#but anyway when you look at the ratings on letterboxd you can see very little 5 star ratings. but they are there. there's only two | Explore Tumblr posts and blogs

derekfoxwit · 3 years ago

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Doctor Dorpden’s Critical Tips of Prestige

Note: This post was made with satirical intentions in mind. I’m only emphasizing because I’ve had a couple of comments on previous joke posts I’ve did take it seriously. With that said, here we go.

Tip 1: For starters, remember that when looking at the work, if the Mystic Knee twitches fast enough to punch a hole in a wall, this suggests that the work should be near the lowest of the low. No further development of opinion is needed.

Tip 2: For an equal degree of sophistication, give the warm comfort of nostalgia at least 5 times more chances than the new thing that MAY seem actually poggers.

Tip 3: If you have the anecdote of encountering shitty fans, then use them as a scapegoat for the show they flaunt over being shitty. Clearly, they’re always making the show the way it is.

Tip 4: If you haven’t heard much about a newer film or show you’re yet to watch, there’s an 85% chance that film or show is actually not worth your time. The Father (2020) isn’t as widespread as Joker (2019) for a reason.

Tip 5: At this point, just go for the Asian Artist Dick. I’m actually in the mood to see merit in that because I want to look edgy against cute doodles. Stop attacking Uzaki-Chan, you cowards!

Tip 6: Avoid the electronic tunes. They’ll make you smell like a bum, for there’s no structural in a music album that’s nothing but wubs.

Tip 7: If you see a Tweet that looks dumb, use it as a means of generalizing all the fans of a work as sharing that same opinion.

Tip 8: If the cartoon I’m given doesn’t provide me with mature ideas such as slicing an Arbok in half or fake boobs, then the cartoon might as well be on the same level as Teletubbies.

Tip 9: You know the music is (c)rap when it brings up drugs, regardless of lyrical context.

Tip 10: Raw mood is the indicator of quality cartooning. If you’re quick to assume the worst in the newest HBO Max original cartoon, then you got thyself a stinker. Same thing if you were super bummed out when watching a new thing, regardless of anecdotal context.

Tip 11: When you’re not given continuous throwbacks, ensure you’re as reductive and over-generalizing about the works shown as possible.

Tip 12: If your hazy and imperfect as hell recollection of a children’s film, whether it’s Wall-E or Lilo & Stitch, would describe said film as “too sugary” or “key-waving schlock”, then that HAS to be the case. No meat on that bone whatsoever.

Tip 13: Simpler, more graphic style that isn’t as realistic as old-school Disney or Anime? You got yourself a lazy style with zero passion put into it.

UPA? Who’s THAT?!

Tip 14: Don’t trust anyone saying that western children’s cartoons had any form of artistic development after 2008 (with, like, TWO exceptions). If it did, why didn’t we go from stealing organs in a 2001 cartoon to showing opened stomachs in a 2021 cartoon?

Tip 15: Big booba is always important to the strong female character’s quality.

Tip 16: Only MY ships count, for they provide me with a feeling of intelligence.

Tip 17: “PG-13″ and “R” rating just simply mean you’re not caring for expressing themes in a sophisticated manner. It’s just THAT simple until I dictate otherwise.

Tip 18: In this age of smelly radicals, “Death of the Author” is more important than ever. Without it, this’ll imply that a classic like The Matrix was secretly toxic, due to what the Wachowskis have to say about it being an “allegory of trans people.”

Tip 19: Turn the fandoms you hate into your torture porn. Ask in Tweets to Retweet one sentence that’d “trigger” them. Go out of your way to paint all of them as blind consoomers. That’ll show them, and it’ll show how much more intelligent you are compared to those clowns.

Tip 20: Whatever the Mystic Knee dictates upon the first viewing of a work is what shall indicate the full structural extent of the film.

Tip 21: The mindset of a 2000s edgelord is one that actually understands the artistry of the medium of animation. Listen to that crazy but ingenious man.

Tip 22: Because sheer ambition makes me feel manly, the high pedestal you bestow upon a cartoon work should be based mostly on the mere mention or mere suggestion of serious topics. This means that pure comedy is smelly.

Tip 23: Is the new work tackling subjects that you’ve loved a childhood work of yours for covering? Just assume it’s super bare-bones in that case compared to the older case, for there’s nothing the older work can do to truly prove itself otherwise. Seriously, Letterboxd. Stop giving any 2010s cartoon anything above a 4/5

Tip 24: If the Mystic Knee is suggesting that the work is crummy, then consider any explanation off the top of your head for why the work in question is crummy.

Tip 25: Sexual and gender identity is inherently political, so don’t focus on them in the story. It’s no wonder why Full Metal Alchemist has caught on more than the She-Ra reboot.

Tip 26: Since I got bothered by a random butt monkey type character in a crummy cartoon, I’m now obligated to assume that having a butt monkey will only harm the writing integrity of the cartoon.

Seriously, Mr. Enter....what?!

Tip 27: We’re at a point where pure comedy for a kids’ cartoon is doing nothing but dumbing down the children. Like seriously...... I doubt Billy and Mandy would ever use farts as a punchline, unlike these newer kids comedies.

Tip 28: The difference between the innuendo in kids’ cartoons I grew up on and the ones Zootopia made is the sense of prestige they give me. Just take notes from the former instead.

Tip 29: Wanna make a work of artistic merit? Just take notes from the stuff I whore out to. It’s just THAT simple until I dictate otherwise.

Tip 30: Always remember this golden rule: If the newer work, or a work you’ve recently experienced the first time, was truly great, why isn’t it providing the exact emotions from your younger, more impressionable years?

Tip 31: If the Mystic Knee aims to break the bones of a character doing certain things (.i.e. having body count of thousands; lashing out to character; etc.), that means the character is bad and deserves no redemption.

Tip 32: If you want me to believe there’s any intrigue or depth in your antagonist, give them redemption, for I am in need of that sorta thing being spelled out. Looking at you, Syndrome. Should’ve taken notes from Tai Lung.

Tip 33: In a case where you’re going “X > Y” (.i.e. manga compared to western comics), ALWAYS CHERRY PICK! Use the recent controversies of the “Y” item while pretending that the “X” item has never had anything of the sort.

Tip 34: BEFORE you bring up those comments that shat on the original Teen Titans cartoon back when it was new, whether for making Starfire “more PC” or whatever.......the DIFFERENCE between them and me is that THEY were just bad faith fools that couldn’t see true majesty out of blind rage. I, however, am truly certain that calling any western TV cartoon from 2014-onward a work that transcends its generation suggests a destruction of the medium.

Tip 35: Based on fandom growth, it shows that any newer show isn’t being watched much by kids, but rather loser adults that act like children. Therefore, there’s more prestige in what I grew with.

Tip 36: The focus on children is bad at this point since the children of today have attention spans that flies would have.

Tip 37: A select few screenshots (or even one) of either a less elaborate attacking animation, less realistic game graphics, or a less on-model image in a cartoon indicates EVERYTHING about the work’s quality.

Tip 38: Consuming or writing media where characters go through constant suffering is little more than gaining pleasure out of it. YOU SICKOS!

Looking at you, Lily Orchard!

Tip 39: Whether it’s a sexual awakening story or just simply a romance, focus on a character being lesbian, trans, bi, etc., then it shouldn’t be in a kids’ work. It’s too spicy for them by default. Kids don’t want romance anyway.

Tip 40: The very idea of a western cartoon with no full-blown antagonist (i.e. Inside Out) is a destruction of animated artistry. Sorry, but it’s just THAT simple until I dictate otherwise.

Tip 41: Unless it’s my fluffy pillow, such as Disney’s Robin Hood, it should be obligated to assume the inserting of anthros is only there to pleasure the furries. Looking at YOU, Zootopia!

Tip 42: With how rough and rash The Beast was, it shows that he was more of an abusive lover. Therefore, I refuse to believe that Beauty and the Beast has any of the meticulous moral writing that most of Disney’s other 90s films has.

Tip 43: When you suggest one work should’ve “taken notes” from another work in order to do better, BE VAGUE! Those who agree will be shown to be geniuses.

Tip 44: Remember how morally grey Invader Zim was? That really goes to show how little the Western Animation scene has been trying since that show. Really should just be taking notes from that series (and of course anime).

Tip 45: Even if I have a radar that clearly indicates such, hiding the item I look for inside an enemy is always bad, for I refuse to believe it would be inside the enemy.

Goddamn it, Arin!

Tip 46: People struggle understanding your gender identity or pronouns? All there is to see in that is a giant cloud of egotism that reads “My problems” zapping another smaller cloud that reads “other people’s problems”. Seriously, kids are starving, so WHAT if you identity confused someone. Grow a spine!

Tip 47: Stop pretending that adaptations should colorize how a story or comic series should be defined. No way in FUCK can a cartoon or film incarnation become the definitive portrayal of my precious superhero idol.

Tip 48: Enough with your precious “limited animation” techniques, YOU WESTERN HACKS! All you’re doing is admitting to sheer laziness and lacking artistic integrity. Now if you excuse me, I’ll be watching more anime, since that gives me a sense of prestige.

Tip 49: If getting five times more detail than the 2D animated visuals have requires someone getting hurt, so be it. No pain, no gain after all.

Tip 50: Yes, I genuinely struggle to believe there’s this majestic level of layered material without having the most immediate yet still vague re-assurance practically yelling in my face. But that’s STILL the work’s fault, not mine.

Tip 51: Every Klasky-Csupo cartoon has more artistic integrity than any of them cartoons with gay lovers such as Kipo or the Netflix She-Ra show.

Tip 52: If Sergio Pablos’ Klaus is anything to go by, we have no excuse to utilize those smelly as fuck digital animation “styles” found on Stinky Universe, Suck-Ra or Rise of the Teenage Mutant Ninja Turds.

Tip 53: Stop projecting your orientation onto works of actual talent. Seriously, how does Elton John’s I’m Still Standing expel ANY rainbow flag energy?

Tip 54: Hip hop and electronica have been the destruction of music, especially the kind that’s actually organic and not farting on the buttons of a beeping or drumming gadget.

Tip 55: The audience for cartoons has become significantly less clear over the years. We should just go back to Saturday mornings of being sold toys or shit kids actually want.

Tip 56: PSAs for kids shouldn’t be about ‘woke’ content. They should be actual problems such as doing drugs; not playing with knifes / outlets / matches; or acceptance.

Tip 57: The instant you realize a detail in a childhood work that’s better understood as an adult, you’re forced to paint that work as the most transcendent thing in the world. It’s just THAT simple until I dictate otherwise.

Tip 58: Before you lash out on ALL rich people, remember this: #Not All Rich People.

