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aion-rsa · 3 years ago

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My Hero Academia Season 5 Episode 16 Review: Long Time No See, Selkie

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This My Hero Academia review contains spoilers.

My Hero Academia Season 5 Episode 16

“Let’s enjoy this momentary peace…”

It’s not easy to strike a healthy balance between fun and work, yet this is something that’s important for not just the prospective heroes to properly master in My Hero Academia, but also the series itself. My Hero Academia season 5 crafts a complex narrative where it begins to tease multiple story threads at the same time, but sometimes struggles with how to give them all appropriate attention. “Long Time No See, Selkie” definitely comes across as more fun and games than the doom and gloom mentality that’s beginning to take over the Endeavor Hero Agency, but the episode finds an equilibrium where it attempts to give the audience everything. This turns “Long Time No See, Selkie” into a refreshing adventure with some impressive fight sequences, but also an episode of My Hero Academia that can be skipped with zero consequences.

There’s a lot of heart in “Long Time No See, Selkie,” but the energy that it gives off is much more aligned with filler content, an OVA one-off, or even material that fills up the B-plot of a My Hero Academia movie, especially with the coastal Pacific Ocean locale where all of this mayhem occurs. The big problem that needs to get solved in “Long Time No See, Selkie” hinges on the growing prevalence of Trigger, the dangerous Quirk-enhancing drug that continues to get into the wrong hands. A colossal amount of Trigger gets robbed from a factory and the Pro Heroes rush to keep it from spreading further. It’s a relatively simple goal in comparison to what the Pro Heroes have been dealing with over the past two seasons, but it also gives more evidence to Shigaraki’s mounting plan and its many layers. There’s new movement happening from all sorts of villains, which continues to hint at the presence of something even more sinister.

“Long Time No See, Selkie” props up some of My Hero Academia’s worthiest 1-A students, but the unsung star of this installment is the anthropomorphic seal, Selkie the Shipwreck Hero. Selkie first made a big splash during the tail end of My Hero Academia’s second season during the onslaught against Stain. Ever since, Selkie has largely remained in the background other than Tsuyu’s fleeting interest in working for him before her priorities ultimately shifted over to Ryuku’s Hero Agency. ”Long Time No See, Selkie” gets to add a bit of closure to that lingering piece of character development when Tsuyu’s time with Ryuku directly comes to a head with Selkie’s organization and she gets to experience a little of the road not traveled.

My Hero Academia Season 5 Episode 15 Review: One Thing at a Time

By Daniel Kurland

My Hero Academia Season 5 Episode 14 Review: Off to Endeavor’s Agency!

By Daniel Kurland

When given the opportunity, Tsuyu Asui always rises to the occasion and proves that she’s not just some quirky frog girl. The Joint Training Competition helped demonstrate how Tsuyu has improved as a hero, but her spontaneous actions here speak even more to this. Tsuyu attempts to stop a plane with her tongue, which may not work, but it’s incredibly bad-ass and proves how she continues to grow and has become even more fearless in battle. Alternatively, the chemistry between Selkie and his second-in-command, Sirius, is really entertaining. The constant debates over whether his strange shtick is actually cute or not is a running gag that works each time. Selkie’s mighty “Selkie Punch” also blurs the lines more between this aquatic captain and Captain Falcon.

Captain Selkie and his mission make it seem like they’ll be the only heroes here, but Ryuku and her team soon play a vital role once additional air support is necessary after Selkie gets overwhelmed on the water. Tsuyu thrives with Selkie, but it’s Ryuku that gives Uraraka her biggest opportunity. Nejire Hado of the Big 3 is also an important member of this team, which helps demystify the hero a little more and make her more of an actual character. Ryuku and Nejire’s airborne sequence is really beautiful and a nice contrast to the “Oki Mariner’s” voyage, especially when these two group attacks come together. It’s an excellent counterpoint to Selkie and Tsuyu’s tandem underwater sonar maneuver. All of these Quirk attacks on the water also really make “Long Time No See, Selkie” occasionally feel like an episode of One Piece.

It’s beneficial to have these teams all work together, but “Long Time No See, Selkie” briefly turns into a beach episode with the girls while they’re allowed to enjoy some downtime before matters intensify. It’s a shame that Minoru Mineta couldn’t swing an internship with Ryuku’s Hero Agency. Also, did the episode imply that these carefree girls cooked and ate a sea turtle for their afternoon snack? This burst of fun adds to the filler nature feeling of the episode, but this temporary peace also reflects the darkness that’s on its way. Selkie can feel this and these fun and games are tolerated because it may be the last opportunity for them for a while. It’s an effective way to add tension to these lighter scenes and help justify this sillier material when the circumstances behind them are surprisingly nihilistic.

The light thief storyline culminates in Selkie and Tsuyu taking care of business on the enemy vessel, but the actual time spent with the threat is very fleeting. The majority of “Long Time No See, Selkie” is devoted to the scenic reconnaissance sequences where Selkie, Ryuku, and company search for their target, or the relaxed celebration that happens before and after it all. “Long Time No See, Selkie” aims to be a breezier episode that momentarily turns down the danger before it returns with Endeavor and his squad, but it still feels like a more effective balance could be reached here where these villains actually come across as a more substantial threat.

These enemies are non-entities and they become excuses to show off everyone else’s powers and teamwork rather than amounting to a real danger. It’s still very effective how “Long Time No See, Selkie” gives everyone their opportunity to shine. The climax where Sirius and Uraraka work together and give this encounter a glorious aerial finish is a satisfying way to properly play all of these characters to their strengths. It’s also a lot easier to be on point and focused on success when the prospect of a beachside barbecue looms overhead as the reward. Uraraka temporarily has to go all Sully Sullenberger, but it’s an exciting finish that’s a change of pace for how most situations in My Hero Academia get resolved. Her new hero costume is also a blast.

