fanperson needs. Hardly any angst at all really. Just Simon and Baz being pining idiots. After writing the The Sailor and The Siren I needed to do something simple and sweet. I had a lot of fun with it, cause who doesn't love uber fluff? :)

Simon

I don’t know where I am. Which is normal, but usually harmless. I can use Google maps to find where I’m going. But my shitty phone has decided to completely die on me. I hit in a desperate attempt to revive it. And it stays a dead brick.

“Shit,” I hiss.

Godammit. I should’ve accepted Penny and Micah’s offer for a ride home. But no, I decided to be fucking noble and self sacrificing and walk back to campus.

Alone.

In New York City.

At one in the morning.

I’m an idiot.

I think I’m walking in the generally right direction. But I don’t recognise anything. I’ve been living here for a less than a month so I still get lost. Numbered streets are easy, my arse.

From the distance, in the general silence, I hear noise. Muffled, but noise. People! Somewhere open. Where I can find someone with a phone and call a cab to get home! Thank every god for all night places in New York fucking City.

Following with my ears, I head towards some low rise brick buildings. As I go down a long dark alleyway (I’m going to get stabbed), the noise gets louder, stopping in front of a metal door. Thumping electronic music comes from behind it. Must be some nightclub. Aht bright red emergency exit sign hangs over it. Normally, I’d just leave and not risk going through a bloody emergency exit. But I’m beyond desperate. So I turn the handle

Holy shit. It’s like the TARDIS, bigger on the inside. Strobing multi coloured lights fill the massive room. I’m immediately engulfed in a sea of people. They’re all milling about around me. Talking, dancing, drinking. Dear lord, is this is what a real night club is like? It’s freaky. I don’t like it.

I shove my way through the bustling people, trying to find the bar. I bump into a guy and mumble “excuse me.”

“Hey sugar,” he says, taking my wrist, “why don’t you take off your coat and stay awhile?”

I blink rapidly, then look behind me to make sure he’s actually talking to me. “Um, what?”

He raises an eyebrow, smile seductive and obviously trying to tempt me. “I said why don’t you take your coat off? You can’t really find a guy in that.”

“Oh, uh, I’m not here...for that.”

He lifts both brows. “Then why are you in a gay dance club?”

Oh. Oh shit...

I look around the club. It’s mostly populated by impossibly buff men in tight shirts, standing very close and obviously talking in low, seductive voices. This is definitely a gay club. Not that I have a problem with gay people. (I’ve never given much thought to my sexuality, but I’m probably not 100% straight.) It’s just very unfamiliar and a bit intimidating. I’ve never been in straight club, let alone a gay one. And being so lost and stressed out, I don’t really feel like being flirted with right now.

“I uh, I...I gotta go,” I stutter out.

I rush off towards the bar. Maybe the bartender has a mobile I can borrow. Or maybe I’ll be thrown out for not paying. That would suck. I practically crash into smooth black counter, panting slightly. Fuck, the heat of the club plus my coat is not helping my stress levels. I hang my head, breathing slowly. I could really, really use something good right now.

“Hello,” someone with a posh British accent says next to me. “How are you?”

I turn to my left, and my heart promptly stops.

He’s gorgeous. Like, supermodel gorgeous. With cheekbones sharper than Benedict Cumberbatch, shining reddish-gold skin, and eyes like a goddamn hurricane. His relatively long black hair is slicked back like some old movie vampire. But it’s a weirdly good look on him. Makes him look sexy and sort of mysterious. His black t-shirt is tight on his defined chest. Equally dark jeans hug him in all the right places. The way he leans on the bar is confident but not cocky. Just self-assured. And it’s so, so hot. (80% straight maybe.)

“H-Hi,” I stutter. “Can you help me? I’m...lost.”

He cocks a perfect eyebrow. “But now you’ve met me and found your way? How sweet and cheesy.”

“No. I mean, I’m trying to get home, and I’m really lost. Like I don’t know where I am.”

Now both brows shoot up to his stark widow’s peak. His face convulses strangely for a second, then he suddenly bursts out laughing. He doubles over holding his stomach. My blush reaches my ears.

“Nevermind,” I grumble.

I turn to leave, but a slender fingered hand grabs my shoulder. I stop, mostly from the jolt his touch sends through my system.

“Sorry, sorry,” he says, laughing toned down. “How can I help?

I sigh, but still turn back to him. “I’m trying to get to Amsterdam and West 114th but my phone’s dead and I’ve never been in this area before and I’m obviously not a local and I just moved here like a month ago. So...I’m lost.”

“But, the streets are numbered.” His eyebrow furrow is so fucking cute. (Wait, no, focus Simon!)

“You’d be surprised at my ability to get turned around.”

A smirk tugs at the corner of his thin lip. “Understood. That’s Columbia, right? I know how to get there. It’s not that far. I’ll walk you.”

“Oh! No! You don’t have to. I mean, I don’t want to ruin your night.”

He waves his hand dismisvely. “I’m bored anyway. And I don’t want to risk you getting my directions then turning to the opposite way. C’mon, I need to get my coat.”

He motions me to follow, and strangely enough, I do. We squeeze through the bustling, sweaty crowd. The man bobs and weaves like a slinky snake. His body is so lithe, it’s incredible. We end up at the actual entrance, which has a coat check. Strange Man talks to the attractive behind the counter. He’s all smooth looks and easy words. I sort of envy him.

I expect the coat guy to hand him a fine wool jacket, or some versace coat (do they make coats?) But to my utter shock, he’s handed a puffy bright green ski coat. It’s not ugly per se. Just, kind of normal. This guy looks some seductive romance novel vampire. People like that aren’t supposed to wear a coat with ripped seams that squeezes his waist to make him look like a green Michelin Man. He leaves a tip for the coat guy and signals for me to follow. I scurry up to him.

“C’mon,” he says cheerily, “let’s go.”

We walk past a very intimidating bouncer and back out into the frigid New York air. Mystery man lets out a long exhale, breath clouding in front of his face. He motions for me to follow him up the street. It’s a bit difficult to keep up with his long legs.

“So,” I say after a long stretch of silence, “do you have a name?”

He flicks his grey eyes over to me. “Yes. Would you like to hear it?”

Okay, so he’s a total smartarse. Why do I find that frustrating yet attractive? “Sure, if you feel up to it,” I deadpan.

He smirks, chuckling slightly. “I’m Baz. And you are?”

“Simon, Simon Snow.”

“Hm. Interesting name.” His tone is shows the slightest twinge of interest. It makes my heart stutter a bit. “So how did you end up accidentally wandering into a gay nightclub?”

I look at the ground sheepishly. “Uh, I was out with my friends at some karaoke place. They offered to give me a ride but their place is in the opposite direction, so I said I could go on my own. But then my phone died, so I just wandered into the closest place with people. Hence...”

“Hence the gay nightclub.”

I shrug. “Yeah. Not my smartest move.”

He shrugs too. It’s somehow more graceful than mine. “Well, you found me. So I’d say it was a pretty smart move.”

I flick my eyes over to him, just for a moment. His smile is only slight, but it’s there. I turn away again, too embarrassed to keep looking at him.

“Why were you in the club?” I ask quickly, aching to fill the even brief silence.

Baz sighs and kicks the sidewalk with his polished boot. “My stupid friend/roommate's idea. He keeps pestering me to go out and meet someone. I finally snapped and said I’d go to this club tonight if he’d stop bugging me.”

“Oh. Sorry for taking you away from it...”

He waves dismissively again, the exact same motion as earlier. “I told you, I was bored. No one there interested me. I’d much rather be home with my books.”

That catches my attention. Books? Movie vampire guy loves books? I thought he’d spend his time practicing smoldering expressions in the mirror. “You a bookworm?”

“That’s what Niall calls me. He says my library puts Oxford and Cambridge to shame.”