Tip 59: There’s nothing to gain out of the (c)rap scene other than becoming a spiteful, gun-wielding thug that sniffs weed for breakfast.

Tip 60: Since the Mystic Knee told me to get anal about prom episodes in several gay cartoons, this shows that writing about one’s younger experiences just makes you look pathetic.

Tip 61: Another smelly thing about Zootopia is how it was painting a police chief as stern and exclusive. #Not All Chiefs

Tip 62: Me catching a glimpse of Grave of the Fireflies as a kid and turning out fine shows that you may as well show kids more adult works without worry. No amount of psychological questions being asked will suggest otherwise.

Tip 63: There’s a reason why the Mystic Knee keeps leaning more toward the 90s and early 2000s than most decades. That knee KNOWS where there’s a sense of true refinement.

Tip 64: The BIG difference between rock and electronica? Steward Copeland actually DRUMS. All that the likes of Burial, Boards of Canada, Depeche Mode and several others did was push drum buttons.

Tip 65: One exception to the golden nostalgia is when the work in question doesn’t stuff your face with fantastical, bombastic stories. At which point, there can only be rose-colored blinds covering Nickelodeon’s Doug. Nothing of merit or personal resonance to be found.

Tip 66: Remember that the sense of nuance in the work comes down to there being everything including the kitchen sink, whether it involves multiple geographic landscapes; giving us hundreds of characters; etc. Only through the extremes will I be able to tell there is nuance.

Tip 67: Once you see a joke that has an involvement with sexual or violent content, just ignore the full picture and just reduce it to having nothing to it but “sex, violence, gimme claps.”

PKRussel has entered the chat

Tip 68: With all the SJWs messing up the art of comedy, lament the times where you could be called a comic genius, NOT a monster, for shouting out the word “STAB,” calling a gay weird, painting Middle Easterns as inherently violent, etc.

Tip 69: Guitar twang will always win out over (c)rap beats. There’s a reason your grandma is more likely to listen to Lynyrd Skynyrd than Kendrick Lamar.

Tip 70: Once the Mystic Knee notices a lack of squealing at the video game with linearity, that shows there’s more artistry in going full-blown open world.

Tip 71: Related to Tips 66 and 68, ensure your comedy gets as much information and mileage out of each individual skit as possible. EMPHASIZE if you need to. Continuously spout out your quirky phrase of “STAB” if needed.

Tip 72: Based on the onslaught of TV shows with many seasons and episodes, animated or otherwise, it shows that there’s more worth going for that than simply having a miniseries or a 26-episode anime.

Tip 73: Building off of the previous tip, you’re better off squeezing and exhausting every little detail and notable characterization rather than keeping anything simple and possibly leaving a stone unturned, especially if there’s supposed to be a story.

Tip 74: Playing through the fan translation of Mother 3 made me realize how much some newer kids’ works just try too hard to get serious. Why even make the kids potentially think about the death of a family member?

Tip 75: The fear I had over Sid’s toys from the first Toy Story and similar anecdotal emotions are the be-all indicators of what kind of show or film is fitting for the children.

Tip 76: Seeing this British rapper chick have a song titled “Point and Kill” just further exemplifies the fears I’ve had about rappers being some of the most harmful folks ever.

Tip 77: The problem with attempting to make a more “relatable” She-Ra is that kids aren’t looking for relatability. They want the escapism of buff fighters or something similar. This is why slice-of-life is so smelly.

Tip 78: Based on seeing the rating of “PG-13″ or “R,” I can tell that the dark humor is little more than “hur dur sex and guns.” Given the “TV-Y7 FV” rating of Invader Zim, the writers should’ve taken notes from that instead just so I can sense actual prestige.

Tip 79: The original He-Man has more visual intrigue in its animation than any of those smelly glorified doodles found in the “styles" of the 2010s and early 2020s.

Tip 80: It’s always the fault of the game that my first guess (that I refuse to divert from) on how I have to go through an obstacle won’t work.

Tip 81: Zootopia discussing prejudice ruins the majestic escapism I got from my precious childhood films from 1991-2004. Them kids might as well be watching the news. Now to watch some Hunchback after I finish these tips.

Tip 82: There is no such thing as an unreasonable expectation, and there’s especially no wrong way to address the lack of met expectations! For example, if you expect some early 2010s cartoon on the Disney Channel to be a Kids X-Files, yet you get moments such as some girl getting high on stick dipping candy, you got the right to paint the worst out of that show for not being “Kids’ X-Files.”

Tip 83: Related to my example for Tip 82, if you get the slightest impression of something being childish, you know you got yourself a children’s work that does little than wave keys and has basically nothing substantial for them. In this situation, those malfunctioning robots found in Wall-E are the guilty party.

Tip 84: Without the extensive dialogue that I’m used to getting, how can one say for certain there was any amount of characterization in the title character of Wall-E?

Tip 85: Ever noticed yourself gradually being less likely to expect an upcoming work or view a work you’re just consuming as “the next best thing”? That’s ALWAYS the fault of smelly “artists” (hacks really) and their refusal to give a shit.

Tip 86: It’s obligatory for your lead to be explicitly heroic just so there is this immediate re-assurance that they’re a good one.

Tip 87: Without the comforting safety net of throwbacks, one cannot be for certain that there has been an actual evolution of a series or the art of animation and video games.

Tip 88: Don’t PSA kids on stuff they give zero fucks about. That means no gender identities or pronouns, race, etc.

Tip 89: Don’t listen to Mamoru Hosoda saying that anime women tend to be “depicted through a lens” of sexual desire. He’s just distracting from the superior prestige found in anime women.

Tip 90: If you’re desperate to let others know that your talking points are reasonable, just repeat them over and over with little expansion on said talking points.

Tip 91: 7 or more seasons of art is better than 26 episodes of art. EVERY TIME!

Tip 92: Always remember to continuously talk up the innuendo and mature subject matter of the childhood work as the most prestigious, transcendent thing of all time. With that in mind, there’s a high chance that your favorite childhood work will be better known than Perfect Blue (1997), and there’s likely a reason for that.

Tip 93: An art style that gives many characters relatively more realistic arm muscle details will always shine through more than any sort of art style done for “simplicity” (laziness, really).

Tip 94: Seeing a few (like, even VERY FEW) people show more enthusiasm for Steven Universe over Invader Zim really shows the lower bar that has been expected out of the western animation scene compared to anime.

Tip 95: Electronic music makes less conventional time signatures cheap as hell. REAL music like rock makes them the exact opposite.

Tip 96: If your Mystic Knee suggests that the 90s cartoon being viewed doesn’t showcase a vague sense of refinement or artistic integrity, then every related assumption of yours is right. EVERY TIME!

Tip 97: Doing everything and the kitchen sink for one series or movie shows a better sense of refinement and prestige than any form of simplicity. THIS includes character design as well.

Tip 98: The advent of that Star Wars: Visions anime really shows just how stinky western cartoons have become.

Tip 99: For those wondering, no, Europe isn’t being counted in my definition of “western animation”. Doing so is a complete disservice to prestige.

Tip 100: If even less than half of these tips aren’t being considered, you can kiss that prestige badge goodbye. After all, I SAID SO!

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letterboxd · 4 years ago

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Lonesome Cruiser.

Blockbuster composer Tom Holkenborg, aka Junkie XL, talks to Gemma Gracewood about composing for titans, his pride in Dutch cinema, friendship with George Miller and longing for Olivia Newton-John. Plus: his Letterboxd Life in Film and why he’s selling his prized collection of recording gear.

It has been a spectacular spring for Tom Holkenborg, the Dutch musician also known as Junkie XL, who has crafted the scores for multiplex fare such as Mad Max: Fury Road, Deadpool, Terminator: Dark Fate, Sonic the Hedgehog and the upcoming zombie banger Army of the Dead. Only weeks apart, two blockbusters landed on screens with his sonic stamp all over them: Adam Wingard’s Godzilla vs. Kong and Zack Snyder’s re-realized Justice League.

Thankfully, the Godzilla vs. Kong score was complete by the time the Justice League telephone rang. Holkenborg—who had lost the Justice League gig along with Snyder the first time around—knew the Snyder cut was coming; he had closely watched the growing calls for it online. “Zack and I already started talking in 2019. He’s like, ‘What if we were to finish this? What would it take?’ Those conversations turned to ‘Well, how many recording days potentially do you need and how much of an orchestra do you potentially need?’ Finally, somewhere in April 2020, that’s when that phone call came: ‘Okay, light’s green, start tomorrow, and start running until it’s done because it’s four and a half hours’.”

Ray Fisher as Cyborg in ‘Zack Snyder’s Justice League’.

Holkenborg approaches the titanic task of blockbuster film scoring with an engineer’s mindset: “Building a fantastic, huge house with 20 bedrooms and the dance hall and the kitchen… You’re not going to start by building the third bathroom for the third guest room, right?” Once he has identified the scenes that are most important to his directors—for Snyder, they included the introduction of Cyborg, three fight set-pieces, and a scene of The Flash running that comes towards the end of the film—the composer identifies instrumental “colors” in order to build a theme around each character. Then he holds some of those colors back, theorizing that “if you want like an, ‘Oh!’ experience by looking at a painting that has a huge amount of bright yellow in it, it’s way more successful to see fifteen paintings in front of it, where yellow is absent.”

The Godzilla vs. Kong score satisfies Holkenborg’s life-long love of both characters. “I don’t have a preference for either one. I love them both for various different reasons.” Their respective histories fascinate him: Godzilla as a way to make sense of Japan’s nuclear fall-out, and Kong as a gigantic spectacle that ended up attracting the sympathies of the audiences he was supposed to scare. Even when the science makes no sense (“what the fuck are plasma boosters, anyway?!”), Holkenborg is still happy to wax lyrical about the emotional depth of Kong’s stories, the elaborate concepts of the Godzilla-verse, and his musical approach to the pair—dark, moving brass for Godzilla, with synthesized elements “because he is a half-synthesized animal”, and a more organic, complex orchestration for Kong, featuring “one of the world’s bigger bass drums”.

Adam Wingard’s ‘Godzilla vs. Kong’.

All of this seat-shaking bombast is composed on an “insanely massive sound system” in Holkenborg’s small home studio (though he reassures pandemic-stricken film lovers that he has recently seen both Godzilla vs. Kong and Justice League on his laptop—and “really enjoyed watching it like that”). The process, he says, was “pretty intense”, but only in terms of the sheer amount of score needed. Composing in quarantine was not much different from his usual workflow. “I’m a pretty lonesome cruiser anyway. Composing, by nature, is like a solo exercise—obviously with assistance.”