“Long Time No See, Selkie” frequently accentuates the positive, but it still teases bigger conflicts. Otheon, a country in Europe, gets mentioned in a capacity that might be fuel for the upcoming movie and its global scope, or hint more towards the imminent Meta Liberation Army disaster. A “salvation for humanity” collects power in the background, whether as a part of the Meta Liberation Army attack, or in opposition towards it. More powerful and mysterious players get added to this conflict.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

My Hero Academia is currently in a period of optimistic ignorance that can be a lot of fun in the moment, but produces episodes that feel light and disposable. “Long Time No See, Selkie” definitely fits into this trend, but it’s the best kind of frivolity that spotlights characters that deserve it. The plot here might be minimal and the stakes are considerably lower than usual, but the flowing, passionate action sequences help make “Long Time No See, Selkie” a pleasurable vacation.

The post My Hero Academia Season 5 Episode 16 Review: Long Time No See, Selkie appeared first on Den of Geek.

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bookwyrmstudies · 7 years ago

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Microreview: TBR Tag

To Play: Answer the prompts and tag your friends to do the same.

Optional: Use #microreview and check out @microreviews for rules, reviews and more.

I was tagged by: @armormadeofbooks :-D

1. Pick a book you haven’t read yet. ‘Hitler’s Monsters: A Supernatural History of the Third Reich’ by Eric Kurlander (I like to keep my summer tbr light and cheery).

2. How did you come by it? Given by a friend? Bought from a recommendation? Compelled by the cover? I picked it up in Waterstones after queuing for about 2 hours to get ‘Resurrection’ signed by Derek Landy (I deserved a treat after being surrounded by children for so long). I was trying to find some non-fiction after being disappointed by ‘She-Wolves’ by Helen Castor, and I found this! Combine two things I’m weirdly interested in and finally explains the backstory of Hellboy? Give me it! Whilst looking I had an intriguing chat about identity values and their miscommunication in immigration with a Polish gentleman (I’m really bad at remembering names, but it was a very memorable conversation).

3. Quote the first sentence. ‘Early in the blockbuster movie ‘Captain America: The First Avenger’ (2011) a Nazi officer enters a small Norwegian town in search of an ancient relic, the Tesseract, which promises its owner infinite power.’ – A non-fiction book in which the introduction is based on one of my favourite Marvel films? Yessssss!

4. Realistically, will you ever read it? Yep, I should be getting round to it at some point next week, I need to finish ‘Dune’ first and it’s taking ages.

Tagging: @northernreads, @alwaysbringabookwithyou

#microreview #booklr #tag #can't wait to read this book

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mklopez · 7 years ago

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16 Superhero TV Shows That Have Aged Terribly Daniel Kurland, screenrant.com

It definitely took some time, but superhero movies and television shows have transformed from niche interest to the titans of the entertainment industry. Characters like Captain America, Batman, and Spider-Man have never been more popular and the…

Superheroes shows are now normal, but there are plenty of series that make comic fans cringe. These are the ones that didn’t pass the test of time.

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cdga · 7 years ago

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NOMINEES ANNOUNCED FOR THE 19TH CDGA (COSTUME DESIGNERS GUILD AWARDS)

Mandy Moore to Host Annual Ceremony on February 21, 2017 at the Beverly Hilton Hotel

Los Angeles, CA (January 12, 2017) – Nominees were announced today for the 19th CDGA (Costume Designers Guild Awards) celebrating excellence in film, television, and short-form Costume Design. It was also announced that GRAMMY® and Golden Globe® nominated actress, singer, and songwriter Mandy Moore will host this year’s CDGA gala that will take place on Tuesday, February 21, 2017 at the Beverly Hilton Hotel.

Moore stated, "I am honored to be hosting this year’s ceremony. I’ve always been in awe of my Costume Designers and am especially thrilled to be working with the brilliant Hala Bahmet on our series This Is Us. I’m excited to join in celebrating the art of costume design and help shine a spotlight on the artists who are so essential to character creation."

Continuing its long-time support of the Guild for 14 years, LACOSTE is returning as Presenting Sponsor of the CDGA which is produced by JumpLine. As previously announced, three-time Academy Award® winning Actress Meryl Streep will receive the Distinguished Collaborator Award in recognition of her support of Costume Design and creative collaborations with Costume Designers. In addition, legendary Costume Designer Jeffrey Kurland will receive this year’s Career Achievement Award for his outstanding work in film and television. Illustrator, Lois DeArmond, will be honored with the Distinguished Service Award and Costume Designer, Ret Turner, will be posthumously inducted into the Guild’s Hall of Fame.

“I would like to congratulate all of the nominees of the 19th Costume Designers Guild Awards. Costume Design in Film and Television continues to be a major part of the storytelling process. We look forward to celebrating the work of our members, as well as this year’s honorees, at our awards gala on February 21st,” said Salvador Perez, President of the Costume Designers Guild Local #892.