“What do you read?”

He sighs noncommittally. “Lots of stuff, I guess. Mostly historical texts though. I like English language development, how it evolved over time. Just a hobby though.”

Wow, what a hobby, I think immediately. He reminds me way too much of Penny. Learning weird shit just for fun. I just stick to what I’m good at, never straying from my numbers. But he tries different things. I find it just as admirable in him as I do in her. Maybe just a bit more, because I don’t find Penelope unbelievably attractive. (65% straight, tops).

We walk past a raised cement beam. Out of habit, I jump up to walk on it. (I always take an opportunity to jump around. Penny calls me a child.) Baz looks at me strangely. But I like being up here. It gives me a better view of him.

“So,” I say dragging out the vowel. “You’re English like me, right?”

He raises a brow. (He seems to be really good at that.) “Accent gave that away huh?”

I roll my eyes like Penny does.“Oh shut up, you know what I mean. Where are you from in England?”

“Hampshire, originally. You?”

“London. I came here for school.”

“I did as well. You go to Columbia, right? Or we’re walking to the wrong campus.”

I chuckle and look away nervously. “Uh, yeah. For maths.”

“Wow, impressive. That’s a tough program to get into.”

I turn back to him. His eyes are wide with genuine impressed awe, one lip corner quirked up in a smile. My cheeks feel hot. I hope I’m not too red. “T-Thanks. It's difficult but, interesting.”

"I'm glad to hear.

I reach the end of the beam and jump down, swinging around a lamp pole. I land right in front of him and stumble on a crack on the sidewalk. Suddenly, he catches me, hands clasping both my forearms. He looks at me wide eyed, now loose black strands falling in front of them. (The hair gel isn’t that strong I guess.) The sensation of his touch shoots up my nerves so quickly and intensely I nearly fall again. Before I do, I pull away, walking next to him again. Though I think we’re a little closer. Not sure if he’s moved towards me or I’ve moved towards him

“Where do you go?” I ask, voice rapid and even more nervous.

Baz bites at his lip anxiously. “Okay, I’ll tell you, but you have to promise not to freak out.”

My brow pinches together, mouth turning into a confused frown. “...alright?”

He looks at the ground, like I have many times tonight. “I...go to Juilliard.”

Oh. My. God. My jaw practically hits the floor. “Holy shit!”

“You promised not to freak out,” he groans, head rolling back

“You didn’t warn me it was fucking Juilliard! Are you like, a super talented actor? Or a future Broadway dancer?” I try not to imagine Baz in a tight black leotard (it’s very difficult).

Baz chuckles, shaking his head back and forth. “Nothing that exciting, sorry. I go there for music.”

“What do you play?”

“Violin.”

Strangely, I can see it. Baz with the instrument under his chin and stretched out across his long arm. Dragging the bow across the strings, grey eyes closed in concentration, humming along to the tune...

“Simon? Hello?”

I’m snapped out my stupid day dream. Baz is looking at me very confused. I turn away, hoping to hide the blush I know is increasing on my cheeks.

“That sounds really cool, actually.”

“Really?”

“Y-Yeah, really. Violin is fucking hard.”

“Thanks. Few people say that.”

I can’t help but smile, and neither can he apparently.

He cups his hands around his mouth and breathes out, air misting through his fingers. “This city is too fucking cold,” he mutters. He reaches into his coat pockets and draws out a pair of garishly orange knitted mittens. They have large holes in them where their maker dropped stitches. Baz notices me staring at them.

“What?” He says.

“Oh, uh, just...your gloves are...interesting.”

He giggles (fucking giggles, holy shit). “Yeah, I know. My younger sister made them for me before I left. To keep me warm. She’s only 7 though, so knitting her skills aren’t exactly perfect. The sentiment is what’s important though. Wearing them reminds me of her.”

What kind of guy wears shitty mittens made by his little sister just because he misses her? A perfect one, I think. (40% straight at most.) “That’s actually quite sweet.”

“Why thank you” he chuckles. “Do you have any siblings?”

My shoulders droop. “No. I...I don’t know who my parents are. Proper little orphan Annie here.”

“Oh. I’m very sorry.”

The look of pity on his face makes my heart hurt, but not in a good way. I don’t like people feeling sorry for me. I shrug all the way up to my ears. “Whatever. It doesn’t matter. Don’t need parents. Got my own little family now.”

“I don’t know what you mean.”

I sigh, catching a pole and swinging around it far too dramatically. I need to stop for a second, gather my head. Baz stops too, looking at me curiously. “I mean, I’ve got friends who are way better than whoever abandoned me. Penelope, her boyfriend, Micah, Agatha, they care about me and I care about them. And Penny says family isn’t who your related to but who you love. So they’re my family, I guess. Closest I’ve got. Don’t need blood relations.”

I lift my head up from the ground. Baz is no longer looking at me with pity. I’m not sure how he’s looking now. Something between confusion, wonder, and...maybe admiration. I hope it’s admiration. I may be projecting though.

I let go of the pole, shoving my hands in my pockets and keeping my head down. “I-I don’t know, it’s dumb.”

“No,” Baz says firmly. “I don’t think so. It makes sense.”

I look up, just slightly. His grin is soft, caring and understanding. But it’s not small and sort of hidden like before. It’s wide and obvious and meant for me. If my blush was bad before it must be raging now.

“Thanks,” I say quietly.

We resume walking again. I don’t stoop as much. We stay in comfortable silence, but I sneak glances at Baz. His hair is completely loose now and falling in his face with a bit of a wave. It looks better actually. Makes him look more human, less out-of-reach gorgeous.

Just as we round a corner, I spot something familiar. A big ridiculous statue on top of a building glass building.

“Hey!” I say excitedly. “I know that thing! We’re really close.”

Baz squints at where I’m pointing, frowning in the most adorable way possible. “Ugh, I can’t see it. Hang on.”

He opens his coat and reaches into the inside pocket. To my utter astonishment, he pulls out a pair of rectangle wireframe glasses. Like that of a university professor or a librarian. Once he puts them on, he stops squinting. They rest on his long nose perfectly. And now Baz has made full transition from mysterious sexy club goer to violin playing, adorable little sister having, puffy coat wearing, language history nerd. Yet somehow, I like him even more than I did at first.

“Huh,” Baz says, “you’re right. I know it too. We just have to go through that gate across the street.” He turns to me and sees my slack mouthed expression. His brows push together adorably. “What? Is something wrong with my face?”

“Uh, no! It’s just...you wear glasses?”

He takes them off quickly. “Yeah. Well, I’m supposed to. I don’t usually though. I’m near sighted, so I can usually get away without them. They just make me look so bloody dorky.”

“I don’t think so,” I blurt out, immediately dropping my gaze to my feet. “I-I don’t think they look dorky. They look...nice. On you.”

I flick my eyes up quickly, just enough to catch the grin pulling at both sides of his lips.

“You flatter me too much,” he says in a slightly self deprecating tone.

“Only cause it’s true,” I reply quietly.

Baz spins the spectacles in his hands for a second, and instead of putting them back in his coat, he slides them up onto his forehead. Not exactly on his face but close. It’s actually quite cute. Like he’s a messy haired student. Which...I guess he is. Even if he’s a fancy Juilliard student.

Past the gate, we enter the Columbia campus. It’s beautiful, even at night. I like it. It’s greener than the rest of this glass and concrete city.

“Hey this is my building,” I say, grabbing Baz’s sleeve to stop him.

We freeze in front the lawn. Across the manicured grass is South Lawn, where they put all first year students. It’s huge and block-like and gorgeous. It reminds me of the Georgian buildings in England. Baz flips down his glasses and looks at it in awe, making a little whistle.

“Wow,” he whispers. “I’ve heard of Columbia buildings, but...wow”

“Yeah,” I chuckle. “Pretty neat.”