Like many creatives (Bong Joon-ho recently told a film studies class that he is up at 5:00am most days to watch a movie), Holkenborg is an early riser, waking by 4:00am. “I’m super sharp between like 4 or 5:00am and 9:00am, so I like to do a lot of creative work in that slot.” He takes care of business until mid-afternoon, when another creative spurt happens. “And then I have another batch of calls usually to make, and then around 8:30pm, I’m going to retire for the rest of the day and just chill out a little bit and watch stuff that I want to see, read things that I want to read. Right now I’m studying Portuguese.” By 10:30pm, he’s asleep. “And then at three o’clock I get up.” (Needless to say, Holkenborg’s children are no longer small.)

The pandemic simplified a lot of things for a lot of people: for Holkenborg, it has been a moment to tidy up the physical side of his work. In November last year, he opened an online shop to divest the bulk of his gear—synths, pedals, guitars, drum machines and much more—that he has been collecting since the late 1970s. When friends told him he’d regret it, he disagreed. “At some point I’m going to die. I can’t take them to the afterlife. I also found out I don’t need them. I love to have them around, but I don’t need them.”

Tom Holkenborg with the bass drum used in the ‘Godzilla vs. Kong’ score.

It certainly solves the question of what he’d take if his house was on fire. “The hard drives with sounds and music over the last 40 years, 45 years, that’s hard to replace. So, that would be it. I’m just thinking about things that are absolutely irreplaceable and there are not that many, really.” Alas, it’s bad news for that bass drum. “I can’t take that with me when the house is on fire. Unfortunately, it’s going to make the house burn longer.”

Anyone who has interviewed or spent time with Holkenborg will agree: he may be a lonesome cruiser, but he is also personable, funny, loves to settle in for a chat. As he lights his second or third cigarette in readiness for his Life in Film questionnaire, I’m curious about his relationships with the esteemed filmmakers he has worked with—who include his mentor, Hans Zimmer, directors Sir Peter Jackson, Tim Miller, Robert Rodriguez and, especially, Fury Road’s George Miller.

The story of how Holkenborg scored Mad Max: Fury Road bears retelling: that George Miller did not want a soundtrack (“he was convinced that the orchestration of sounds of the cars would be enough to carry the whole movie”), that Holkenborg was only brought in to create a little something for the Coma-Doof Warrior’s flame-throwing guitar, that they hit it off, the job grew, and grew, into a score that covers almost the entire film.

The Coma-Doof Warrior in ‘Mad Max: Fury Road’ (2015).

What is his best memory of Fury Road? “Well, obviously, when I saw the movie for the first time and I was like ‘what the hell am I looking at?’,” he laughs. “What I mostly look back on is the friendship that I developed with George and the film school one-on-one that I got admitted to, while being paid at the same time, to study with somebody like him. We would talk all night about all kinds of things and nothing, because that really defines our relationship so much—a joint interest in so many different things.”

Happily, Holkenborg and Miller are working together again, on Three Thousand Years of Longing. “It’s really great to be in that process with him again. It’s just like about pricking each other with a little needle. It’s like, ‘Oh, why are you saying that?’ We do that with each other to keep each other sharp. ‘Oh, but if you’re doing this, I’m going to be doing that.’ And then, ‘Oh, if you’re doing that, I’m going to be doing this.’ So it’s really interesting.”

What is your favorite Godzilla film?

Tom Holkenborg: 1989’s Godzilla vs. Biollante. It’s a very obscure one where he’s basically fighting a giant rose. Let’s not look for the logic there.

Why has that particular Godzilla captured your heart? It’s so corny. Yeah. Mothra vs. Godzilla is also great. Mothra looks like a very bad Arabian carpet that was imported through customs and it got delivered by FedEx completely ruined and then laid outside for like four weeks in the rain.

‘Godzilla vs. Biollante’ (ゴジラvsビオランテ, 1989).

What is the first film you remember seeing in a cinema? Bambi. I was six years old, yeah.

And is there a film you have fond memories of watching with your family—a movie that became a family favorite? Not, like, a family favorite because our opinions were too diverse for that, but the next movie that became very important to me when I was a little older was Saturday Night Fever. I thought the soundtrack was, like, groundbreaking, mind-blowingly insane. It’s not necessarily those three massive beats of the Bee Gees on there, but all these other really alternative, left-field tracks by bands like Kool & the Gang. And the way that that darker disco music played against that really dark movie about what it’s like to live in New York and become a competitive dancer, it’s incredible. And still, today, it’s one of the movies where film music and the film itself had so much impact on me, even though it’s not a traditional film score in that sense. It’s incredible.

What is the film that made you want to work in movies, given that you also have a whole musical career separate from movies? (Enjoy Junkie XL’s early 2000s remix of Elvis Presley’s ‘A Little Less Conversation’.) For me, the move from a traditional artist into film scoring was a very slow gradual process. There’s not one movie that pushed me over the cliff. It’s just, like, all the great movies that were made. And I still have a list of obscure movies, classic movies that I need to see.

Yesterday I saw the weirdest of all, but I do want to share this: the original, uncut R-rated version of Caligula, [from] 1979. He [director Tinto Brass] was notoriously brutal and he organized orgies and had terrible torturing techniques. But it’s really weird, there’s Shakespearean actors in there, and then it goes to full-on porn sections. It’s really weird. The music is incredible. You can find it online. You will not find it anywhere [else]. I can just imagine what this must have felt like in 1979 when the film came out. Suspiria, that’s another one. It’s just like, how weird was that thing?

What is your favorite blockbuster that you did not compose? Ben-Hur. I’ve seen that one at least 20 times.

What’s your all-time comfort re-watch? The movie I’ve seen the most is Blade Runner. It’s just, like, it’s a nice world you’re stepping into, that fantasy. It’s not necessarily because I have memories [of] that movie that brings me back to a certain time period, it’s not that. It’s just that I just love to dwell in it. It feels a little bit like coming home. You can use it as comfort food, you can use it as, “I’m not feeling anything today”, or the opposite. You feel very great and you feel very inspired and it’s like, “Oh, let’s go home and watch that movie again.”

Terrence Malick’s ‘The Thin Red Line’ (1998).

Hans Zimmer has been an important mentor to you. Do you have a favorite of his scores? Yes, The Thin Red Line. It’s also the filmmaking of Terrence Malick—he forces a composer to think a certain way. He would always say, “It’s too much, make it less, make it smaller, make it this, make it that.” So, A, it’s a very good movie and B, he got Hans into the right place and Hans just over-delivered by doing exactly the right things at the right time and then shining just because of that.

Who is a composer that you have your eye on and what is one of their films that we should watch next? It’s so sad to say, but I mean, let’s call it like a retrospective discovery if you will. I’m so sad that we lost Jóhann Jóhannsson. He was a composer I felt really close to. We started roughly in the same time period making our way in today’s world. Also, Jóhann came from an artist background, even though it was a modern classical background. He made really great records, great experimentation with electronic elements, with classical instruments, and the mix between the two of them—very original way of looking at music. With Denis Villeneuve as his partner in crime the movies that they did were just mind-boggling good, whether it was Sicario or Arrival or Prisoners, and his voice will truly be missed among film composers. So people that are not super familiar with his work, I would definitely check it out.

‘Turks Fruit’ (Turkish Delight, 1973).

What is a must-see Dutch film that we should add to our watchlists? Holland has small cinema, but it has a really rich cinema and a very serious cinema culture. Usually because there’s not enough work in film, people are serious stage performers but then they also act in movies so they understand both really well. And we’ve delivered. There’s a string of actors that make their way to Hollywood or star in well-known series, whether it’s like Game of Thrones, or what we just talked about, Blade Runner. Many directors like Paul Verhoeven, Jan de Bont, the cameraman.

And so a movie that I’d like to pick is an old movie, called Turks Fruit (Turkish Delight) from the 1970s. Rutger Hauer is a younger guy, like, this completely irresponsible guy that starts this relationship with a really beautiful young girl, and they do all these crazy things, they do a lot of drugs and they have a lot of sex. He’s just like a bad influence on her.

Then he finds out she [has] cancer and it’s terminal. And to see him deal with that, and to see him want a change, but also in that change he does a lot of bad stuff at the same time… It was a sensational movie when it came out. And it actually was directed by Paul Verhoeven, one of his earlier films. When you see it, you’re just like, ‘Why am I watching this?’ for the first 45 minutes and then it starts and it’s like, ‘whoa’. So it’s really good, even in retrospect.

Olivia Newton-John and John Travolta in ‘Grease’ (1978).

What is the sexiest film you’ve ever seen? When I was super young, it was definitely Grease, with Olivia Newton-John, when she was in her catsuit at the very end of it. I had her picture on my bedroom, above my bed sideways because I was only like ten years old or something. I was so in love with Olivia Newton-John. It wasn’t the film per se, it was her. Yeah, I find, personally, movies from the ’70s to be more sexy, but it has something to do with the super-loose way that people were dressed and people were behaving.

And the other one was later in life: Basic Instinct. Sharon Stone. I’m not talking about like the famous shot, right, where she crosses her legs. I’m not talking about that, but the way that she acts throughout the whole movie. It’s insane. It’s really great.

Are there any films that have scared you? Like, truly terrified you? Yeah, I’m not a big fan because I get sucked up too much in it. The found [footage] horror movies like Paranormal Activity and things like the Japanese version of The Grudge, I cannot watch that stuff. That gets me too much. Because when I watch a film, I cannot watch it with one eye half open, the other one closed, like, ‘Okay, kind of cool, interesting’. I just get sucked into it.

Is there a film that has made you cry like no other? Oh yeah. Multiple. Once Upon a Time in America. The Godfather. Hable con Ella (Talk to Her). Betty Blue.

Thomas Holkenborg, AKA Junkie XL.

These are the films that make you weep? Not like on a regular basis, but I remember those were the ones that I really got hit. I’m talking particularly about the third Godfather. That whole end scene when they get out of the church and then… It’s really well-acted. So many Godfather fans that were dismissive of the film when it came out, in retrospect, ten, fifteen, 20 years later, are like, ‘it’s a really good film’. And I actually think so.

Final question. Is there a film from the past year that you would recommend, that you’ve loved? [Long pause.] The thing is that I watch pretty much a movie a day. So, that’s like three to four hundred movies. It [has] happened so often that I watch a film and then I’m just like an hour and 45 minutes in, it’s like, ‘wait, fuck, I’ve seen this thing before’.

So, we have an app for that… [Laughs.]