Excellence in Contemporary Film

Absolutely Fabulous: The Movie – Rebecca Hale

Captain Fantastic – Courtney Hoffman

La La Land – Mary Zophres

Lion – Cappi Ireland

Nocturnal Animals – Arianne Phillips

Excellence in Period Film

The Dressmaker – Marion Boyce, Margot Wilson

Florence Foster Jenkins – Consolata Boyle

Hail, Caesar! – Mary Zophres

Hidden Figures – Renee Ehrlich Kalfus

Jackie – Madeline Fontaine

Excellence in Fantasy Film

Doctor Strange – Alexandra Byrne

Fantastic Beasts and Where to Find Them – Colleen Atwood

Kubo and the Two Strings – Deborah Cook

Miss Peregrine’s Home for Peculiar Children – Colleen Atwood

Rogue One: A Star Wars Story – David Crossman, Glyn Dillon

Outstanding Contemporary Television Series

American Horror Story: Roanoke – Lou Eyrich, Helen Huang

Empire – Paolo Nieddu

Grace & Frankie – Allyson B. Fanger

House of Cards – Johanna Argan, Kemal Harris

Transparent – Marie Schley

Outstanding Period Television Series

The Crown – Michele Clapton

Penny Dreadful – Gabriella Pescucci

Stranger Things, Series – Kimberly Adams, Malgosia Turzanska

Westworld, Pilot – Trish Summerville

Westworld, Series – Ane Crabtree

Outstanding Fantasy Television Series

Game of Thrones – Michele Clapton, April Ferry

The Man in the High Castle – J.R. Hawbaker

Once Upon a Time – Eduardo Castro

Sleepy Hollow – Mairi Chisholm

The Walking Dead – Eulyn C. Hufkie

Excellence in Short Form Design

Beyoncé: “Hold Up” – B. Åkerlund

Dos Equis: “The Most Interesting Man in the World - Mission to Mars” – Julie Vogel

Dos Equis: “The New Most Interesting Man in the World Traverses the Sand and the Serengeti” – Liz Botes

H&M: “Come Together” featuring Adrien Brody, directed by Wes Anderson – Milena Canonero

Pepsi: “Momotaro” Episode Four, featuring Jude Law — Ami Goodheart

ABOUT THE COSTUME DESIGNERS GUILD:

The Costume Designers Guild, IATSE local 892, is a proud member of the international alliance of theatrical stage employees. In addition to our union services, we promote the artistry, technical expertise, and creative vision of our members who design authentic fictional characters with accuracy and integrity. The Guild’s membership includes more than 900 Costume Designers and Illustrators working in motion pictures, television, commercials, music videos, and new media programs throughout the world. Find the Guild at Twitter, Facebook, and Instagram @CDGlocal892.

ABOUT MANDY MOORE:

GRAMMY® nominated actress, singer and songwriter—Mandy Moore continues to enjoy versatility in a career marked by memorable performances in family-friendly fare, independent features, and studio films. Moore can currently be seen in the critically acclaimed NBC show This Is Us. The series follows a group of people born on the same day, including Rebecca (Moore) and Jack, a married couple expecting triplets in Pittsburgh. This role earned Moore a Golden Globe Award nomination while the show received recognition with a Golden Globe Award nomination and a Critics’ Choice Award nomination. The show currently airs on Tuesdays at 9PM on NBC. As an Ambassador for PSI’s Five & Alive Organization, Moore is deeply involved in its initiative which addresses health crises facing children under the age of five and their families.

ABOUT LACOSTE:

For LACOSTE, Life is a Beautiful Sport! Since the very first polo was created in 1933, LACOSTE relies on its authentic sportive roots to spring optimism and elegance on the world thanks to a unique and original lifestyle for women, men and children. With a vision to be the leading player in the premium casual wear market, the Crocodile brand is today present in 120 countries through a selective distribution network. Two LACOSTE items are sold every second in the world. As an international group gathering 10,000 women and men, LACOSTE offers a complete range of products: apparel, leather goods, fragrances, footwear, eyewear, home wear, watches and underwear, all of them being elaborated in the most qualitative, responsible and ethical way. In 2015, the brand garnered a turnover of 1.95 billion euros. For more information: www.lacoste.com

ABOUT JUMPLINE:

JumpLine Group: The intersection of live production and original content. JumpLine www.jumpline-group.com specializes in high-touch events, such as the CDGA (Costume Designers Guild Awards). Its content division BehindTheLine www.behindthelineprod.com develops film, television, and digital content, and recently produced the feature-length documentary about Saturday Night Live, Live From New York!

SOCIAL MEDIA:

Find the CDGA on Twitter, Facebook, and Instagram and use #CDGA19. For updates and live tweeting during the show @CostumeAwards.

MEDIA CONTACT:

Brian Rubin

PMK•BNC

[email protected]

310.854.4800

For more information about the awards visit: www.jumpline-group.com/cdga

NOTE: Please do not abbreviate “costume designer” by using “costumer.” These are two different union locals, referring to completely different job descriptions. If it is necessary to abbreviate “costume designer” for space, please use “designer.”

#CDGA19

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foodcu-be · 2 years ago

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sto brainrot from twitter

#star trek online #guys i love kurland so much #also if u guys see dice on risa say hello!#sto #owl house au?#sto fan art #star trek #star trek fan art #artists on tumblr #james kurland #captain james kurland #kurland here #captain kurland

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ulkaralakbarova · 4 months ago