“Understatement of the century, Snow.” He puts his glasses back, looking down at me with a nervous smile. “So, I guess this is your stop.”

I shuffle my feet, rubbing the back of my neck. “Yeah. Should probably get up there before my ro-”

Quick as lightning, Baz leans to my left and kisses my cheek. It’s so soft and light I barely feel it. Like a cool brush of wind against my skin. But my face still goes beet red. I look up. Baz resembles a terrified deer in the headlights, eyelids completely pulled back and lips hanging open.

“I-I, uh-,” he stutters out quietly. “Sorry. That was completely inappropriate. We’ve only just met, I just, I got caught up in the moment, and I guess I just decided to go for it. But I’m sorry that was-”

“You missed.” For once, my words are clear and precise. Baz’s sinking head snaps up, looking even more terrified than before.

“W-what did you say?”

I take a step closer to him. We’re barely a foot apart. I can feel his hot nervous breath on my skin. “You missed. Try a little more to my right this time, okay?”

Red darkens his lovely cheeks like a bashful schoolboy. “Seriously?”

“Yeah,” I step even closer, tilting my head slightly to the side. “Seriously.”

He leans down, eyes fluttering shut. I stand on my toes, and we meet halfway.

His lips are soft and cool, lightly pressed against mine. It’s probably the most chaste kiss I’ve ever experienced. Yet I can feel it in every nerve in my body. Baz’s hand brushes against mine, and I move to hold it firmly. His other cups my cheek, thumb tracing over the skin. Our lips part slightly and slot together. And it just feels too right.

I pull back, as does Baz. I don’t want to get myself too worked up on a first date. (Is this a first date? Fuck if I know.) His eyes open only halfway. And his cheeks are so red they’d put Disney princesses to shame. I grin at him, and he grins back. I hold my open hand in front of him.

“Gimme your mobile,” I say. He raises an eyebrow. I sigh exasperatedly. “Look, I’d give you mine to put your number in, but as I mentioned before, it’s dead. So give me your’s so you can contact me again. That’s what you want right?”

His brow falls and his mouth forms an “o” shape. “Yeah, yeah of course.” He rummages in his pocket and pulls out a pristine white iPhone. Once unlocked, he hands it to me. “Here”

I giggle at his background. (It’s a violin pun). Quickly, I enter in my number under “Directionless Moron”, then give it to him. He throws his head back laughing at the contact name.

“Call me,” I say. “Or text me. Just...something me.”

Baz chuckles. “Don’t worry, I will. I definitely want to see you again.”

My grin threatens to split my face in half. I squeeze his hand. “Same here. Goodnight for now, Baz.”

“Goodnight, Simon.”

I walk off down the lawn. Just as I reach the door, I take one last look back. Baz is still standing there. He’s got his glasses on. I realise it’s so he can see me get into the building. To make sure I’m okay, or maybe just watch me. I give one last wave. He waves back. I practically skip the rest of my way to my room.

Man, what an incredible night.

AN: Hope you enjoyed it! Tbh Baz in glasses is my aesthetic so that's they it keeps showing up in my AUs. Honestly he'd look so good in them. Anyway, this was a lot of fun and I hope you all liked it :D

[thehiddenlawyer]

Favorite BC as Sherlock Moments

This post was intended for earlier today but the Tumblr app crashed and I almost cried because it was so well written and from the bottom of my heart.

Cumberspam on Twitter had the theme today: favorite Sherlock moments and I literally spent 15 minutes thinking about what they could be, and why. I predictably couldn’t up with just one. 

So here we go!

Let’s go in chronological order, shall we?

First up-- the Empty Hearse, the kiss. Sure it might have just been guilt-ridden Anderson that had this head canon-- the coat flip, hair ruffle, and ohhhh what a kiss. I feel like there’s really nothing to talk about, just watch the damn thing. The confidence in every single movement, the intensity of his expression as he steps into Molly, the way he cups her face, the jaw line to absolutely die for. 

Next, probably my favorite for oh so many reasons we’re going to talk about -- His Last Vow, the entire mind palace sequence. 

There’s several things that make the mind palace scene such a huge love for me.

Benedict Cumberbatch’s Acting

The writing

What it reveals about Sherlock

The acting

When he crashes down into the room where Moriarty is locked away, the he’s muttering “control! control! control!” says more about Sherlock than anyone can guess. I think that scene reveals more about Sherlock than even TFP, shows you that this man that is supposed emotionless and robotic actually feels more acutely that anyone suspects (with the exception of Mycroft and for me, Molly). 

So there’s why I love the scene as someone who loves Sherlock Holmes, now let’s talk about it from the perspective of someone who’s a fan of Cumberbatch’s acting.

The brilliance of actors for me, and I may have said it before, is the fact that the intense emotion we are seeing are being acted by an individual. Like he has to turn it on and off when the director yells action and cut. I watch the entire sequence, especially when he starts to feel the pain, when Molly utters that incredible line “there’s a hole ripped through you”, and he screams, and I always think this is Benedict, on the floor, with crew around him, turning it on and off. And you see the pain in his eyes, you SEE it. Like go back and watch that scream and it’s utter insanity how he can project so much with just his eyes. He is a brilliant actor and I think that bit alone shows him off. 

And let’s not forget his moment with Redbeard, the way Ben looks so utterly exalted to see his old friend, the way he leans into the affections of the dog and his delivery of the line “they’re putting me down now too”. Uttered with perfection beyond even my ability to ramble. 

Then we come to the Lying Detective

Where the fuck do I start with this? Do I talk about the POWER of Benedict when he’s delivering the lines from Henry V? Do I first talk about the vulnerability of “high Sherlock” when he’s telling Faith that her life isn’t hers, and she should keep her hands off it? Or do I sigh with wonder again at Benedict’s ability to say so much with a single look, without uttering a word. 

I was floored when I first watched TLD, for so many reasons--- and I had to watch it a few times to actually absorb everything that’s happening to Sherlock in that single episode. The first time I didn’t really feel the impact of “once more unto the breach!” I was overwhelmed with high Sherlock’s...everything. But when I watched it again and again, I was overwhelmed for a whole other reason. Mr. C brings this amazing, manic, kinetic energy to Sherlock. He makes him feel like a live wire, unpredictable. It’s what made me love the series from day one...To have Mr. C bring his power as a Shakespearean actor to Sherlock, and combine the two? ALWAYS blows me away because how perfect is it? 

And the other thing that always strikes me is the subtlety of movements that Mr. C brings, the nuances in his performance that makes him pop off the screen. The part where he tells JW that he’s losing it, there’s the SMALLEST movement of his face to hint at the demons ripping him apart beneath the surface. 

And the other is the look he gives to Molly. Just think about it. Even if you don’t ship Sherlolly, think about what that one single glance at Molly tells you, what one single look has inspired among those of us that do ship them together. With a single look at her, most of us are convinced that more happened between them that meets the eye. 

and OF COURSE the I love you scene from The Final Problem. (I’m equal opportunity shipper-- you can ship who you want, I’ll ship who I want, you respect me, I respect you. Cool? Cool. Let’s move on)The first I love you-- you can hear the hesitation, the mechanical brain and heart fighting for control until the second I love you, flooded with emotion, with realization, with the fact that this is his truth. This is what matters.  

 And of course the coffin scene- and I’ve already written extensively about that. You can find that here

I didn’t mean for this to be so long but there you go. Benedict Cumberbatch brings out the writer in my head (and i’ve had a shitty day so hey)

And now I feel heartbroken and all I wanna do is watch Sherlock lol

[aion-rsa]

Upcoming Movies in February 2021: Streaming, VOD, and Theaters

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2021 is now in full swing, and film distributors are beginning to feel out what the new normal actually is. Given the latest news about COVID variants, movie theaters remain a tenuous bet—although some films are still releasing there—while streaming at home becomes evermore enticing with one of Warner Bros.’ Oscar contenders set to premiere simultaneously in theaters and on HBO Max. This month also marks the theatrical and/or streaming release of some of last year’s best films.