Related content

Junkie XL’s Letterboxd Life in Film list

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Dutch Cinema: Danielle’s extensive list of more than 2,000 films

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Follow Gemma on Letterboxd

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arecomicsevengood · 4 years ago

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TOP TEN OLDER MAINSTREAM COMICS I READ THIS YEAR

I kept track of all the comics I read this year, and not all of them were new. I have no idea who this will help or benefit but at least the circumstances of me only listing the completely arbitrary older work I read for the first time this year will deter anyone from arguing with me. However, for the sake of possibly being contentious, let me mention two comics that fall outside the top ten, because they’re bad:

Trencher by Keith Giffen. David King did a comic strip about Keith Giffen’s art style on this book in issue 2 of But Is It... Comic Aht that everybody loved, and made me be like, ok, I’ll check it out. But it’s basically just a retread of Lobo in terms of its tone and approach, but without Simon Bisley. I don’t really know why anyone wouldn’t think Bisley is the better cartoonist. Also, those comics are terrible. Thumbs down.

The Green Lantern by Grant Morrison, Liam Sharp, and Steve Oliff. I bought the first year of these comics for a dollar each off a dude doing a sidewalk sale. Found them sort of incoherent? I haven’t liked a new Grant Morrison comic in ages, with All-Star Superman being really the only outlier since like We3. This is clearly modeled off of European comics like Druillet or something, and would maybe benefit from being printed larger, I really dislike the modeled color too. But also it’s just aggressively fast-paced, with issues ending in ways that feel like cliffhangers but aren’t, and no real characters of interest.

As for the top ten list itself, for those who’ve looked at my Letterboxd page, slots 10-8 are approximately “3 stars,” 7-4 are 3 1/2 stars, slots 3 and 2 are 4 stars, with number one being a 4 1/2 star comic. The comics I’m listing on my “Best Of The Year” list that’ll run at the Comics Journal alongside a bunch of people are all 4 1/2 or 5 star comics. This is INSANELY NERDY and pedantic to note, and I eschew star ratings half the time anyway, because assignations of numeric value to art are absurd except within the specific framework of how strong a recommendation is, and on Letterboxd I feel like I’m speaking to a very small and self-selecting group of people whose tastes I generally know. (And I generally would not recommend joining Letterboxd to people!) But what I mean by all of this is just that there is a whole world of work I value more than this stuff, and I’ll recommend the truly outstanding shit to interested readers in good time.

10. Justice Society Of America by Len Strazewski and Mike Parobeck. Did some quarantine regressing and bought these comics, a few of which were some of the first comics I ever read, but I didn’t read the whole thing regularly as a kid. Parobeck’s a fun cartoonist, this stuff is readable. It’s faintly generic/baseline competent but there’s a cheap and readable quality to this stuff that modern comics lack. Interestingly, the letters column is made up of old people who remember the characters and feel like it’s marketed towards them, and since that wasn’t profitable, when the book was canceled, Parobeck went over to drawing The Batman Adventures, which was actively marketed towards kids. It’s funny that him and Ty Templeton were basically viewed as “normal” mainline DC Comics for a few years there and then became relegated to this specific subset of cartooning language, which everyone likes and thought was good but didn’t fit inside the corporate self-image, which has basically no aesthetic values.

9. The Shadow 18 & 19 by Andy Helfer and Kyle Baker. I’d been grabbing issues of this run of comics for years and am only now finishing it. Kyle Baker’s art is swell but Helfer writes a demanding script, these are slow reads that cause the eye to glaze over a bit.

8. The Jam 3-8 by Bernie Mireault. I made a post where I suggested Mireault’s The Jam might be one of the better Slave Labor comics. Probably not true but what I ended up getting are some colored reprints Tundra did, and some black and white issues published by Dark Horse after that. Mireault’s art style is kinda like Roger Langridge. After these, he did a crossover with Mike Allred’s Madman and then did a series of backups in those comics, it makes sense to group them together, along with Jay Stephens’ Atomic City Tales and Paul Grist’s Jack Staff, or Mike Mignola’s Hellboy, as this stream that runs parallel to Image Comics but is basically better, a little more readable, but still feeling closer to something commercial in intention as opposed to self-expression. Although it also IS self-expression, just the expression of a self that has internalized a lot of tropes and interests in superhero comics. If you have also read a lot of superhero comics, but also a lot of alternative comics, stuff like this basically reads like nothing. It’s comfort food on the same level of mashed potatoes: I love it when it’s well-done but there’s also a passable version that can be made when depressed and uninspired. But drawing like Roger Langridge is definitely not bad!

7. WildC.A.T.S by Alan Moore, Travis Charest, et al. I wrote a post about these comics a few months ago, but let me reiterate the salient points: There’s two collections, the first one is much better than the second, and the first is incredibly dumbed-down in its nineties Image Comics style but also feels like the best version of that possible, when Charest is doing art. Also, these collections are out of print now, a friend of mine pointed out maybe they can’t be reprinted because they involve characters owned by Todd McFarlane but Wildstorm is owned wholly by DC now.

6. Haywire by Michael Fleischer and Vince Giarrano. I made a post about this comic when I first read a few issues right around the time Michael Fleischer died a few years ago, but didn’t read all of it then. This feels way more deliberately structured than most action comics, with its limited cast and lack of ties to any broader universe, but it’s also dumb and sleazy and fast moving, and feels related to what were the popular movies of the day, splitting its influences evenly between erotic thrillers about yuppies and Stallone-starring action movies. The erotic thriller element is mostly just “a villain in bondage gear” which is sort of standard superhero comics bullshit but it’s also a little bit deeper than that. The first three issues, inked by Kyle Baker, look the best.

5. Dick Tracy by John Moore and Kyle Baker. These look even better! A little unclear which John Moore this is? There’s John Francis Moore, who worked with Howard Chaykin and was scripting TV around this time, but there’s another dude who was a cartoonist who did a miniseries for Piranha Press and then moved on to doing work for Disney on Darkwing Duck comics. Anyway, Kyle Baker colors these, they’re energetically cartooned, each issue is like 64 pages, with every page being close to a strip or scene in a movie. I’m impressed by them, and there’s a nice bulk that makes them a nice thing to keep a kid busy. (For the record, my favorite Kyle Baker solo comic is probably You Are Here.)

4. Chronos by John Francis Moore and Paul Guinan. I was moving on from DC comics by the late nineties, but Grant Morrison’s JLA was surely a positive influence on everyone, especially compared to the vibe there in the subsequent two decades. These are well-crafted. There’s a little stretch where it uses the whole “time-traveling protagonist” thing to do a run of issues which stand alone but fall in sequence too and it’s pretty smooth and smart. The art is strong enough to carry it, the sort of cartoony faces with detailed backgrounds it’s widely agreed works perfectly, but that you rarely see in mainstream comics. The coloring is done digitally, but not over-modeled enough to ruin it.

3. Martha Washington by Frank Miller and Dave Gibbons. A few miniseries, all of which sort of get weaker as they go, but all in one book it doesn’t feel like it’s becoming trash as it goes or anything. When Miller dumbed down his storytelling in the nineties it really was because he thought it made for better comics, the tension between his interest in manga and Gibbons’ British-comics classicism feels productive. I do kind of feel like the early computer coloring ruins this a little bit.

2. Xombi by John Rozum and JJ Birch. Got a handful of these on paper, read scans of the rest. This is pretty solid stuff, not really transcendent ever, but feels well-crafted on a month-in, month-out level. I read a handful of other Milestone comics, and a lot of them suffered from being so beholden to deadlines that there are fill-in issues constantly. This is the rare one that had the same creators for the entirety of its run. There was a revival with Frazer Irving art a decade ago but I prefer JJ Birch’s black line art with Noelle Giddings’ watercolors seen here. They’re doing an early Vertigo style “weirdness” but with a fun and goofy sense of humor about itself. I haven’t read Clive Barker but this feels pretty influenced by that as well. (The Deathwish miniseries is of roughly comparable quality. I read scans of the rest of that after I made my little post and, yeah, it does actually feel very personal for a genre work, and the JH Williams art with painted color is great.)

1. Tom Strong by Alan Moore, Chris Sprouse, etc. I got bored reading these as a teen but getting them all for cheap and reading them in a go was a pretty satisfying experience. It’s partly a speed-run through Moore’s coverage of the concept of a comic book multiverse seen in his Supreme run, minus the riffing on Mort Weisinger Superman comics, instead adding in a running theme of rehabilitating antagonists whose goals are different but aren’t necessarily evil. It’s more than just Moore in an optimistic or nostalgic mode, it also feels like he’s explaining his leftist morality to an audience that has internalized conflicts being resolved by violence as the genre standard.

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eldritchsurveys · 5 years ago

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781.

Your ten favorite movies

Movie number one: The Fountain 1) Who’s the main actor? >> Hugh Jackman. 2) When did it come out? >> I want to say... 2007. 3) What’s the genre? >> Er... hmm. Fantasy? Maybe? I’m going to ask google. ...Oh, apparently Wikipedia classifies it as an “epic romantic drama film that blends elements of fantasy, history, spirituality, and science fiction”. Like, okay, sure, whatever dude. 4) Do you know where it was filmed at? >> I don’t, but I’m about to find out because that’s an interesting question. ...Ah! Montreal. 5) How old were you when you saw it? >> The first time I saw it was... probably not too long after it came out, so early 20s. I rented it from Netflix back when that was new and was a DVD-only service. I didn’t pay it a whole lot of attention at the time and was mostly confused by its storyline (I wasn’t as practiced at following nonlinear timelines and heavily allegorical plots back then). The next time I saw it was a whole different story and tbh that’s a frequent occurrence with me, which is why I always go back to rewatch/reread certain things later on in life.

Movie number two: Sunshine 1) Who’s an actress in this movie? >> Rose Byrne.