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After years of helping their hubbies climb the ladder of success, three mid-life Manhattanites have been dumped for a newer, curvier model. But the trio is determined to turn their pain into gain. They come up with a cleverly devious plan to hit their exes where it really hurts – in the wallet! Credits: TheMovieDb. Film Cast: Elise Elliot Atchison: Goldie Hawn Brenda Morelli Cushman: Bette Midler Annie MacDuggan Paradis: Diane Keaton Gunilla Garson Goldberg: Maggie Smith Shelly Stewart: Sarah Jessica Parker Morton Cushman: Dan Hedaya Cynthia Swann Griffin: Stockard Channing Bill Atchison: Victor Garber Aaron Paradis: Stephen Collins Phoebe LaVelle: Elizabeth Berkley Dr. Leslie Rosen: Marcia Gay Harden Duarto Feliz: Bronson Pinchot Chris Paradis: Jennifer Dundas Catherine MacDuggan: Eileen Heckart Uncle Carmine Morelli: Philip Bosco Dr. Morris Packman: Rob Reiner Gill Griffin: James Naughton Jason Cushman: Ari Greenberg Ivana Trump: Ivana Trump Kathie Lee Gifford: Kathie Lee Gifford Gloria Steinem: Gloria Steinem Elise’s Fan: Lea DeLaria Jilted Lover: Debra Monk Woman in Bed: Kate Burton Brett Artounian: Timothy Olyphant Federal Marshall: J.K. Simmons Young Brenda: Michele Brilliant Young Elise: Dina Spybey-Waters Young Annie: Adria Tennor Young Cynthia: Juliehera DeStefano Miss Sullivan: J. Smith-Cameron Eric Loest: Mark Nelson Gil’s New Wife: Heather Locklear Security Guard: Richard Council Film Crew: Producer: Scott Rudin Set Decoration: Leslie E. Rollins Second Unit Director: Jack Gill Director of Photography: Donald E. Thorin Editor: John Bloom Associate Editor: Antonia Van Drimmelen Casting: Ilene Starger Costume Design: Theoni V. Aldredge Music Supervisor: Marc Shaiman Production Design: Peter S. Larkin Associate Producer: Craig Perry Production Manager: Ezra Swerdlow Makeup Artist: Angela Levin Director: Hugh Wilson Screenplay: Robert Harling Hairstylist: Alan D’Angerio Assistant Art Director: Ed Check Art Direction: Charley Beal Choreographer: Patricia Birch Executive Producer: Adam Schroeder Camera Operator: Rob Hahn Casting Assistant: Kim Miscia Post Production Supervisor: Tod Scott Brody Sound Re-Recording Mixer: Lee Dichter Production Coordinator: Ray Angelic Sound Editor: Richard P. Cirincione Hairstylist: Frances Mathias Storyboard Artist: Brick Mason Construction Coordinator: Ron Petagna Makeup Artist: Bernadette Mazur Sound Editor: Laura Civiello Boom Operator: John Fundus Sound Mixer: Peter F. Kurland Location Manager: Joseph E. Iberti Assistant Art Director: Paul D. Kelly Negative Cutter: Noëlle Penraat Costume Supervisor: Hartsell Taylor Music Editor: Nic Ratner Special Effects Coordinator: Matt Vogel Costume Supervisor: Michael Adkins Still Photographer: Andrew D. Schwartz ADR Editor: Kenton Jakub Sound Editor: Eytan Mirsky Supervising Sound Editor: Maurice Schell Chief Lighting Technician: Jerry DeBlau Hairstylist: Werner Sherer Makeup Artist: E. Thomas Case Hairstylist: Robert Ramos Foley Editor: Bruce Kitzmeyer First Assistant Director: Michael E. Steele Script Supervisor: Shari L. Carpenter Music Editor: Nicholas Meyers Unit Publicist: Eric Myers Music Programmer: Nick Vidar Second Assistant Director: Julie A. Bloom Art Department Coordinator: Julia G. Hickman Transportation Captain: Steven R. Hammond Stunt Double: Joni Avery Transportation Co-Captain: Tom Heilig Color Timer: Tom Salvatore Cableman: Tommy Louie Co-Producer: Thomas A. Imperato Novel: Olivia Goldsmith Associate Producer: Heather Neely Associate Producer: Noah Ackerman Property Master: Octavio Molina Storyboard Artist: Lorenzo Contessa Makeup Artist: Marilyn Carbone Assistant Costume Designer: Wallace G. Lane Jr. Assistant Sound Editor: Jay Kessel Foley Editor: Stuart Stanley Movie Reviews:

#based on novel or book #Divorce #divorced woman #lgbt interest #reunited friends #Revenge #Top Rated Movies

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astreljourne · 5 years ago

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Astrel Journe: Talk to Captain Kurland

After a successful mission, Kurland is here again on DS9.

#ds9 #deep space 9 #star trek #Star Trek Online #homestuck #STO #astrel journe #trollsona #fan troll #fantroll #trekstuck #Trek Stuck #james kurland #captain kurland

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helloworlddemo1122-yahoopar-blog · 7 years ago

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Costume Designers Guild Awards 2018: The Complete Winners List!

The 20th Costume Designers Guild Awards kicked off Tuesday at The Beverly Hilton Hotel in Beverly Hills, California, honoring the best in film, television and short-form costume design.

Hosted by Gina Rodriguez, the soiree brought together some of the most prominent names in Hollywood like Eva Longoria (with her burgeoning baby bump), Lily Tomlin, Mark Hamill and Tony Hale, among others. Kerry Washington received the Spotlight Award, Maggie Schpak was honored with the Distinguished Service Award, the Career Achievement Award went to Joanna Johnston and Guillermo del Toro was bestowed the Distinguished Collaborator trophy.

Kevin Winter/Getty Images

While we had a blast speaking with A-listers on the red carpet, inside the event, all eyes were on the night's nominated costume designers, who created the beloved looks we saw in films like I, Tonya, Wonder Woman and Get Out, and TV shows like The Handmaid's Tale, The Crown and Game of Thrones.

See the full list of winners below!

Excellence in Contemporary Film

Get Out – Nadine Haders

I, Tonya – Jennifer Johnson -- WINNER

Kingsman: The Golden Circle – Arianne Phillips

Lady Bird – April Napier

Three Billboards Outside Ebbing, Missouri – Melissa Toth

Excellence in Period Film

Dunkirk – Jeffrey Kurland

Murder on the Orient Express – Alexandra Byrne

Phantom Thread – Mark Bridges

The Greatest Showman – Ellen Mirojnick

The Shape of Water – Luis Sequeira -- WINNER

Excellence in Sci-Fi/Fantasy Film

Beauty and the Beast – Jacqueline Durran

Blade Runner 2049 – Renée April

Star Wars: The Last Jedi – Michael Kaplan

Thor: Ragnarok – Mayes C. Rubeo

Wonder Woman – Lindy Hemming -- WINNER

Excellence in Contemporary Television

American Horror Story: Cult – Sarah Evelyn Bram

Big Little Lies – Alix Friedberg

Grace and Frankie – Allyson B. Fanger

The Handmaid’s Tale – Ane Crabtree -- WINNER

The Young Pope – Luca Canfora, Carlo Poggioli

Excellence in Period Television

The Crown – Jane Petrie -- WINNER

Feud: Bette and Joan – Lou Eyrich

Glow – Beth Morgan

The Marvelous Mrs. Maisel – Donna Zakowska

Stranger Things – Kim Wilcox

Excellence in Sci-Fi/Fantasy Television

Black Mirror: USS Callister – Maja Meschede

Game of Thrones – Michele Clapton -- WINNER

Once Upon a Time – Eduardo Castro, Dan Lester

Sleepy Hollow – Mairi Chisholm

Star Trek: Discovery – Gersha Phillips

Excellence in Short Film Design

Assassin’s Creed: "I Am," Commercial – Patrik Milani

Elton John, featuring Marilyn Manson: "Tiny Dancer," Music Video – Sara Sensoy, Dawn Ritz