So for film lovers, the choice of what to watch (and how to view it) remains more varied than ever. Here’s a guide to what’s coming up in February:

A Glitch in the Matrix

February 5

After chronicling the oddest of oddball theories regarding Stanley Kubrick’s The Shining in the documentary Room 237, filmmaker Rodney Ascher is back to take on sci-fi classic The Matrix. In truth, the idea of there being a “glitch in the Matrix” predates the Wachowskis’ 1999 movie, but the duo mainstreamed the idea that we all live in a simulation. So with his new film, Ascher explores that philosophical idea (and fringe conspiracy theory) that nothing is real, and therefore everything is permitted.

With the rise of conspiracy theories and magical thinking in recent years, this could be timely stuff—or unnecessary based on some of the mixed reaction this film has thus far received out of Sundance.

Malcolm & Marie

February 5

This Netflix release has awards buzz around it as well as eye-popping marquee value with its depiction of a love story between John David Washington (BlacKkKlansman, Tenet) and Zendaya (Euphoria, Spider-Man). The film is from the mind of Euphoria creator Sam Levinson and is his third feature, following Assassination Nation.

Shot in black and white, Malcolm & Marie is a visibly personal project, with its depiction of a romance on the edge of evolution or despair. Washington’s Malcolm is a movie director in the story, and he’s on the verge of superstardom after the premiere of his first feature. Clearly his life is about to change, but his girlfriend Marie suspects those changes don’t include her. After his big night, all the things left unspoken are about to be uttered.

Falling

February 5 (U.S. Release, Playing Now in the UK)

Viggo Mortensen makes his directorial debut in what is reported to be a quiet and revelatory affair. Like several other filmmakers this year, Mortensen is tackling the subject of parents and adult children being placed under the strain of dementia. Yet there’s long been a tension between Willis (Lance Henriksen) and his son John (Mortensen) in this movie, even before early stages of dementia.

Uncomfortable with the fact John is gay and living openly with his partner and a young daughter, Willis is reluctant to visit his son’s family. But as the aging process sets in, both generations are going to have to make peace with a lot of things.

Judas and the Black Messiah

February 12 (U.S. Only, UK TBC)

As the next Warner Bros. film set to premiere on HBO Max the same day it opens in theaters, a lot of attention is gathered around Judas and the Black Messiah, not least of all because it is very good. As a film with Oscar aspirations—Daniel Kaluuya has already been nominated for Best Supporting Actor at the Golden Globes and SAG Awards—Judas gives a hard-edged study of the life and times of Fred Hampton, the Black Panther Party chairman who was executed by police in 1969.

Told from the perspective of William O’Neal (a jittery LaKeith Stanfield), the FBI informant who spied on Hampton and the Panthers for law enforcement, it’s a unique approach to a biopic that finally shines mainstream Hollywood light on the struggles of the Panthers and the demand for Black Power. It’s brutal and, ultimately, haunting.

Minari

February 12 (March 19 in the UK)

Another major awards contender, and easily one of the best films of the last year, is Lee Isaac Chang’s intimate and visibly personal passion project, Minari. Loosely inspired by Chang’s own childhood, the film chronicles a family of Korean-Americans who immigrated to the U.S. in the 1970s, and after a decade of scraping by in the dead end of industrial farming, they’re making a go of it with their own small farm in rural 1980s Arkansas.

Presented as a multigenerational tapestry, the film is an achingly beautiful piece told from the vantage of a young boy, his put-upon and distancing parents (Steven Yeun and Yeri Han), and his grandmother (Youn Yuh-jung), who’s visit from Seoul is intended to save the family. It really is something special and all-American, despite its occasional categorization as a “foreign language film” by awards bodies. See it in theaters on Feb. 12 or wait for its VOD release on Feb. 26.

To All the Boys I Love: Always and Forever

February 12

If you’re looking for something a little more romantic this Valentine’s Day season, Netflix is completing its To All the Boys I Love trilogy—or at least finishing its film adaptations of the so-far published Jenny Han YA novels—with Too All the Boys I Love: Always and Forever. In the movie, Lana Condor returns as Lara Jean, the once gawkish high school girl with a series of crushes who is now coming into her own as she spends her spring break on a whirlwind vacation that sends her to South Korea, New York City, and around the world. (So clearly this is set before 2020.) It’s a romance for all ages, and one that could be sweet in our current age.

French Exit

February 12 (March 26 in the UK)

Michelle Pfeiffer is one of those rare performers who can make even the most venomous line readings sing with playful amusement—or turn the screws. She indulges both skills in French Exit, a dry comedy with exceeding detachment and apparently perfect casting. In the Azazel Jacobs film, Pfeiffer plays Frances Price, a Manhattan socialite of a certain age who’s lived long enough to see the invitations to high society dry up. Worse, she’s also run out of the inheritance she’d been living off for decades.

So Frances moves in with her peculiar son Malcolm (Lucas Hedges) in a tiny Parisian apartment. Slow boiling mayhem ensues. Well-regarded for Pfeiffer’s performance on the festival circuit, this is one to keep an eye on.

Land

February 12 (April 9 in the UK)

Robin Wright has had a remarkable career in film and television, time and again showing us new dimensions onscreen. But with Land, she makes her directorial feature debut behind the camera after helming several episodes of House of Cards. In the film, Wright plays Edee, a bereaved woman who attempts to start over in the wilderness of Wyoming. Even with its wide open landscapes, it’s admittedly a narrowly framed tale. Yet there be gold up in them hills.

I Care a Lot

February 19

One of our personal favorites out of the Toronto International Film Festival last year, Netflix’s I Care a Lot is a clever, knotty, and incredibly sardonic dark comedy. Framed around the bottomless ambition and avarice of Marla Grayson (Rosamund Pike), it’s the story of a woman who makes her wealth by convincing the government to lock up senior citizens with large bank accounts, leaving her in charge of their finances.

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It’s a hell of a con until one nice little old lady (Dianne Wiest) whom Marla preys upon turns out to have connections to a crime boss (Peter Dinklage). This is wicked entertainment, with Pike at her most devilish since Gone Girl, and Dinklage also playing sharply against type. They and the rest of the ensemble, which includes Eiza González, are brutally funny in this grim satire of modern American capitalism run rotten. The J Blakeson who made The Disappearance of Alice Creed is back.

The Mauritanian

February 19 (February 26 in the UK)

Kevin Macdonald continues his career of hard hitting political dramas based on true events with The Mauritanian, a new awards contender which documents the real legal case of Mohamedou Ould Salahi, a Mauritanian detained without a charge by the U.S. government in 2002. For 14 years, he remained in custody at Guantanamo Bay until he had his day in court.

Macdonald’s film documents that legal fight with a large ensemble which includes Jodie Foster and Shailene Woodley as the lawyers representing Salahi, and Benedict Cumberbatch as an American officer who suffers a crisis of conscience. Most of all though, the film has gotten attention for Tahar Rahim as Salahi in a performance that has already garnered him a Golden Globe nomination.

Nomadland

February 19 (March 19 in the UK)

Chloé Zhao’s Best Picture contender is finally having a major streaming release, and on Hulu at that. Produced by Searchlight Pictures, Nomadland is a remarkable achievement that blends the acuity of narrative filmmaking with the sobering authenticity of documentaries. Focused on the real life culture of American Nomads in the modern American West, the film was made within the community while telling the story of how it came to be. Thus enters Frances McDormand as Fern, a woman who in 2010 has been left with nothing once the Great Recession literally erased her hometown from the map.