2) Out of 10 stars you’d give it? >> I mean, 10, I guess? It’s a top favourite of mine, so... 3) Did it have a surprise ending? >> No. I mean, it had a kind of weird twist for the climax? But the actual ending was kind of what you’d expect. 4) How long was it? >> 1hr 47min. 5) Did you first see it in theatres? >> Nope, but god, if only I could... Movie number three: Interstellar 1) What’s this movie rated? >> PG-13. 2) Did critics approve of it? >> If I recall correctly, yeah, it was pretty widely praised. Mostly for the, you know... Nolan-ness. 3) Who were you with when you saw it? >> Sigma and I went to see it, and then we went to see it again, and then we went to see it yet again, lmao. 4) Did this movie make you cry? >> Sure the fuck did, sure the fuck does. 5) Who are five actors/actresses in this movie? >> Matthew McConaughey, Anne Hathaway, Michael Caine, Ellen Burstyn, Jessica Chastain. Movie number four: District 9 1) Is the main actor your favorite actor? >> No, but I generally enjoy watching Sharlto Copley in stuff. 2) Do you know how old he is? >> No, and that’s not a detail I care to look up. 3) Did this movie make you laugh? >> I mean, yeah, there were a few funny bits, mostly because Wikus is a fuckin dork sometimes. But mostly it was not a laughing matter. 4) Last time you watched it? >> Uhhh... hmm. Maybe a year or two ago? I tend to avoid it because it gives me way too many feels. This is a common thread with me and things I really have emotional attachment to -- you’ll notice I’ll find excuses not to rewatch or reread them because I’m afraid of my own feelings, lmao. 5) Are you the appropiate age to see it by yourself? >> Well, yeah? Movie number five: Requiem For a Dream 1) What made you mad about this movie? >> Nothing made me mad, exactly. That’s definitely not the emotion I feel when watching it. 2) Was it based on a true story? >> It might have been based on real things that happen to real people, but not in any concrete “this is historical fiction” sort of way. 3) Do you wish it was real in any way? >> I’m sure a lot of it is real for a lot of people... I definitely do not want my life to go in that direction, though. It’s very much a “pay attention to that hole in yourself before it consumes you” story for me. 4) So what’s it about, anyways? >> The intertwined stories of four addicts. 5) Did they make a video game out of this movie? >> That... would be disturbing as fuck and I would not play that, lol. Movie number six: mother! 1) Did this movie bore you at any time? >> Oh, absolutely not. I was on tenterhooks the entire time. I even had to pause it at one point so I could have an anxiety attack. (That was also the moment when I realised I was definitely going to rate it 5 stars on Letterboxd. Listen, it makes sense, I promise.) 2) Was there a kiss scene? >> Er, well, the main characters were romantically involved, so there was kissing. 3) Who was the protagonist (main character)? >> The Mother, I guess. I don’t remember what she was called in the credits or in director interviews or wherever (she doesn’t have a name in the movie, no one does). 4) Have you seen this movie more than once? >> Nope. I sometimes consider watching it again because I do feel the need to, but that’s an experience I have to really be prepared for and I feel like I’m never prepared, lol. 5) Last time you saw it? >> Uh... I want to say... a year ago? Movie number seven: The Prince of Egypt 1) What is this movie’s genre? >> Er... I guess, like, animation. Which isn’t a genre to me either, but hey. (Maybe “family” or “adventure”...?) 2) Are there any kid actors in this movie? >> Probably, since there’s a fair number of kids in this movie and I don’t think they were all voiced by adults... but hey, maybe they were. 3) Where did it all take place? >> It’s animated so it technically just takes place in a studio. But the movie’s setting is Egypt and thereabouts. 4) Who was the biggest star in the movie? >> Like, as in... most famous actor in it? I really couldn’t say, it’s an incredibly star-studded cast all around. 5) What year did it come out? >> 1998. It was the first-ever movie I saw in a theater! Movie number eight: Quills 1) Main actor and/or actress? >> Joaquin Phoenix and Kate Winslet. 2) Is this a one-time only movie? >> Like, it didn’t have any sequels or anything, if that’s what you mean. 3) Is it a sequel to anything? >> No. 4) How much money did it make? >> I don’t feel like looking that up. Probably not a whole lot. 5) Favorite part? >> Oh god, uh. I couldn’t even pick one. Any of the dialogue scenes between the Marquis and the Abbé, also any of the scenes where the Abbé is overcome with horniness lmfao. Movie number nine: Event Horizon 1) When did you first see this movie? >> 2005, when I was in a psych hospital. It was one of the only films they had on tape.

2) Did it take a second time for you to like it? >> Nope, I loved it immediately. And proceeded to watch it every day for like a month. I don’t know how anyone in there put up with me. (Everyone being overmedicated probably helped.)

3) Does it have a happy ending? >> It doesn’t. Most horror movies don’t, right? 4) Who would you recommend it to? >> People who love gory space horror, and especially space movies of that particular nineties variety, you know what I’m talking about. 5) What’s its theme song? >> It doesn’t have one. Movie number ten: Repo! the Genetic Opera 1) Do you still have the movie ticket? >> I didn’t see it in a theater. I had planned on seeing it at a Vampirefreaks sponsored theater event in SoHo, but the line was so long I gave up and went home. Ended up hating it when I finally did get around to watching it, and then watched it again like a year or so later and loooooved it. Funny how that happens sometimes. 2) Favorite part? >> Oh man, how could I even choose? Maybe the Thankless Job scene. Or Night Surgeon! Obviously I’m going to pick anything Nathan-centric, lol. 3) Were there any songs you knew in this movie? >> No, the songs were written for the movie. 4) A quote from this movie: >> I’ma get lazy and say “Zydrate comes in a little glass vial”, sue me. 5) Were the main actors/actresses a perfect match or not so much? >> Like... romantically? Wasn’t that kind of movie. But as far as how they interacted in general, it was a really fun cast. Random Questions 1) Which one have you seen most on DVD? >> Actually, the only one I recall ever watching on a DVD is The Fountain, because I rented it from Netflix. 2) Which one have you seen most in theatres? >> Interstellar (3 times). 3) Did your parents like any of them? >> The only one my father saw was The Prince of Egypt because he took me to see it, and he complained about the skin colour of characters (not dark enough for his liking) in the car on the way home. While I was just basking in the divine afterglow of having just seen something beautiful that had changed my tiny life. 4) Which one did you see with your best friend? >> Well, Sigma was my best friend at the time we saw Interstellar. 5) Would you see #1 again? >> I do rewatch it sometimes, but not very often. It’s a real emotional trip. 6) Is #4 a movie you can only watch every once in a while? >> Yeah, and I mentioned that in one of the answers. 7) Was #5 hard to understand? >> Only if you have a hard time keeping up with multiple character arcs. Or if you’re just completely clueless about the mental mechanics of addiction, maybe. 8) Did you see #2 the day it came out? >> I didn’t. 9) Do you have #3’s movie ticket still? >> I think I kept at least one of the tickets for a while, but I never keep that kind of thing for long. What I really miss is the posters we’d gotten at the Franklin Institute showing. Those were nice, and I’d looked forward to putting one up in a room of my own one day. :( 10) Are there any sequels to these movies coming out? >> Not that I’m aware of. 11) Does your best friend like #9? >> --- 12) Did #10 have horrible special effects? >> I wouldn’t say that. 13) Who directed #6? >> Darren Aronofsky. He directed three of these movies, actually. 14) Did #8 scare you? >> Nah, it wasn’t that kind of movie. 15) Does #7 have a better effect at night? >> No, lol.

#surveys #survey #movies survey

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angeltriestoblog · 5 years ago

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I watched a couple of movies! (Part 1)

Back when I regularly had the luxury of long breaks, I spent my days binge-watching films, as you can see from my extensive knowledge of 80s chick flicks and all the cheesy tropes and disgustingly adorable, predominantly white leading men that come with them. Sadly, a side effect of growing older in the digital age seemed to be the diminishment of my attention span: the only things I could focus on were academic requirements, simply because I had to. But, thanks to several factors—the suspension of online classes, the sudden annoyance I developed towards Barney Stinson that prompted me to discontinue How I Met Your Mother, etc.—I decided it was high time to rekindle this lost love. So, here is an unsolicited review of the 17 films I managed to finish in a little over a week! Rest assured, I tried my best to venture out of familiar territory and brush up on some of the more cultured picks, according to Letterboxd, at least.

Bar Boys (2017, dir. Kip Oebanda) ★★★

The film that kickstarted everything, which I never would have seen if the director had not uploaded the full version on YouTube. This well-meaning tale of four best friends (Carlo Aquino, Rocco Nacino, Enzo Pineda, and Kean Cipriano) and the challenges they face in law school—terror professors, fraternities, and financial difficulties included—does have a lot of heart, and is sensitive enough to show how the effect of this experience differs depending on a student's background. But, what it lacked for me was a certain degree of specificity: I think the same premise would have been applicable in med school, or any other post-graduate degree for that matter. So, why did the characters choose law? I also would have appreciated some commentary on the shortcomings of the country’s justice system, and further fleshing out of the characters so the audience could have seen why we could count on them to fill in the gaps.

Legally Blonde (2001, dir. Robert Luketic) ★★★½

The rating might be surprising, considering that the courtroom scene was responsible for the short law school phase I had in Grade 5. As if I could ever make use of the rules of haircare in an actual cross-examination. Of course, I am compelled to admire Elle (Reese Witherspoon) and how her motivations for going to Harvard shift from winning back a boy to discovering what she never knew she had and using these gifts to help those around her (especially the manicurist, who I feel was given way more exposure than what was due to her). Ultimately, though it was inspirational at some points, it felt too good to be true and impossible to relate to. (But then again, shouldn’t there be a willing suspension of disbelief when consuming forms of media such as this?)

Lady Bird (2017, dir. Greta Gerwig) ★★★★★

I’ll probably end up making a separate post dedicated to this movie and how it singlehandedly called me out, as a sensitive, occasionally self-important product of an all-girls Catholic high school. For now, I am forced to condense my overflowing feelings into a couple of sentences. Lady Bird takes place over the course of the titular character's senior year, a pivotal moment in the lives of all teenagers. But, instead of focusing solely on the formulaic firsts like the normal coming-of-age film would, it shines a light on her dwindling relationship with her equally strong-willed mother. Saoirse Ronan’s colorful performance as the human embodiment of my pre-teen self's conscience, and Greta Gerwig’s tremendous ability to make even oddly specific scenes speak to any viewer shine through and speak to me the most, and easily make this gem something I will be recommending this to anyone who bothers to ask for as long as I live.

Bohemian Rhapsody (2018, dir. Bryan Singer) ★★★

There’s a lot of controversy surrounding Bo Rhap, particularly its failure to portray Freddie Mercury in a manner that does him justice. While I understand that it is a valid concern for fans of the band, I admit I don’t know enough about who he was as a person to criticize the film in this aspect. Regardless of its factuality, this still was just average for me, the typical rise-and-fall type of biopic that is indicative of a rockstar’s legacy, but with laughably faulty editing. The redeeming factors were Rami Malek’s brilliant portrayal of the legend himself—his Live Aid performance gave me chills that lasted the entire 20 minutes, how alarming—and, obviously, the soundtrack that I kept on loop for several days.

About Time (2013, dir. Richard Curtis) ★

Apparently, this movie focuses on Tim (Domhnall Gleeson), who discovers at age 21 that the men in his family have the power to time-travel and thus revise and repair certain parts of their lives. He uses this to address the fact that he’s never had a girlfriend, and effectively so as he ends up bagging Mary (Rachel McAdams), a charming American who is the settler in this relationship by default. But, of course, this gift is not without its dire consequences—or at least, that’s what it says on Wikipedia. It’s hard to trash on this and admit that I bailed halfway because so many of my friends swear by this. But, I just couldn’t stomach the lack of chemistry between the two leads; the surprisingly boring dialogue for a screenplay crafted by Richard Curtis of Notting Hill fame; and the story that, although bore enough of a resemblance to “The Time Traveler’s Wife” to be interesting, was still not powerful enough to sustain my attention.