Katy Perry: "Chained to the Rhythm," Music Video – B. Ăkerlund

Miu Miu Women’s Tales #14: The End of History Illusion, Short Film – Mindy Le Brock

P!NK: "Beautiful Trauma," Music Video – Kim Bowen -- WINNER

RELATED CONTENT:

Eva Longoria Shows Off Growing Baby Bump at Costume Designers Guild Awards

Brie Larson's 'Captain Marvel' Costume Has Fans Freaking Out -- Here's Why!

Wil Wheaton Attends ‘Star Wars’ Screening in ‘Star Trek’ Costume: Pics!

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ikkegoemikke · 7 years ago

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With the aid of a fellow Auschwitz survivor and a hand-written letter, an elderly man with dementia goes in search of the person responsible for the death of his family.

Genre : Thriller/Drama Country : Canada/Mexico/Germany

Cast : Christopher Plummer : Zev Guttman Martin Landau : Max Rosenbaum Dean Norris : John Kurlander

Director : Atom Egoyan

My opinion on “Remember”

“Yes, I must finish. I must. After all, this is the man who killed our families.”

“Remember” is a movie you should know as little as possible about before watching it. So I’m not going to tell too much. This drama, which gradually turns into a thriller, shows how the 86-year-old Jewish man Zev (Christopher Plummer) is searching throughout America and Canada for a former Nazi officer who was a blockführer in Auschwitz. Zev’s friend Max Rosenbaum (Martin Landau), who’s staying in the same rest-house, discovered with the use of old documents that certain SS officers escaped by stealing the identity of killed Jews. Zev is being sent to seek a certain Rudy Kurlander and kill him. And this as a revenge because he’s responsible for the death of Zev’s and Max’s family. Unfortunately, Zev has to be reminded of this because he’s in an advanced stage of the dementing illness Alzheimer.

What a surprising denouement.

The film thus shows mostly Zev searching for this person. Armed with a Glock and a handwritten letter from Max, he pays a visit to every Rudy Kurlander who’s currently living in the U.S. And Canada. The letter is his guide because everytime he awakes, he has no idea where he is and why he’s there. He even forgets about the death of his wife Ruth. Hence the note with a pen on his arm to remind him to read the letter over and over again. “Remember” is captivating. “Remember” is thrilling. But “Remember” is also a moving movie. A film about people who have to deal with a trauma. How they need to carry an intense sadness. And the deeply rooted feelings of revenge. And I must say that the denouement is one that will stay in your mind for a long time. The only thing I could say was “No way!“. It’s been a long time since I couldn’t predict the ending of a movie. It took me by surprise this time. Trust me, you’ll remember the end forever.

Brilliant actor!

Needless to say that Christopher Plummer’s acting was sublime. A scarred, elderly person who tries to do the job faultless as assigned to him. Zev isn’t only scarred by his past, but also by the present because of the loss of someone dear and a memory-consuming disease. The desperation and helplessness Plummer displays is lifelike at times. The encounter with John Kurlander (Dean Norris who’s the spitting image of Jack Nicholson) is a masterful scene with an excellent acting Plummer. You feel pity for Zev who suffers a moment of outright fear. After this scene the movie changes from a diligent search into a ruthless thriller.

Luckily it’s no “Sound of Music”

Despite his age, this star still knows to touch a nerve. More than when he played the well-known Captain von Trapp in “The sound of Music“. A movie that makes me sick to my stomach as if I ate a poorly baked Wiener Schnitzel. The film is always shown on television around Christmas and New Years eve. Probably to worsen the hangover. Still find it strange I didn’t recognize him immediately. The last time I saw Plummer was in “The Forger“. But that part wasn’t so memorable. Here the staggering and surprising end will leave a lasting impression. An absolute recommended movie.

My rating 7/10 Links : IMDB

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aion-rsa · 4 years ago

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Best Horror Movies Streaming on HBO Max

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Editor’s Note: This post is updated monthly. Bookmark this page and come back every month to see the new horror movies on HBO Max.

What ever would we do without horror?

So much of our day to day life is built around logic and known, verifiable facts, and for some, the rest of the time must be supplemented with comforting reassurances that everything is going to be alright. Well if the last year has taught us anything… that’s not the case. Perhaps this is why horror hounds know the best way to face abstract fears is to confront them head on… and preferably with a screen in the way.

So, with Halloween around the corner, we figured it’s time to get in touch with our illogical, terrified animal brain. That’s where horror and horror movies in particular come in. Gathered here are the best horror movies on HBO Max for your scaring needs.

Alien

“In space, no one can hear you scream,” the tagline for Ridley Scott’s 1979 sci-fi/horror epic promised. Well maybe they should have screened this thing in space because I’m sure all that audiences in theaters did was scream.

Alien has since evolved into a heady, science fiction franchise that has stretched out for decades. The original film, however, is a small-scale, terrifyingly claustrophobic thriller.

Altered States

What if you could tap into the vast swaths of the brain you never use? What if you did and didn’t like what we found? And what if it was an absolute psychedelic rush of a cinematic experience?