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Upcoming Marvel Movies Release Dates: MCU Phase 4 Schedule, Cast, and Story Details

By Mike Cecchini and 1 other

Now the middle-aged widow lives in a van on the open road, estranged from the idea of living at one address, and at peace with her new community of fellow travelers, who we see gather, commiserate, and grieve. It’s a powerful piece of filmmaking that may be a frontrunner for the Best Picture Oscar, which is fairly odd to consider when one realizes Zhao’s next movie is Marvel’s Eternals.

Tom & Jerry

February 26 (March 19 in the UK)

It looks like someone remembered they have beloved (and relatively ancient) intellectual property just sitting in mothballs, because Tom & Jerry is back. Yay? Looking like a leftover from the mid-00s craze of inserting CGI Smurfs into a sitcom-y New York, Tom & Jerry follows a familiar formula, but at least does so with sophisticated computer cel-shaded animation. That’s pretty nice.

The premise of this HBO Max-bound release is Jerry has set up shop as a mouse in a Manhattan hotel when junior management (Chloe Grace Moretz) introduces a cat to take him out. Unfortunately, for her, the cat is Tom. The two old foes immediately resort to their old ways, destroying the swanky establishment just before a high-profile wedding. Maybe she should have called the Ghostbusters?

Cherry

February 26 (March 12 in the UK)

Tom Holland and the Russo Brothers are a long way from the Marvel Cinematic Universe now. Indeed, after helming the highest grossing movie in history, Joe and Anthony Russo are turning their attention to the opioid epidemic in the U.S. by offering a stylish depiction of an Army vet who falls into addiction and a career of fourth wall-breaking bank robberies. Holland is clearly trying to step away from his goofy Spider-Man image, and the picture is of high pedigree for Apple TV+. The movie also stars Ciara Bravo and Jack Reynor.

The United States vs. Billie Holiday

February 26

This upcoming Hulu release is a passion project for Lee Daniels (Precious, The Butler), and one that aims to provide new dramatic light on the life of Billie Holiday. One of the great jazz and swing singers of the 1940s and ‘50s, Holiday had a singular voice and talent that was commodified by the music industry at the time due to her Blackness, and then hindered further the more political she became. While Holiday did have a drug problem, it’s interesting how the industry seemed to conspire to exacerbate it, as opposed to urging her to get clean.

A traditional biopic, The United States vs. Billie Holiday is now getting awards notice, with Andra Day’s starring turn as Billie already netting her a Golden Globe nomination. Not bad for an actor in her first starring role.

The Father

February 26 (March 12 in the UK)

It’s one of the most powerful movies of 2020… and one of the most depressing. In a role that’s already netted him Golden Globe and SAG nominations, Anthony Hopkins plays Anthony, an elderly man who’s been living alone for years since his wife passed. But with dementia setting in and his daughter (Olivia Colman) wishing to move to Paris, some tough decisions are going to be made about Anthony’s care.

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Yet what makes Florian Zeller’s The Father so effective is it’s told entirely from the perspective of Anthony’s deteriorating mind, and as it goes along, it becomes unclear how much of what you’re seeing can be believed as happening—or if it might’ve happened years ago. Hallways in his London flat change, doors are replaced, and the countenance of his daughter’s boyfriend shifts or vanishes depending on the day. It becomes debilitating, and ultimately heartbreaking, stuff.

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[immaculate-benediction-batch]

They seem to have forgotten their child is missing!': BBC viewers blast The Child In Time's 'unrealistic' plot... but praise Benedict Cumberbatch for his 'heartbreaking' performance

However The Child In Time was met with mixed reviews from fans, after its big debut on Sunday night. Viewers took to Twitter to blast the plot, which follows grieving parents Stephen and Julie after their daughter goes missing, as 'confusing' and 'unrealistic' - although many praised Benedict Cumberbatch for his 'poignant' performance. The tear-jerking drama follows Benedict as Stephen Lewis, who is forced to face the unthinkable when his daughter Kate, four, goes missing in the supermarket.

Alongside his wife Julie, played by Kelly MacDonald, the pair struggle to cope with their grief and guilt, and attempt to maintain their marriage following the devastating event.  Despite its heart-breaking story however, many viewers took to Twitter to express their confusion - and blast the parents' 'unrealistic' reaction to losing their child.

One kicked things off by writing: 'I'm completely baffled by this. Why are they so calm if this was after their child was taken?' While another added: 'Totally unrealistic drama #TheChildInTime the parents seem to have forgotten about their missing child within a year!' Further viewers agreed, writing: 'Currently watching #childintime, confused more than a little. Odd behaviour from the parents, did the child actually exist? Hmmm' and 'I thought this was going to be about the disappearance of a child- I am confused.' Other viewers were quick to comment on the loop holes in the plot, which saw Stephen fail to look at the supermarket's security footage immediately after the event. 

One wrote: Watching the Child In Time - so many questions already. Why hasn't he looked at the supermarket CCTV? Wheres the police and social services?' While another added: 'The Child In Time, he was right next do the door of a supermarket. Why not just check the CCTV and then go from there?' Others however were more brutal in their critique, with one writing: 'What even happened in the child in time? I feel I wasted an hour and a half.' While another more passionate fan blasted: 'Hi @BBCOne. You need to have a long, hard look at yourselves because The Child In Time was utter garbage. I'll never get those 90 mins back.'   However, a number of other viewers were left in tears by the drama, and were particularly impressed with Sherlock star Benedict Cumberbatch's portrayal of a grieving father. One praised the actor by writing: 'Hugely poignant #TheChildInTime. Brilliant acting by Benedict Cumberbatch.' As another added: 'I am consistently blown away by Benedict Cumberbatch's acting, such a fantastic and heartbreaking performance #TheChildInTime.' Not forgetting traumatised mother Julie, played by Kelly MacDonald, further fans chimed in: 'The Child in Time' was absolutely beautiful, Benedict Cumberbatch & Kelly MacDonald were perfect' and 'That was amazing. Cried my eyes out and felt my heart warm up with love. Thank you #BenedictCumberbatch and #KellyMacdonald.' One viewers wrote: 'It seems #ChildInTime received mixed reviews - I thought it was brilliant. Tricky to bring Ian McEwan's words to life but this was great.' As another added in shock: 'Why so many negative tweets about A Child In Time?! It was beautifully made, with incredible acting and a heartbreaking theme. Amazing.' Despite the devastating story line, Benedict recently admitted he was keen to convey the characters' love for each other following the drama, as well as their overwhelming grief. 

He told Weekend Magazine: ‘It’s ultimately a very enriching tale of endurance and committing to love.  'A love that was there before and after, and this horrible acceptance of an absence but continuing to love that person despite them not being present. That’s the salvation in this very dark story.’  While he has carved a career as a successful actor however, Benedict admitted it was a particularly difficult role to play as a father himself - to young sons Christopher and Hal with wife Sophie Turner. He continued: 'It was an unpleasant place to go to. By circumstance it happened that my second boy had been born weeks before, but it’s not a prerequisite for this role to be a father.  If you were a childless actor trying to imagine it you’d have to be made of stone not to feel the enormity of what that must be like... how you make sense of a life with an absence that’s ever-present is a horrible thing to contemplate.’ 

http://www.dailymail.co.uk/tvshowbiz/article-4917040/BBC-viewers-blast-Child-Time-s-unrealistic-plot.html

[kcaruth]

Movie Mania: Top 10 of 2019

Another year of movies, another year a Star Wars film sadly did not make the cut for my list. With 2019′s The Rise of Skywalker, it is absolutely clear that the folks at Disney/Lucasfilm had no roadmap for this sequel trilogy whatsoever, which is an utter shame given their abundance of resources and proven ability to produce quality content as seen with the success of The Mandalorian.