Your Name (2016, dir. Makoto Shinkai) ★★★★★

I’m a huge fan of plots that are sure to make my eyes swell and heart hurt—I can’t explain the psychology behind this either. So when this was recommended to me and I had made it through an hour without shedding a single tear, I was prepared to be disappointed. But, the events leading up to the conclusion proceeded to rip me into shreds, as if to taunt me and say, “You asked for it.” Mitsuha (Mone Kamishiraishi) and Taki (Ryunosuke Kamiki), teenagers living on opposite sides of the country, suddenly start switching bodies following the appearance of a comet. This unexplainable phenomenon causes them to forge an unbreakable bond that transcends the very limits of time and space. I know the description is not much, but it’s best to experience this unique plot for yourself. Besides its storyline, its charm lies in its excruciating attention to detail in depicting life in urban and rural Japan, both in the realistic animation of one picturesque scene after another, and the use of cultural elements to arrive at a twist viewers will not see coming.

Booksmart (2019, dir. Olivia Wilde) ★★★★½

I can't summarize what I imagine Booksmart to be for teenagers in the future, so here's an entire scenario: It's the year 2070. Two young girls of around 16 are sprawled on their bedroom floor, watching this on whatever device they use for streaming. (Maybe it's from an LCD projector embedded in their foreheads, who knows.) The credits roll, and they instantly think to themselves, "Man, we were born in the wrong generation!" (They simultaneously think of doing a high-five, and without raising their hands themselves, it happens because that's technology.) Anyway, Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are best friends who played by the rules all throughout high school and realized too late that they could’ve afforded to have a little more fun. On the eve of their graduation, they decide to cram four years’ worth of adventure in a single unpredictable and outrageous night, getting to grips with everything that comes their way in an exceedingly comedic yet refreshing fashion. Also, the protagonists have such a genuine and wholesome relationship: the way they hyped up their most ridiculous looking outfits, or overshared borderline uncomfortable stories is honestly my personal definition of an ideal friendship.

When Harry Met Sally (1989, dir. Rob Reiner) ★★★★½

Despite this film’s constant presence in every “chick flicks you must watch” list I’ve bothered searching up, I spent a huge chunk of my teen years in constant protest against the decision to cast Billy Crystal as the male lead instead of, I don’t know, literally any other actor on the planet. But, once I finished it, I realized that he’s a much better fit than I thought. The laidback Harry to Meg Ryan’s finicky Sally, both of them spare no effort exploring and debunking truths and misconceptions about modern relationships: examples of which are the idea of being high maintenance, and the quintessential question of whether a guy and girl can ever be just friends. Although their dynamic is the definition of slow burn, audiences can’t help but earnestly root for the pair—the frustration brought by the several almosts pay off in the end, as they lead to one of, if not, the most romantic love confession scene.

Hintayan ng Langit (2018, dir. Dan Villegas) ★★★★½

This tale adapted from a play by no less than Juan Miguel Severo is set in purgatory—a grandiose art museum-four star hotel hybrid of sorts—where souls can stop and rest while their papers for entry to heaven are being processed. It is here we meet Manolo (Eddie Garcia) and Lisang (Gina Pareno), ex-lovers with unfinished business. Things admittedly start off a bit slow, but it's understandable since there needs to be ample provision of context regarding the standard operating procedures of this unique waiting area. Once that’s done, the focus stays on the main actors, who drive audiences to tears with their powerful performances, and thought-provoking questions on matters of betrayal, forgiveness, and the afterlife. The ending had me rocking back and forth like a baby, my shirt soaked with tears, so do take heed and stock up on tissues!

The Social Network (2010, dir. David Fincher) ★★★★★

Within its packed first 15 minutes alone, you can easily see what makes The Social Network an example of cinema at its finest: an intoxicated Mark Zuckerberg (Jesse Eisenberg) hacks into the websites of all Harvard dorms to create Facebook’s oldest ancestor from scratch, in an attempt to get back at his ex-girlfriend. The atmosphere is tense, the dialogue is loaded with witty one-liners and powerful insight, and the actors are so in touch with their characters they practically fuse into a single person. This remains consistent for the next two hours or so, making for an enjoyable and fast-paced, yet still informative glimpse into the human side of what is arguable the most powerful company of this era. I also heard that it’s much more fun if seen with the cast commentary on, so I’m gonna have to find a copy of that for myself!

Pretty in Pink (1986, dir. Howard Deutch) ★★★★★

I’m cheating here, I know: this has been a long-time favorite, but I guess I can still give a review if I was still 15 when I last saw this. Andie (Molly Ringwald) and Blane (Andrew McCarthy)’s classic “poor girl + rich boy = happily ever after” story is masterfully tackled by John Hughes, who manages to inject equal amounts of swoon-worthy romance and biting criticism of the inherent class divide in society. Others would argue that Duckie (Jon Cryer), Andie’s devoted best friend, is the true star of the show, and while I do agree that he has his shining moments (if you listen closely, you can hear Try A Little Tenderness playing softly in the background), I sadly inherited my mother’s adoration for Andrew, which I will pass on to my child and so on—truly the defining characteristic of our lineage.

St. Elmo’s Fire (1985, dir. Joel Schumacher) ½

I understand that being an adult in the Real World is bound to come with some grave mistakes and lapses in judgment. But, not a single character in this friend group redeems themselves by the end. While Ally Sheedy’s Leslie and Mare Winningham’s Wendy were just borderline forgettable (why did the latter even end up here with the Brat Pack?), Judd Nelson’s Alec cheats on his girlfriend and believes that marriage is what will make him change his ways; Rob Lowe’s Billy neglects the family he didn’t plan on having by fooling around with other women and making a home out of his favorite bar; Demi Moore’s Jules relies on cocaine and extramarital affairs to hide trauma she refuses to process, and Andrew McCarthy’s pretentiously cynical Kevin suddenly claims he knows what love is when Leslie pays attention to him for 10 minutes. But, none of them compare to Emilio Estevez’ Kirby, the sociopath obsessed with a girl he barely knows. It honestly resembles some sick contest of how many problems this gang can cause before they end up behind bars, with the last scene being a lazy and rushed attempt to wrap everything up, in the name of this surface-level “friendship”.

Before Sunrise, Sunset, and Midnight (1995, 2004, 2013; dir. Richard Linklater) ★★★★★

Guess it’s better to admit it now, but I made this post as an excuse to rave about how beautiful this trilogy is, the most authentic depiction of love in its purest form. Sunrise has been recommended to me by both friends and the Netflix algorithm, but I put off watching it again and again and again. I mean, what could I possibly get out of looking at two strangers roam around Vienna? Well, to answer that question: quite a lot. Jesse (Ethan Hawke) and Celine (Julie Delpy)’s relationship spans an entire trilogy, and throughout that period, they manage to define then destroy the idea of having a soulmate to call your own in approximately six hours. But certain constancies are present in each movie: the emotion intense even in the smallest of gestures (you don't understand the anguish I feel when the scene at the listening booth randomly pops in my head), the dialogue truly thought-provoking and natural, the settings so picturesque, and the chemistry of the actors so electric I have trouble believing that the director didn’t actually invade the personal space of a real couple and eventually get issued a restraining order.

High Fidelity (2000, dir. Stephen Frears) ★★

I’d like to think of this as an essay: I'm confident that the introduction is the protagonist Rob's soliloquy on his five biggest breakups to understand why he’s so flawed that everyone always leaves him, and the conclusion his attempt to win his ex Laura (Iben Hjejle) back. But as for the body, I’m not entirely sure. Interspersed between these moments are thoughtful top five lists of anything that can be enumerated, and occasional banter with the employees at his record store that may be charming, but do not enhance the film in any way, shape, or form for me. Also, I normally enjoy seeing John Cusack onscreen, but more often than not, he was nagging in front of the camera instead of talking to the people around him; no wonder his relationships failed!

Scott Pilgrim vs the World (2010, dir. Edgar Wright) ★★★

I wanted to enjoy this so bad, I swear! Sadly, the one thing I gained after seeing this is knowledge of where the “I’m So Sad, So Very Very Sad” meme came from. I get that it’s supposed to resemble a comic book or video game, and maybe the reason why I failed to appreciate this as much is because I was never a fan of either. I found the prolonged action scenes surprisingly boring, the storyline too fantastic, and the whole quest of having to defeat seven monstrous exes for the hand of a manic pixie dream girl not worth it in the end. Although I can’t give it less than three stars given its impressive visual effects, and appeal to the entire Tumblr community (gamers on one end, millennial film connoisseurs on the other), it’s definitely not something I would watch a second time.

There will surely be more where that came from! (I mean it. Since completing this post, I’ve finished another five films.) If you wanna keep tabs on what I’m watching without having to wait on another post, you can give my Letterboxd a follow. Wishing you love and light always, and don’t forget to wash your hands and pray for our frontliners!

#recs #angeltriestoblog #life dump #movies #movies to watch during quarantine #or at least movies I'VE watched over quarantine #so far #17 films are u CRAZY!!!!#i have carpal tunnel #quarantingz