All three questions are answered in their own way during Ken Russell’s Altered States, a wild sci-fi thriller. In the film, William Hurt stars as a psychologist who begins experimenting with taking hallucinatory drugs while in a sensory depravation tank.

Yes, he manages to expand his consciousness; he also begins to expand his physical body as it transforms beneath his skin. Or does it? Well that’s yet another good question…

An American Werewolf in London

Arguably the definitive werewolf movie, John Landis’ 1981 horror masterpiece has the single greatest on-screen lycanthropic transformation in movie history… and that’s only one of its appeals.

Peppered with loving references to the werewolf movies that came before it and a few legitimate laughs to go along with the scares, An American Werewolf in London is remarkably knowing and self-aware, without ever flirting with parody.

Not enough can be said about Rick Baker’s practical effects, which extend beyond the aforementioned on-screen transformation and into one of the most gruesome depictions of a werewolf attack aftermath you’re ever likely to see. A classic of the era, it still can get under the skin whenever Griffin Dunne’s mutilated corpse rises from the grave to warn his friend to “beware the moon.”

New Line Cinema

Blade II

Perhaps Guillermo del Toro‘s schlockiest movie, there’s still great fun to be had by all in Blade II. As a sequel to the 1998 vampire actioner that starred Wesley Snipes as the titular “daywalker,” Blade II builds on the lore of the first film and its secret underground society of bloodsuckers who Blade must do battle with.

However, del Toro heightens both the Gothic lunacy of it all, as well as the horror quotient. Truly there are few sights as gross in vampire lore as Luke Goss’ Nomak, a new type of monster whose face opens like a flower, revealing a gaping hole of fangs and tongue…

The Brood

I bet you never thought placenta could look so tasty, but when Samantha Eggar’s Nola Carveth licks her newborn clean you’ll be craving sloppy seconds within the hour. She brings feline intuition to female troubles. We get it. Having a new baby can be scary. Having a brood is terrifying. Feminine power is the most horrifying of all for male directors used to being in control.

David Cronenberg takes couples therapy one step too far in his 1979 psychological body-horror film, The Brood. When it came out critics called it reprehensible trash, but it is the writer-director’s most traditional horror story. Oliver Reed plays with mental illness like Bill Sikes played with the kids as Hal Raglan, the psychotherapist treating the ex-wife of Frank Carveth (Art Hindle). The film starts slow, unfolding its drama through cuts and bruises.

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Cronenberg unintentionally modifies the body of the Kramer vs. Kramer story in The Brood, but the murderous munchkins at the external womb of the film want a little more than undercooked French toast.

Carnival of Souls

Carnival of Souls may be the most unlikely of chillers to appear in the Criterion Collection. Hailing from the great state of Kansas and helmed by commercial director Herk Harvey, who was looking for his big break in features, there is something hand-crafted about the whole affair. There’s also something unmistakably eerie.

The story is fairly basic campfire boilerplate, following a woman (Candace Hilligoss) who survives a car crash but is then haunted by the sound of music and visions of the ghoulish dead–beckoning her toward a decrepit carnival abandoned some years earlier–and the acting can leave something to be desired. But the dreadful dreamlike atmosphere is irresistible.

With a strong sense of fatalism and inescapable doom, the film takes an almost melodic and disinterested gait as it stalks its heroine to her inevitable end, presenting images of the walking dead that linger in the mind long after the credits roll.

The Conjuring 2

Making an effective, truly spooky mainstream horror film is hard enough. But The Conjuring franchise really nailed things out of the gate with a sequel that is every bit as fun and terrifying as the original.

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Patrick Wilson and Vera Farmiga return as paranormal investigators Ed and Lorraine Warren in The Conjuring 2. This time the Warrens head to Great Britain to attend to the Hodgson family, dealing with some poltergeist problems in their Enfield home. The source of the Enfield haunting’s activity contains some of the most disturbing and terrifying visuals in the entire Conjuring franchise and helped to set up a (sadly pretty bad) spinoff sequel in The Nun.

Doctor Sleep

Let’s be up front about this: Doctor Sleep is not The Shining. For some that fact will make this sequel’s existence unforgivable. Yet there is a stoic beauty and creepy despair just waiting to be experienced by those willing to accept Doctor Sleep on its own terms.

Directed by one of the genre’s modern masters, Mike Flanagan, the movie had the unenviable task of combining one of King’s most disappointing texts with the opposing sensibilities of Stanley Kubrick’s singular The Shining adaptation.

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And yet, the result is an effective thriller about lifelong regrets and trauma personified by the ghostly specters of the Overlook Hotel. But they’re far from the only horrors here. Rebecca Ferguson is absolutely chilling as the smiling villain Rose the Hat, and the scene where she and other literal energy vampires descend upon young Jacob Tremblay is the stuff of nightmares. Genuinely, it’s a scene you won’t forget, for better or worse….

Eraserhead

“In Heaven, everything is fine,” sings the Lady in the Radiator in Eraserhead. “You’ve got your good things, and I’ve got mine.”

You may get something short of paradise, but the insular world David Lynch created for his 1977 experimental existential horror film is a land of mundane wonders, commonplace mysteries, and extremely awkward dinner conversations. Lynch’s first feature film is surrealistic, expressionistic, and musically comic. The minor key score and jarring black and white images bring half-lives to the industrial backdrop and exquisite squalor. At its heart though, Eraserhead is poignant, sad, and ultimately relatable on a universal level.

Jack Nance’s Henry Spencer is the spiky-haired everyman. He works hard at his job, cares deeply for his deformed, mutant child, and is desperate to please his extended family. Lynch lays a comedy of manners in a rude, crude city. The film is an assault on the senses, and it might take a little while for the viewer’s brains to adjust to the images on the screen; it is a different reality, and not an entirely inviting one, but stick with it. Once you’re in with the in-laws, you’re home free. When you make it to the end, you can tell your friends you watched all of Eraserhead. When they ask you what it’s about, you can tell them you saw it.