In a rare occurrence, I saw most of the films nominated in the major categories for the Academy Awards. In fact, the Academy nominated seven out of my top 10 films for at least one award. I would say that 2019 was a markedly stronger year for film than 2018, so I have allowed myself a couple of extra honorable mention slots. One quick housekeeping note before I unveil my 2019 list: I’m retroactively moving Game Night and A Quiet Place ahead of Bohemian Rhapsody and Green Book on my 2018 list. Now it is time to jump into my favorite films of 2019. (No spoilers!)

Honorable Mention: Joker

Nominated for a whopping 11 Oscars (equaling The Lord of the Rings: The Return of the King [which swept all 11], The Godfather [Parts 1 and 2], West Side Story, and Saving Private Ryan, among others), Joker should get an award for most divisive film of the year. Directed by Todd Phillips (yes, the same guy who directed The Hangover), Joker is a psychological thriller staring Joaquin Phoenix that provides a possible origin story for Batman’s arch-nemesis. Before becoming the Joker, Phoenix’s character, Arthur Fleck, dreams of becoming a famous stand-up comedian. His gradual descent into insanity, nihilism, and violence mirrors the chaotic anarchy slowly consuming the decaying Gotham City as its citizens revolt against the wealthy and better-off.

Despite the concerns surrounding Joker that it would inspire real-world violence, the film has grossed over one billion dollars, making it the first R-rated film to do so. Phoenix disappears into his role, and Icelandic composer Hildur Guðnadóttir’s haunting score brilliantly conveys the inner pain and turmoil in Arthur’s mind as well as the dying light of Gotham. (Guðnadóttir made history as the first solo woman to win a Golden Globe for best original film score.) In an interview with Forbes, Guðnadóttir explained the concept of her turbulent score. “In the beginning, it’s almost just like a solo cello, but in reality, there’s a whole symphony orchestra behind the cello. It’s almost like this hidden force that he doesn’t know about and as he starts to kind of discover what he’s gone through and what’s actually happened to him, the forces become louder and more aggressive. The orchestra takes over and almost eats the cello alive.”

Although Joker is a powerful film and and makes strong statements about mental illness and poverty, its gruesome, unhinged violence can be hard to handle. Everything is shown in graphic, bloody detail, making the thought of a repeat viewing undesirable. I also could have done without a couple of choices that were made involving the Waynes, especially one scene that we have seen over and over again.

Honorable Mention: Ford v Ferrari

As someone who really does not care all that much about cars and their inner workings, this film did the one thing it needed to do for me: It made me come out exclaiming, “Yeah, cars!”

In all seriousness, James Mangold’s sharp direction smartly focuses not on the sport of racing but rather on its big personalities. Those personalities gripped me so much that I immediately started researching their lives after the film ended. The plot follows Carroll Shelby and Ken Miles as they are dispatched by Henry Ford II to dethrone the dominant Ferrari racing team with an American-made car. Along the way, they have to deal with mechanical setbacks and corporate interference to achieve their goal.

This film’s cast is outstanding. Matt Damon and Christian Bale’s deep but sometimes heated friendship as Shelby and Miles is the heart of the film. Tracy Letts as Ford II and Josh Lucas as Leo Beebe, senior executive vice president of Ford, give off the perfect amount of corporate stench to make them unlikable but not unbelievable. 14-year-old Noah Jupe comes off his great performance in 2018′s A Quiet Place to deliver another stellar outing here as Miles’ young son. However, Jon Bernthal felt a bit underused as Lee Iacocca, vice president of Ford, and Cautriona Balfe’s role as Mollie Miles, Ken’s wife, though well-acted, felt like it could have been removed entirely without much consequence to the film overall.

With a moving score and great cinematography, Ford v Ferrari unexpectedly tugged at my heartstrings, and the infectious passion Shelby, Miles, and these other characters have for cars managed to rub off on me, which might be the ultimate testimonial for this film.

Honorable Mention: 1917

1917 has been hyped as “that World War I movie with one continuous take,” but it is so much more than that. World War I was a stark clash between 20th-century technology and 19th-centry tactics. With soldiers largely trapped in trench warfare, conflicts commonly turned into battles of attrition. That does not exactly translate into exciting cinema, which explains why there are so many more films about World War II. Karl Vick acknowledges this in Time magazine, writing, “motion pictures do require a certain amount of motion, and the major accomplishment of 1917...may be that its makers figured out what the generals could not: a way to advance” (Karl Vick. Time. "Escaping the Trench". January 20, 2020. Page 38-41.)

What more can one say about Roger Deakins at this point? What he and director Sam Mendes created with the cinematography of this film is nothing short of fantastic. With its cinematic achievement of what is made to look like one continuous shot, 1917 presents most of its actors with only a small amount of screen time to make an impact, and they are more than up to the challenge. Mark Strong, Andrew Scott, Benedict Cumberbatch, Colin Firth, Richard Madden, and others all leave a lasting impression with their extremely short encounters with the film’s main characters, Lance Corporal Blake (Dean-Charles Chapman [Tommen!]) and Lance Corporal Schofield (George MacKay). Mendes places the bulk of the weight of the film on Chapman and MacKay’s shoulders, and they luckily carry it with natural ease. Working together with the one continuous take style, Thomas Newman’s riveting score keeps viewers on the edge of their seat and makes them feel like they are part of this life-or-death mission with the lance corporals.

If I had to list a couple of flaws with the film, I would say that one of the characters feels like he has untouchable plot armor. It almost seems like Mendes and company hope that the awe-inspiring cinematography will make viewers forgiving or even ignorant of the amount of times this character should be fatally shot or even injured, but I understand that some artistic license is necessary to convey the story they want to tell. The nature of the cinematography employed here also makes it difficult to get a grasp on distances and positioning because the shot is never really allowed to zoom out or give an aerial view since it is fixed on the lance corporals.

Unfortunately, I experienced this breathtaking film with one of my worst theater audiences of 2019. Much of the film was drowned out by the ladies sitting next to me who felt the need to constantly narrate everything that was happening on screen. “He’s going down into the trenches.” “Look! He’s jumping into the water.” Etc., etc. This is not your living room, people! If people want to talk over a film like this and provide running commentary and narration, they should wait for its home release. Your fellow audience members are not blind, and we would greatly appreciate it if you remained quiet.

#10: Spider-Man: Far From Home

After Avengers: Endgame released earlier in the year, the spotlight promptly shifted to Jon Watts’ Spider-Man: Far From Home, and he did a tremendous job with this film. Serving as both the epilogue to Endgame and the sequel to Spider-Man: Homecoming, Far From Home effectively closes out phase three and sets the stage for the next era of the Marvel Cinematic Universe. Far From Home is the first Spider-Man film to pass the billion-dollar mark, and it is not hard to see how it managed to pull that off. The returning cast led by Tom Holland as Peter Parker/ Spider-Man retains its great chemistry, and Jake Gyllenhaal is the perfect choice to play Quentin Beck/ Mysterio, complete with a great theme from returning composer Michael Giacchino. Fans of Spider-Man have been waiting forever to see this character on the big screen, and I am happy to report the film does him justice. Watts especially knocks his character out of the park with a certain sequence about halfway through the film that I was beyond thrilled to see.

The film is set immediately after the events of Endgame and finds Peter and his high school class taking an international field trip to Europe. The writers do an amazing job explaining the ramifications of Endgame, and the way they weave plot details and character motivations together all the way back from phase one of the MCU is mind-blowing. Watts realizes that there needs to be some levity after Endgame, so this film is full of laugh-out-loud humor and charmingly awkward teen road-trip set-pieces. Oh, and did I mention it has one of the best mid-credits scenes in the entire MCU that dramatically alters the characters’ futures going forward?