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spotlightsaga · 7 years ago

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Kevin Cage of @spotlightsaga reviews... disjointed (S01E01) Omega Strain disjointed (S01E02) Eve's Bush Airdate: August 25, 2017 @netflix Ratings: Privatized Score: 7.5/10 TVTime/FB/Tumblr/Twitter/Pin/Path/IG: @SpotlightSaga Now on Letterboxd for film reviews! ************SPOILERS BELOW************ Many people out there think that the art of the traditional sitcom is long dead, Netflix and Chuck Lorre tend to disagree... And honestly, so do I. It's hard to deny that laugh tracks seem a bit outdated in the current climate of television, but just look at the surprise success of the 2017 Netflix Original reimagining of 'One Day at a Time'. It worked. The creators, writers, and everyone involved were able to not only bring an old show back to life, but also focus on modern family issues within a realistically diverse family on a traditional platform. 'The Ranch' was a different story, at least for me... 'Different strokes for different folks', so I can at least see where 'The Ranch' would have found success as well in an Ashton Kutcher-centric, Colorado Rocky Mountain, small town, comedy drenched with a touch of 'somehow surviving' middle class world. As to seeing why anyone would judge any multi-cam sitcom equipped with a laugh track on its setup and tone alone... I get it, I do, but some work for people and some don't.. Simply put, 'The Ranch' didn't gel for me, and shows that shoot through these familiar vessels do need to at least grab a hold of a viewer to where they can see room for improvement and potential at the end of the tunnel, or at least convincingly relate to the protagonists. Despite its expected flaws in immediate character development, I see potential in 'disjointed'. Did I mention that I love that I don't have to go the extra mile to hit the shift key when typing out 'disjointed'?! Well, at least that's a plus when you don't start the sentence with the show's name, otherwise you just have to hit the shift key to un-capitalize it anyway. Bummer... huh? I'm no stoner but this isn't exactly a world I'm unfamiliar with, and seeing the benefits of not just medicinal marijuana as well as the decriminalization of all drugs (See Portugal, Czech Republic, etc). And yes, I unabashedly admit that I got a tad bit high in lieu of the release of this tv series. Even Netflix themselves have put out their own line of medical marijuana for the occasion, blending both 'Bojack Horseman' and 'disjointed' for the promotional festivities. That alone paired with the casting of the legendary Kathy Bates to play Ruth, the 'Mary-Jane' Matriarch of a thc-seasoned, brave, controversially 'legal', new 'customer/patient' style world should tell you that Netflix is standing firm behind this one. Traditions of the throwback mini-cam sitcom are strong with 'disjointed' and are pretty much nestled in every corner you look, with Chuck Lorre at the helm the format is cut and dry. Yet there are moments such as when the security guard, Carter (Tone Bell), who clearly has some form of PTSD, laced with kind of an impending existential crisis looming around the corner, is emotionally characterized by a colorful and creative animated approach that you'd never see personified in such a manner on a network like CBS or any of the 'Big 4', as you are able to see here on a much more unfiltered streaming service. Other members of the cast are slowly molded by observational humor, which will take time, but it really feels like patience will be rewarded here and more than just observational humor is addressed within the first two episodes. Aaron Moten will be playing Travis, who is the educated and entrepreneurial son of Ruth, who's come back home to help his mother make the most of her new business venture with his newfound eduction, and gasp, dare I say 'MBA' in business. Ruth isn't quite sure about applying the configurations of Travis' aggressive business techniques to the anti-establishment type, marijuana dispensary 'vocation', as she'd rather see it as. We're immediately shown a romantic link in chemistry between Travis and Olivia (Elizabeth Alderfer), the show isn't trying to hide anything. I say that's another thing to admire. Some have likened the move of this type of tv series to Netflix as an 'identify crisis', but hearing jokes peppered with 'fuck'-bombs in a multi-cam don't jar me at all. Weren't we all, even the older CBS crowd, technically broken in to not necessarily this type of humor, but at least the shock out of certain words' impact and delivery from '2 Broke Girls'. Yet 'disjointed' is far away from the aforementioned show's deep roots in 'crass for the sake of crass', and instead offers up a 'what you see is what you get', bouncing of humor off successfully pairing and also sporadically placing both groups and their respective characters to revolve and interact with. It's tightly created within an familiar origin but despite puffing on its own supply, it has the tools to let the show breathe and expand beyond those initial boundaries. For example we have all the remaining characters in the dispensary, Pete (Dougie Baldwin), who is focused on growing the best strain of weed possible, and Jenny (Elizabeth Ho), who has dropped out of medical school without her strict, no-nonsense family's knowledge, used as cogs as to move along other stories, patiently waiting to be paired up for adventures of their own. And if, like me, you let two episodes play to let the show gain a good sense of it's identity (something all 30-Minute Sitcoms should do now a days), you'll have already met the stoned series' myriad of guest characters that we can only hope recur as much as possible. The elective epitomes of stereotypes either do what they do best, or completely create a 'what if' type scenario in an ironic, if not expected and funny way to wow the crowd. Dank (Chris Redd) and Dabby (Betsy Sodaro) are born straight out of a top notch SNL skit, don't even work on paper, yet bop to each other's beats beats like the pulsing rhythms of Cuban born Bongo Drums. Then there is Maria (MAD TV's notorious Nicolle Sullivan, the single mom who's just discovered marijuana as a coping mechanism for high stress, anxiety, and panic attacks. The events that follow her character are very much hilarious because they are both unexpected and obvious... Wrapping the overall 'new' show, with an 'old' format, in a nostalgic feeling evoked by great multi-cam sitcoms. Remember cutting edge shows like 'Golden Girls', 'Mama's Family', and 'Roseanne'. They have a way of making you feel warm, or 'invited inside' in such a way that I see possibly forming in 'disjointed's future. I'm not saying 'disjointed' is, or should be, immediately considered a string attached on the same banjo of such notorious and legendary multi-cam sitcoms. I'm just saying that so far it feels good, and the possibilities also feel opened up a little wider than they are for most sitcoms that use a similar format, like this one, in this day and age... Kinda like what happens when you smoke the perfect bowl at the perfect time in the perfect place. I'm ready for 'disjointed', are you? ***********Written by Kevin Cage*********** http://www.tvtime.com http://www.facebook.com/spotlightsaga http://www.spotlightsaga.com http://www.facebook.com/groups/ArtsEntertainment

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neoraven · 8 years ago

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Movies I Watched December and January

I wrote these at Letterboxd. There were a few I rated and had nothing to say.

I’m trying to do a thing with 1997 / 20 years later. I started with Metro. It was going to be weekly. Oops.

Jack Reacher: Never Go Back 2016 ★½ 22 Jan, 2017 I was left wondering who was this movie for? Cobie Smulders keeps making great performances in things that don't deserve her. The ceiling of this is Bottom-Tier-Bourne-Sequel, made even more bizarre by Tom Cruise being a part of it.

Metro 1997 ★★★ 20 Jan, 2017 20 Years Later. Movie #1 1/17/1997

Eddie Murphy, generally coasting on his Beverly Hills Cop coattails, stars as a hostage negotiator slash generic cop. This was Murphy's only movie after the huge success of The Nutty Professor in 1996. He lost to Beverly Hills Ninja over MLK Weekend at the box office. Michael Rappaport is hilariously miscast as a button down, bookish cop type protégé for Murphy to insult. Carmen Ejogo is the thankless girlfriend and damsel in distress. And finally, Donal Logue kind of stands out as the only actual hostage situation the hostage negotiator encounters.

So, the movie. Like I said, they drop the hostage negotiator thing pretty early as this shifts into a generic loose cannon cop chasing guy that killed his friend story that Eddie has done at least 5 times across 2 franchises. The script doesn't really give its star much time to shine and be funny, but Eddie Murphy is still Eddie Murphy and manages to liven up a dumb horse-betting subplot. The action sequences are pretty big, filling out a budget of $55 million. The largest involved a runaway cable car and more than a passing resemblance to Spider-Man 2.

It's a little generic and joyless, but just falls on the side of good for some of the random R-rated flourishes that manage to push this above being a star-studded Law & Order episode. His friend's stabbing death looked more like something out of Scream than an action movie. The director would go on to helm "Gifted Hands: The Ben Carson Story".

Metro. The 65th most popular movie that year at the box office. A minor speed bump in Eddie Murphy's career that never really came together. Jettisoned into January, it still ended up a minor hit, almost recouping its bloated budget.

And it's the first I'm doing of this. Series? Project? Of looking back at 1997 releases 20 years later. I'm going to roughly try to go in chronological order, but I reserve the right to watch stuff whenever.

Blue Streak 1999 ★★★½ 20 Jan, 2017 Lean and mean and very pleasantly above expectations. Also shoutout to the villain from The Mask still getting work.

Planet Terror 2007 ★★ 19 Jan, 2017 Shoulda watched Death Proof.

Arrival 2016 ★★★★½ 16 Jan, 2017 god-DAMN

La La Land 2016 ★★★★★ 16 Jan, 2017 god damn it

Jason X 2001 ★ 13 Jan, 2017 just lol

Wild Wild West 1999 ★★★ 04 Jan, 2017 I dunno what Kenneth Branagh was paid, but it wasn't enough.

True Lies 1994 ★★★½ 01 Jan, 2017 This is undoubtedly a great action movie. But the whole middle subplot with Bill Paxton is so gross.

Warcraft 2016 ★★ 01 Jan, 2017 This wasn't as bad as I thought. It's even a little wild. But it feels like a prologue to something I never wanna see.

7 Days in Hell 2015 ★★★★½ 31 Dec, 2016 I could not stop laughing during this. Kit Harrington surprised me.

Don’t Breathe 2016 ★★★★ 30 Dec, 2016 I'm on board for every Fede Alverez/Jane Levy collaboration

The Accountant 2016 ★★★ 29 Dec, 2016 Overstuffed, but well-shot. Felt like an entire season of television crammed into one long pilot episode. I don't mean that as an indictment of TV, more just the volume of subplots that could carry an episode on their own. Here they're reduced to 5-10 minutes, or throwaway lines and flashbacks.

The Accountant was frustrating. It wasn't very satisfying with the ending so open-ended, like a pilot. And a few of the good ideas and set ups are going to remain half-baked forever.

Inferno 2016 ★★ 29 Dec, 2016 Tom Hanks' Bad Acid Trip starts out with some pretty unhinged visuals- death and people with backwards heads and such. The story settles down to being on the silly side of stupid, with Hanks' doctor reacting to an anagram with the zeal of a kid on Christmas morning early on. So I can't be too harsh here. But it's still pretty bad, even for Ron Howard.

Blackhat 2015 ★★★★½ 28 Dec, 2016 I was enthralled.

Central Intelligence 2016 ★★½ 26 Dec, 2016 Rock and Hart are fun, and there's a hint of an interesting and disturbing story at the edges here. But most of this is a mess. It just feels lazy and stop and go at times as the plot and tone yo-yo's all over the place. There are still some cool action sequences to be had with Dwayne Johnson, and plenty of funny parts as well. But it still never really comes together into something.

Also, worth noting that this is the third movie that has had an emotional climax by The Rock stripping himself naked to a crowd. Joins Walking Tall and Furious 7.

Ride Along 2 2016 ★★★ 26 Dec, 2016 I loved the first one, and this was one gratuitous sequel that managed to be worthy. It's not that much more than a bigger, much slicker Law & Order episode. But the Kevin Hart/Ice Cube pairing goes a long way. Olivia Munn and Ken Jeong were fun additions to the group who I wouldn't mind seeing in a sequel a la Lethal Weapon. The action scenes were all really fun and varied. The videogame stuff is mostly annoying every time it's brought up, but the mix of visual effects in the car chase where Hart drives were undeniably cool.

The Night Before 2015 ★★★★ 25 Dec, 2016 A++ Christmas Movie.

Bad Santa 2 2016 ★★½ 25 Dec, 2016 Extremely lazy sequel wasting Octavia Spencer as a prostitute and Christina Hendricks as a sex object, but manages a surprising amount of laughs.

The Invitation 2015 ★★★★ 24 Dec, 2016 I enjoyed this a great deal, and the ending shot is some classic shit.