Eyes Without a Face

“I’ve done so much wrong to perform this miracle,” Doctor Génessier (Pierre Brasseur) confesses in the 1960 horror film Eyes Without a Face. But he says it in French, making it all so much more poignant, allowing it to underscore everything director and co-writer Georges Franju did right. We feel for the respectable plastic surgeon forced to do monstrous things. But the monster behind the title character is his young daughter Christiane (Édith Scob). She spends the majority of the film behind a mask, even more featureless than the unpainted plastic Captain Kirk kid’s costume Michael Myers wore in Halloween. The first time we see her face though, the shock wears off quickly and we are more moved than terrified.

Like Val Lewton films, the horror comes from the desolate black-and-white atmosphere, shrouding the claustrophobic suspense in German Expressionism. Maurice Jarre’s score evokes a Gothic carnival as much as a mad scientist’s laboratory. After his daughter’s face is hideously disfigured in an accident, Dr. Génessier becomes obsessed with trying to restore it. We aren’t shown much, until we’re shown too much. We see his heterograft surgical procedure in real time. A woman’s face is slowly flayed from the muscle. The graphic scenes pack more of a visceral shock after all the encroaching dread.

From Dusk Till Dawn

Some movies have such a gonzo left turn between acts that audiences will either go with it or throw their popcorn at the screen in disgust. For most viewers, including us, Robert Rodriguez and Quentin Tarantino’s From Dusk Till Dawn is happily the former. An absolutely wild mash-up of the gangster genre that both filmmakers were redefining in the 1990s and the type of schlocky grindhouse thrills they worshipped at 1970s drive-ins, From Dusk Till Dawn is one of the strangest and most satisfying vampire movies ever made.

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With a story that improbably pairs Tarantino and George Clooney as on screen brothers, the flick recounts how the duo’s notorious Gecko Brothers kidnap a nice Christian family ruled by a doubting pastor (Harvey Keitel) in order to sneak across the Mexican border. But once there, the strip club they choose to spend the night in has the unfortunate gimmick of being run by ancient vampires, including Salma Hayek as the Queen of the Undead. It’s batshit good fun, and a far better tribute to grindhouse cinema than the Grindhouse double-feature the same filmmakers would partner on a decade later.

Godzilla

As the original and by far still the best Godzilla movie ever produced, this 1954 classic (originally titled Gojira), is one of the many great Showa Era classics that the Criterion Collection and HBO Max are making readily available to American audiences. And if you want to watch one that is actually scary, look no further.

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In this original uncut Japanese form, the movie’s genuine dread of nuclear devastation, as well as nightly air raids, less than 10 years since World War II ended in several mushroom clouds, is overwhelming. Tapping into the real cultural anxiety of a nation left marred by the memory of its dead, as well as the recent incident of a fishing crew being contaminated by unannounced hydrogen bomb testing at Bikini Atoll, Godzilla encapsulates terror for the atomic age in a giant lizard. But unlike the sequels there is nothing cuddly or amusing about this original Kaiju with its scarred body and legion of tumors. This is the one Godzilla movie to play it straight, and it still plays today.

The Invisible Man

After years of false starts and failed attempts at resurrecting the classic Universal Monsters, Universal Pictures finally figured out how to make it work: They called Blumhouse Productions.

Yep, Jason Blum’s home for micro-budgeted modern horror worked wonders alongside writer-director Leigh Whannell in updating the classic 1933 James Whale movie, and the H.G. Wells novel on which it is based, for the 21st century.

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Turning the story of a man who masters invisibility into a horrific experience told from the vantage of the woman trying to escape his toxic violence, The Invisible Man becomes a disquieting allegory for the #MeToo era. It also is a devastating showcase for Elisabeth Moss who is compelling as Cecilia, the abused and gaslighted woman that barely found the will to escape, yet will now have to discover more strength since everyone around her shrugs off the idea of her dead ex coming back as an invisible man…

Lifeforce

Most assuredly a horror movie for a very acquired taste, there are few who would call Tobe Hooper’s career-destroying Lifeforce a good movie. There probably aren’t even many who would call it a fun movie.

But for those with a singular taste for batshit pulp run amok, Lifeforce needs to be seen to be believed: Naked French vampire girls from outer space! Hordes of extras as zombies marauding through downtown London! Lush Henry Mancini music over special effects way outside of Cannon Films’ budget!!! Patrick Stewart as an authority figure possessed by said naked French space vampire, trying to seduce an astronaut via makeout sessions?!

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… What is this movie? Why does it exist? We don’t know, but we’re probably more glad it does than the people who made it.

Magic

As much a psychological case study as as a traditional horror movie, for those who like their terror rooted in humanity, Magic may be the creepiest iteration of the “killer doll” subgenre since this is about the man who thinks his dummy is alive. Starring Anthony Hopkins before he was Hannibal, or had a “Sir” in front of his name, Magic is the brain child of William Goldman, who adapted his own novel into this movie before he’d go on to do the same for The Princess Bride (as well as adapt Stephen King’s Misery), but after he’d already written Butch Cassidy and the Sundance Kid and Marathon Man.

In the film, Hopkins stars as Corky, a down on his luck ventriloquist who tries to get his life together by tracking down his high school sweetheart (Ann-Margret). She’ll soon probably wish he didn’t bother once she realizes Corky believes his ventriloquist dummy Fats really is magic… and is determined to get him to act on the most heinous of impulses.

The Most Dangerous Game

Before King Kong, Merian C. Cooper and Ernest B. Schoedsack released The Most Dangerous Game, one of the all-time great pulp movies, based on a short story by Richard Connell. This classic has influenced everything from Predator to The Running Man, The Hunger Games to Ready or Not.