#9: Toy Story 4

I have a deep personal connection to the Toy Story franchise. I grew up watching Toy Story and Toy Story 2 on repeat, and Toy Story 3 came out during my senior year of high school. Those who have seen that film know why it especially resonated with me at that age. In my opinion, Toy Story 3 ended the trilogy perfectly; there was no way another film could top its emotional ending. When I heard that Pixar was coming out with Toy Story 4, I was not going to pass up another opportunity to hang out with Woody, Buzz, and the gang, of course, (neither was anyone else, seeing as this is the highest grossing film of the franchise) but I set my expectations to a low, manageable level.

Although I was disappointed that Buzz and the rest of Andy’s old toys were not as heavily involved in the plot and did not have all that much time to interact with Woody, I was impressed overall with the new characters and was happy to see Bo Peep return. In this film, Bo breaks through her porcelain design and exhibits a character with total agency over her choices. Everything about her redesign and the way she carries herself is awesome. Keanu Reeves’ Canadian daredevil Duke Caboom steals every scene he is in, and Christina Hendricks’ Gabby Gabby gave me terrifying flashbacks to Talky Tina from the “Living Doll” episode of The Twilight Zone.

As audiences have come to expect from Pixar, the film delivers stunning animation and a signature big emotional gut punch, which it earns it by building up genuinely heartwarming moments throughout its run time that address themes such as the difficulty of change, the beauty of imperfection, the mystery of creation and the meaning of life, and the importance of serving others. As Matt Zoller Seitz writes for RogerEbert.com, “This franchise has demonstrated an impressive ability to beat the odds and reinvent itself, over a span of time long enough for two generations to grow up in. It's a toy store of ideas, with new wonders in every aisle.”

#8: Doctor Sleep

Writer-director Mike Flanagan took on the unenviable task of pleasing two different parties when Warner Bros. hired him in January 2018: fans of Stanley Kubrick’s The Shining from 1980 and Stephen King and fans of his books The Shining and Doctor Sleep. Somehow, he managed to pull it off.

After visiting the Timberline Lodge in Oregon, the location used in Kubrick’s film for the exterior of the Overlook Hotel, this past summer, I decided it was finally time to watch The Shining. I can attest it is just as much a masterpiece as many people say it is. My favorite part: it is a horror movie that does not rely on jump scares. When I heard the Flanagan wanted to chop away at the horror genre’s reliance on jump scares, I was even more excited to see Doctor Sleep. Flanagan said, “When we were developing the project and when we were talking about the metered expectations audiences have about, in particular, jump scares and startles and the pacing of those, which we’re utterly uninterested in this film, I would say, ‘What’s your favorite jump scare in The Shining?’ There isn’t one. The same is true here. We used a lot of the lessons that Kubrick taught us about how to do a psychological thriller, a supernatural thriller, in a way that is more about suffocating atmosphere and tension than it ever is about the kind of traditional scares as we understand them today.”

It is well known that King really disliked Kubrick’s adaptation of his book. He disliked it so much, in fact, that he wrote and executive-produced a new version with the 1997 television miniseries. In his approach to Doctor Sleep, Flanagan first read King’s book, which was published in 2013, and then consulted closely with the author to reconcile the differences between the book and film version of The Shining. After reading Flanagan’s script, King felt like his least favorite parts of Kubrik’s film had been “redeemed.”

Set several decades after The Shining, Doctor Sleep reunites audiences with Danny Torrance, played by everyone’s favorite Jedi, Ewan McGregor. Danny continues to struggle with the childhood trauma he endured at the Overlook Hotel during the events of The Shining, turning to alcohol to numb the pain and his psychic abilities. Meanwhile, the True Knot, a cult of psychic vampires led by Rose the Hat (Rebecca Ferguson), is on the hunt for children with psychic abilities like Danny’s, and they are hot on the trail of young Abra Stone, played by Kyliegh Curran in her feature film debut.

With the benefit of having just seen The Shining a couple of months before this film, I was able to appreciate Flanagan’s careful attention to detail. He is clearly a fan of both King and Kubrick, but he does not let his admiration for them impede his own creative vision. He expertly balances original content with just the right amount of fan service and callbacks to The Shining. Even without jump scares, the film has plenty of horrifying moments, especially one involving young actor Jacob Tremblay that echoed in my mind long after the film had ended. Ewan McGregor is fabulous, as always, convincingly portraying Dan’s fight with his inner demons, and Rebecca Ferguson looks like she is having a devilishly good time as Rose the Hat. Above all, I was surprised to learn that this was Kyliegh Curran’s film debut. She is so comfortable on camera and has painted a bright future for herself out of the darkness of this film.

Doctor Sleep gave me all sorts of chills down my spine, induced by the eerie atmosphere of certain scenes as well as extremely well-timed tie-ins to its predecessor, that left me hungry for even more Stephen King stories.

#7: Once Upon a Time in Hollywood

Set in 1969 Los Angeles, Quentin Tarantino’s ninth film stays true to its name and delivers an alternate version of events that unfolded in Hollywood that year. In addition to Sharon Tate, Roman Polanski, and the Manson Family, the film tells the story of fictional characters Rick Dalton and Cliff Booth. Dalton is a veteran Hollywood actor most famous for starring in a Western television series called Bounty Law who believes he is approaching the end of his career. Booth, a war veteran with a shady past, is Dalton’s best friend and longtime stunt double. Together, they attempt to navigate the final stretch of Hollywood’s Golden Age.

Leonardo DiCaprio and Brad Pitt work incredibly well together as Dalton and Booth, respectively, with neither star trying to outshine the other. Margot Robbie, on the other hand, does not get a lot of material to work with as Tate. (Do not tell Tarantino that.) Conversely, Julia Butters blew me away as Trudi Fraser, Dalton’s eight-year-old co-star in the pilot of a new American Western series. She more than holds her own acting side by side with DiCaprio.

Although the film moves at a slow pace, leaving me to wonder at times where this story was even going or if I was just watching a day in the life, Tarantino’s usual engaging, snappy dialogue entertains even when there is no real action happening on screen. With this being Tarantino, audiences have to accept his signature peculiarities, like close-up shots of feet, to be treated to another perfectly crafted soundtrack, complete with classic rock and roll, old-time DJ chatter, and period-accurate radio commercials. In the end, the slow pacing of Tarantino’s script actually helps enhance the heart-stopping standoff at the halfway point and the absurd payoff at the end. Clearly, this film is Tarantino’s passion project. In fact, he said it is “probably my most personal. I think of it like my memory piece... This is me. This is the year that formed me. I was six years old then. This is my world. And this is my love letter to L.A.” No wonder he publicly referred to it as Magnum Opus while he was writing it.

#6: El Camino: A Breaking Bad Movie

Written and directed by the creator himself, Vince Gilligan, El Camino serves as the epilogue to Breaking Bad, giving fans closure on certain questions and characters. Many favorites from the series return in some form or fashion (shout-out to Jesse Plemons for absolutely crushing his role here), but the focus always remains on Jesse Pinkman. Whereas Breaking Bad was Walter White’s story, El Camino puts Jesse center stage, and Aaron Paul gives one of the best performances of his career, fully tapping into his character’s desperate, damaged psyche.

Breaking Bad and Better Call Saul are two of my favorite television shows, and I think Gilligan is one of the best show runners in the business. He manages to incorporate the tone and atmosphere from the world of those two shows into this film seamlessly, and he rewards longtime fans with a nice amount of Easter eggs. Cinematographer Marshall Adams deserves so much praise for the jaw-dropping shots that grace the screen, especially the ones that show off the New Mexico landscape. He has an astonishing ability to make every frame look like a detailed painting. Editor Skip Macdonald should also be recognized for his work, particularly for the way his editing of Jesse searching for something in an apartment reinforces Gilligan’s non-linear revelatory style of storytelling.

El Camino does not waste any time with exposition, so someone who has not seen Breaking Bad cannot jump right into this film and understand what is going on. Then again, what rock have you been hiding under if you have not seen Breaking Bad at this point? What are you waiting for? Let this be your motivation to finally watch it, and then once you have made it through the series and El Camino, keep the good times rolling and watch Better Call Saul, which is just as good, if not maybe even a little better than, Breaking Bad.