Blair Witch 2016 ★★ 23 Dec, 2016 It's essentially a remake and a sequel, but mostly brings the worst qualities of each to the table.

Book of Shadows: Blair Witch 2 2000 ★★ 23 Dec, 2016 Felt like a chopped and screwed remix of the first movie. But not really as fun as that would be literally.

The Blair Witch Project 1999 ★★★★ 23 Dec, 2016 A classic.

The Purge: Election Year 2016 ★★★★ 22 Dec, 2016 There's a lot going on here related to the actual election and what I'm sure the filmmakers thought was going to happen in November. Is this horror movie now the rosy fantasy that we'll look back on and pine for in 2019? I hope not, because I hope we'll have Purge 4, 5, and 6 by then. Or the TV show.

The Defender 1994 ★★★ 21 Dec, 2016 "After all, I am an assassin, and you are just a lowly defender!"

Also I admire the tricks used to remove guns from parts of action sequences.

Deepwater Horizon 2016 ★★★★ 21 Dec, 2016 There's a great and thrilling disaster movie here wedged between two embarrassing bookends. It starts with Mark Wahlberg's plucky daughter helpfully explaining the science* of his job/the premise. The real life epilogue with real testimony was also a bit too much. But at least there was the joy of seeing Trace Adkins' angry family member billed in the credits as "Massive Man".

*whatever technical basis or explanation for what happened got abandoned halfway through the big explosion

Mascots 2016 ★★★ 18 Dec, 2016 Reheated Christopher Guest leftovers are still pretty good.

The Finest Hours 2016 ★★½ 18 Dec, 2016 This is all very solid and okay. The parts not out at sea are an ANCHOR dragging the movie down.

Incarnate 2016 ★½ 17 Dec, 2016 This movie is mostly a weird slog, and it never tries to look appealing. Most of the action takes place in dark rooms. And the term "action" is used loosely. Anyways, my hopes for Inception-laced Nightmare on Elm Street visions were dashed pretty quickly. But I did get a few chuckles out of the stupid science explanations and Aaron Eckhart's performance.

Masterminds 2016 ★★½ 16 Dec, 2016 A smattering of very funny small performances and scenes. Nothing really comes together into a great laugh or exciting story. Jared Hess still is not a great comedy director. But this was way too disjointed and sloppy to really have a chance.

Spectral 2016 ★★★½ 15 Dec, 2016 This movie tries on a few different hats, and wears them all just fine. You have a little bit of Aliens when the badass marine types take on the unthinkable force. It's Black Hawk Down when they take on the [fake spoiler alert] ghosts in the bombed-out city. James Badge Dale is even a little bit Tom Cruise from Edge of Tomorrow as the sci-fi type thrust onto the front lines. His transformation from fish out of water to hero stays pretty steady throughout the movie's different phases. Clayne Crawford, now of Lethal Weapon and Rectify fame, also has a slightly memorable turn as one of the ghostbusters.

I loved the mix, but it's obvious why this never found a release date, sat for months, and finally got shuttled off to Netflix. But it definitely isn't terrible.

Deadpool 2016 ★★ 14 Dec, 2016 Near the end, "a CGI character" tells Deadpool about the four or five moments that make up being a superhero. Unfortunately, a few good moments do not make up a good superhero movie. For all of the sixteen walls that were supposedly shattered, this got old fast.

I don't think I can fully hate it. The few jokes that land are really good, and there's a general weird tone that is missing from most spandex movies. But I can't really like it either when it still shares the other boring 75% of every other spandex movie.

Hell or High Water 2016 ★★★★½ 14 Dec, 2016 Fucking amazing. Except for a couple awkward heavy-handed lines. And I also had the thought during most of it, "what if there was a pair of bank robbers without polar opposite temperaments?" Like. They don't have to both be buttoned-down or both be "Ben Foster in every single movie i've ever seen", but, ya know.

Kickboxer: Vengeance 2016 ★★★ 12 Dec, 2016 I'm probably more than a little swayed by the split screen during the credits imitating the JCVD dance moves from the first. The lead is kind of boring, but this still never really drags too long. It's really thankfully competent.

Jason Bourne 2016 ★★★ 12 Dec, 2016 Alicia Vikander's amazing performance and Vincent Cassel kicking the vehicular mayhem up a couple notches in the final sequence is almost enough to make me forget the previous dour 90 minutes. Still not bad.

I Spit on Your Grave 1978 ★★★ 11 Dec, 2016 I only watched the half where she slaughtered all the men.

Mechanic: Resurrection 2016 ★★½ 10 Dec, 2016 I spent a significant portion of this movie thinking it was a Transporter reboot.

The Magnificent Seven 2016 ★★★★ 09 Dec, 2016 Magnificent is a really strong word, but it was really, really good.

The Legend II 1993 ★★★ 08 Dec, 2016 The sequel forfeited a little of its heart for bigger and more bombastic action sequences. It's still very funny, though, and a couple of the more elaborate fight scenes surpass anything in the original.

Ben-Hur 2016 ★★ 08 Dec, 2016 The chariot race was extremely dope.

The Legend of Fong Sai Yuk 1993 ★★★ 04 Dec, 2016 There were some incredibly crazy-cool fight scenes.

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spotlightsaga · 7 years ago

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Kevin Cage of @spotlightsaga reviews... Transparent /S04\/E01\ Standing Order Airdate: September 22, 2017 @amazonvideo Ratings: Privatized @amazon Score: 8.5/10 *************POSSIBLY LIGHT SPOILERS************* ‘They’ say eventually good things happen to ‘good people’... But if you throw mathematics in the game, then statistically, and eventually, something good will happen to everyone (bad, good, and whatever lies somewhere in the middle). Let’s not also forget there’s environmental factors involved, so a ‘good thing’ for me may be much different than what it would be to a Monk in Tibet, an aging ‘Club Kid’ in New York, or Maura’s (Jeffrey Tambor) vision quest and whatever a man like Josh Pfefferman’s (Jay Duplass) would consider a ‘good thing’. It’s all relative. Eventually, if enough ‘good things’ don’t come our way, we go looking for those things... To San Francisco, to Miami, to New York City, to Los Angeles, London, Lisbon, Rio, Dublin, Kyoto or Tel Aviv... Wherever it is that we have a connection, those of us that have the luxury of knowing our history on a deep level, anyway. The rest of us just close our eyes and pick a spot on the map, and that’s good enough. See, again, it’s relative. Many of us also have that whole ‘Black Sheep’ vibe. Maybe we ended up on the wrong side of the family tree, we’re perpetually misunderstood. Take Ali (Gabby Hoffman) for example. She’s the baby of the Pfefferman Family. She has so much handed to her on a kind of platter that many of us can’t even comprehend. However, Maura processes events in life differently... Reactions, emotions... She simply doesn’t respond like the rest of her family. She’s surrounded by her loud, warm but sometimes extremely trying Jewish family and she just blanks. She goes somewhere else. Suddenly she remembers a traumatic event that involved a hug with a creepy Uncle while she was developing and now she’s aware that these are the same voices that pushed her into a uncomfortable situation, albeit unknowingly. I’m not sure that makes a difference. It’s the endgame, and nothing else matters once you’ve crossed the finish line. Processing past events isn’t like getting up and brushing the dirt of the scrape on your knee. Everyone wants it to be so simple, but it’s so easy to just get lost in the void of confusion. These thoughts are merely surface thoughts, at least for now. They’ll be explored later as we slowly lace in all the subplots in what is always one of the years top Character Study Pieces. Amazon, and particularly Jill Soloway, have a way of telling us a story about people that not many viewers most likely know and connecting them with us in a way that’s objectively profound. All our stories as human beings might be different, but there’s a common thread, somewhere... It just might not be the same color, the same brand. S3 was a somber one, but it ended on a very ‘forward’ note for The Pfefferman’s. Maura has taken on a vision quest and decided to go back to connect with Tel Alviv, which probably should be worth the price of admission alone. Ali, is as usual, very much in Ali World. She’s still discerning what these traumatic and sometimes ‘epiphany-like’ events in her past mean to her, what they are. That’s definitely something I can identify with. I can only speak for those that lived hard and made it to their 30’s, but I’m just now allowing myself to let go of anger and dissect things for what they are... Attempt to see things as how they really exist in this world. Even with Maura going to Tel Aviv, who makes an eye-catching Trans-Woman in the most awkward of ways, STILL is unable to match the danger and turbulent road I see ahead for Josh and his mother, Shelly Pfefferman (Judith Light). The mother/son pair bunkie up and appear to do nothing but create tension until it bursts. Men... Love your mother, cherish them in your own way... But don’t live with them, especially if she’s a very loud, opinionated, and nosy Jewish woman. I’m joking of course, but only slightly. As they say, there’s a little truth to every joke, that’s why it’s funny and just so sick of people forgetting to laugh. Just the chaos the family stirs up when they are all in the room together talking over each other... OMG! It’s like going to the mall with your, mother... Surely, men, you know what I’m talking about. You desperately want to please her, but you just want to fast forward the clock with newly discovered mind powers until it all ends. Strangely enough, it’s usually that tension that boils over that brings everyone to a whole new understanding. So I guess, what I’m really saying is... No matter what happens in life, you’ll come to a point where everyone is suddenly making transitions to different places at the same time... And as awful as it can be, you gotta get through it so that you can grow and strengthen your bond. Somewhere deep down, I know that Pffererman’s will learn something about each other, relationships, and themselves. S3 started with a bang of an episode. S4 is more of a smooth check-in... This was their eventuality at the end of last season. Now, The Pfefferman Family faces the hard part. Those journeys they all must take alone, together, with someone they’d least expect... Those are all what comes next. You might not be anything like The Pfeffermans or even know anyone remotely like the The Pfefferman’s, but The Human Condition is still what separates us all and then brings us back together again... Like the psychedelic response sand has on the top of a drum... infinite patterns... infinite possibilities... Always joined together, even when you are apart. The 4th Season of ‘Transparent’ begins... You did bring some tissues right? **************Written by Kevin Cage*************** TVTime/Letterboxd/FB/IG/Path/Pin/Tumblr/Twitter: @SpotlightSaga 📺 TVTime📺 http://www.tvtime.com ✅Spotlight Saga FB Page! Give us a like!✅ http://www.facebook.com/spotlightsaga 🚧Spotlight Saga's Main Page is Under Works🚧 http://www.spotlightsaga.com 🔥The Culture Pit FB Group🔥 http://www.facebook.com/groups/ArtsEntertainment Kevin Cage // Justin O'Malley // Cody Cole // Jerry Wilson // Kat Holiday // Carolyn Holt // Yackarette Borge // Carina Enered //

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