It’s the story of a big game hunter who shipwrecks on a remote island with an eccentric Russian Count who escaped the Bolshevik Revolution (Leslie Banks). The wayward noble now drinks, studies, and charms his apparently frequent array of unannounced guests, including two other survivors from a previous (suspicious) wreck. The film quickly boils down to a mad rich man determined to hunt his guests as prey across the island for the ultimate thrill.

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Man hunting man, man lusting after woman in a queasy pre-Code fashion, this is a primal throwback to adventure yarns of the 19th century, which were still relatively recent in 1932. Shot simultaneously with King Kong, this is 63 brisk minutes of excitement, dread, and delicious overacting. Let the games begin.

Night of the Living Dead

“They’re coming to get you, Barbara!”

The zombie movie that more or less invented our modern understanding of what a zombie movie is, there is little new that can be said about George A. Romero’s original guts and brains classic, Night of the Living Dead. Shot in black and white and on almost no budget, the film reimagined zombies as a horde of ravenous flesh-eaters, as opposed to a lowly servant of the damned and enchanted.

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Still visually striking in black and white, perhaps the key reason to go back to the zombie movie that started it all is due to how tragically potent its central conflict from 1968 remains: When strangers are forced to join forces and barricade in a farmhouse to survive a zombie invasion, the wealthy white businessman is constantly at odds with the young Black man in the group, to the point of drawing weapons…

The Others

Alejandro Amenabar (Open Your Eyes) wrote and directed this elegant ghost story. Nicole Kidman is superb as Grace, who relocates herself and her two small children to a remote country estate in the aftermath of World War II. Their highly structured life — the children are sensitive to sunlight and must stay in darkened rooms — is shattered by mysterious presences in the house.

Amenabar relies on mood, atmosphere and a few well-placed scares to make this an excellent modern-day companion to classics like The Haunting and The Innocents.

Ready or Not

The surprise horror joy of 2019, Ready or Not was a wicked breath of fresh air from the creative team Radio Silence. With a star-making lead turn by Samara Weaving, the movie is essentially a reworking of The Most Dangerous Game where a bride is being hunted by her groom’s entire wedding party on the night of their nuptials.

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It’s a nutty premise that has a delicious (and broad) satirical subtext about the indulgences and eccentricities of the rich, as the would-be extended family of Grace (Weaving) is only pursuing her because they’re convinced a grandfather made a deal with the Devil for their wealth–and to keep it they must step on those beneath them every generation. Well step, shoot, stab, and ritualistically sacrifice in this cruelest game of hide and seek ever. Come for the gonzo high-concept and stay for the supremely satisfying ending.

Sisters

One of the scariest things about the 1972 psychological thriller Sisters is the subliminal sounds of bones creaking and muscles readjusting during the slasher scenes. Margot Kidder plays both title characters: conjoined twins, French Canadian model Danielle Breton and asylum-committed Dominique Blanchion, who had been surgically separated. Director Brian De Palma puts the movie together like a feature-long presentation of the shower scene in Alfred Hitchcock’s Psycho. The camera lingers over bodies, bloodied or pristine, mobile or prone, with fetishistic glee before instilling the crime scenes in the mind’s eye. He allows longtime Hitchcock composer Bernard Herrmann to assault the ear.

De Palma was inspired by a photograph of Masha and Dasha Krivoshlyapova, Russian conjoined twins with seemingly polarized temperaments. There may be no deeper bond than blood, which the film has plenty of, but the real alter ego comes from splitscreen compositions and an outside intruder. The voyeuristic delight culminates in a surgical dream sequence with freaks, geeks, a giant, and dwarves. Nothing is as it seems and an out-of-order telephone is a triggering reminder.

Vampyr

A nigh silent picture, Vampyr came at a point of transition for its director Carl Th. Dreyer. The Danish filmmaker, who often worked in Germany and France at this time, was making only his second “talkie” when he mounted this vampire opus. That might be why the movie is largely absent of dialogue. The plot, which focuses on a young man journeying to a village that is under the thrall of a vampire, owes much to Bram Stoker’s Dracula as well as F.W. Murnau’s Nosferatu from some years earlier.

Yet there horror fans should seek Vampyr out, if for no other reason than the stunning visuals and cinematography. Alternating between German Expressionist influences in its use to shadows to unsettling images crafted in naturalistic light, such as a boatman carrying an ominous scythe, this a a classic of mood and atmosphere. Better still is when they combine, such as when the scythe comes back to bedevil a woman sleeping, trapping us all in her nightmare. Even if its narrative has been told better, before and after, there’s a reason this movie’s iconography lingers nearly a century later.

Wes Craven’s New Nightmare

Some do not count Wes Craven’s New Nightmare, the seventh film in the Nightmare on Elm Street saga, as actually part of the series. As a gleefully meta exercise in self-awareness and self-critique, the film shirks off continuing the narrative from the last batch of Freddy Krueger movies, the last of which had the title Freddy’s Dead. Rather writer-director Wes Craven, returning to the series for the first time as director since the original, attempts to wrestle the horror icon back from pop culture. When Craven and actor Robert Englund created Freddy in 1984’s A Nightmare on Elm Street, the fiend was a menacing, demonic child murderer. By 1994, he’d turn into a kid-friendly pop culture personality and huckster.

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With Englund on board, as well as the original film’s star in Heather Langenkamp, New Nightmare has the knotty concept of being about Langenkamp playing a version of herself: an actress who did a slasher movie 10 years ago and is still in some ways haunted by it. In real life she faced a stalker calling her at all hours of the night; in the movie, it’s Freddy. Or a Demon who’s taken the shape of Freddy… it’s complicated. The movie’s reach may exceed its grasp in terms of artistry, but at the very least Freddy was scary again for one last time. And the film’s ambition in crafting a waking nightmare of movies bleeding into our reality is still impressive.

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