#5: Jojo Rabbit

Only the whimsical genius of Taika Waititi could have concocted this irreverent, dark satire set against the backdrop of World War II Nazi Germany. Based on Christine Leunens’ book Caging Skies, Jojo Rabbit stars Roman Griffin Davis as the titular Johannes “Jojo” Betzler, a jingoistic 10-year-old German boy enrolled in the Hitler Youth. Jojo lives with his mother, Rosie, played by Scarlett Johansson. As far as Jojo knows, his father is fighting on the Italian Front, so he often turns to his imaginary friend, a wacky version of Adolf Hitler (Waititi), for advice and support as Germany becomes more desperate as the war starts to reach its conclusion.

Jojo Rabbit’s black comedy places viewers in plenty of predicaments in which they want to laugh, are not sure its entirely appropriate, but still end up doing so anyway. The film balances this out by keeping a good amount of heartrendingly emotional and genuinely sweet moments tucked up its sleeve. Waititi and Romanian cinematographer Mihai Mălaimare, Jr.’s visual storytelling is on a whole different level, carefully using ordinary imagery as subconscious foreshadowing, leading to one of the biggest breath-stealing shocks of the entire year that stopped my heart and rocked me to my core. Michael Giacchino seems to have been criminally overlooked by the Academy for his simultaneously jaunty and intimate score that adds yet another impressive layer to the film’s wide range of emotional beats. Living in a world fueled by hate, Davis, Johansson, and Thomasin McKenzie’s characters show how compassion and the willingness to try to come to a common understanding can change, and in some cases save, lives.

#4: Marriage Story

Writer-director Noah Baumbach paints what may be the most brutally honest picture of divorce I have ever seen on screen in Marriage Story. Before Marriage Story, I had never seen one of Baumbach’s films, but I get the sense from this film that he takes a very grounded approach to storytelling.

Marriage Story stars Adam Driver and Scarlet Johansson as Charlie and Nicole Barber. Charlie is an acclaimed theater director, and Nicole is his muse. Despite her acting skills, Charlie always receives all the praise, leaving Nicole to congratulate him from the back seat and contemplate what kind of professional movie and television acting career she possibly gave up to be with him. She also misses living in Los Angeles and being close to her family. At the center of this tenuous relationship is the couple’s young son, Henry. As things go from bad to worse in their relationship, Charlie and Nicole start down the path to divorce, initially wanting to approach everything amicably without involving lawyers, but quickly walking back on that as they begin to doubt each other’s motives and end goals, especially in regards to Henry.

Driver and Johansson both put on a masterclass of acting here, but I would have to give Driver my nod in choosing the stronger performance of the two. He is a tour de force in this film, unyielding to the unflinching camera. Alan Alda and Laura Dern keep pace with Driver and Johannson beat for beat as Bert Spitz and Nora Fanshaw, Charlie and Nicole’s lawyers. Baumbach smartly chooses not to wallow in the melodrama of the messy divorce, showing that small, flickering sparks of love still exist between Charlie and Nicole, maybe not enough to reignite the flame that brought them together in the first place, but enough to convince you that they still have a hope for some kind of happiness.

#3: Knives Out

After the Internet firestorm that was Star Wars: The Last Jedi, Rian Johnson did the best thing he could have possibly done—he went far, far away from any established franchises, rounded up an all-star ensemble cast, and wrote and directed his own original murder mystery film. Through some ingenious plotting, Johnson revitalizes the entire genre and turns the classic whodunit on its head, all the while delivering some timely social commentary. Complete with Daniel Craig delivering a monologue about donut holes in a southern gentleman accent, Knives Out is an absolute delight.

The events of the film center around the Thrombey family, with the main mystery beginning after patriarch and rich crime writer Harlan Thrombey (Christopher Plummer) is found dead in an apparent suicide the morning after his big 85th birthday party with his family at his mansion. An anonymous source informs private detective Benoit Blanc (Craig) of Harlan’s death and hires him to investigate.

A huge fan of classical mystery thrillers and comedies, Johnson’s love of the genre is tangible, but he never allows the narrative to become overly meta, referential, or even reverential, for that matter. I have already mentioned Craig and how much fun he looks like he is having in his role as Blanc, but Ana de Armas breaks out as Marta Cabrera, Harlan’s caretaker, and is the heart of the film. The rest of this high caliber ensemble cast has its moments, and I only felt like a couple of the characters were completely disposable, such as Jaeden Martell’s Jacob Thrombey, for example.

Johnson keeps his audience on its toes for the entire film. Just when the solution seems obvious, he throws another twist at them to throw them off the scent. It is a true shame that Knives Out received only one nomination from the Academy, but Johnson more than deserves that nomination for best original screenplay.

#2: Avengers: Endgame

It has all led up to this, the culmination of phases one through three of the Marvel Cinematic Universe. Admittedly, I was not the biggest fan of Avengers: Infinity War; I did not care for its overall slow pacing. Avengers: Endgame, however, is everything I wanted in this grand finale of the Infinity Saga. Whereas Infinity War felt overcrowded, Endgame brings it all back home to the original Avengers team for the majority of its surprisingly swift 182-minute run time, allowing them to essentially take a victory lap before the next phase of this cinematic universe begins. In the interest of not giving anything away, I will keep this brief, and trust me when I say that I could go on and on talking about how much I enjoyed this film. I will just end by saying that directors Anthony and Joe Russo and producer Kevin Feige certainly reward the dedication of fans who have watched all 21 films leading up to Endgame, and Robert Downey, Jr. submits one of his best performances as Tony Stark/Iron Man. #ILoveYou3000

#1: Parasite

Far and away my favorite film of 2019 was Bong Joon-ho’s Parasite, a South Korean dark comedy home-invasion thriller about a poor family plotting to improve their circumstances by tricking an extremely wealthy family into hiring them by posing as unrelated, highly skilled individuals.

I came into this film ignorant of its premise, and I was completely floored. This is Bong Joon-ho in total control of his craft. Parasite has a mesmeric rhythm to it that is aesthetically energized, allowing the film’s strikingly bold tonal shifts to work so well. Every act increases the ever-present nail-biting suspense, supplemented by cinematic moments of pure genius like the nearly five-minute long montage towards the end of the first hour. Every single member of the cast knocks it out of the park, and there is enough social commentary to fuel college essays for years. The twists zig when you think they are going to zag; it is a truly wild ride. To put it quite simply, Parasite is a masterpiece.

The following are a list of films I saw from 2019, in no particular order:

·         Glass

·         How to Train Your Dragon: The Hidden World

·         Captain Marvel

·         Shazam!

·         Avengers: Endgame

·         Aladdin

·         Booksmart

·         Rocketman

·         X-Men: Dark Phoenix

·         Men in Black: International

·         Toy Story 4

·         Spider-Man: Far From Home

·         Once Upon a Time in Hollywood

·         Joker

·         Parasite

·         Jojo Rabbit

·         The Lighthouse

·         Doctor Sleep

·         Ford v Ferrari

·         Frozen II

·         Knives Out

·         Star Wars: The Rise of Skywalker

·         1917

·         The Two Popes

·         The Irishman

·         Marriage Story

·         El Camino

·         Uncut Gems

·         One Piece: Stampede

I somehow completely forgot I saw The Peanut Butter Falcon and absolutely adored it; I definitely recommend checking out this feel-good film.

My 2018 film list: https://kcaruth.tumblr.com/post/182182411291/movie-mania-top-10-of-2018

My 2017 film list: https://kcaruth.tumblr.com/post/171040800751/movie-mania-top-15-of-2017

My 2016 film list: https://kcaruth.tumblr.com/post/156340406236/movie-mania-top-15-of-2016