#casino review

[36crypto]

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[my-casinoreview]

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[bettingvalleyco]

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[melonisopod]

The fight against Baba Yaga has the instrumental version of Rodion’s ‘Pass On’ playing behind it and it’s just fascinating. The frozen, shambling corpses of her neighbors who she failed to protect, who died because of her actions, are obstacles in her way, while the house of the old woman she killed chases after her, threatening to crush her under its weight. She can’t save her neighbors anymore, all she can do is cut them down and shove them out of her way, she can’t fight the villain, she can only outrun it and hide from it. There is no closure, just a reminder of all the ways she failed.

And yet she’s still telling herself she’s moved on.

[iwenttosee]

I Went To See ... Queer

Luca Guadagnino’s “Queer” is not so much a film as it is an experience - one that lingers like cigarette smoke in a dimly lit bar, equal parts intoxicating and suffocating. From the very first frame, with its “Call Me by Your Name”-esque font, the film feels haunted by the ghost of Guadagnino’s previous projects, yet it stands firmly in its own strange, unsettling world. A world where longing is visceral, reality bends at the edges, and centipedes crawl ominously across the screen, their purpose as ambiguous as the film itself. (But seriously, what’s up with the centipedes?) As a disclaimer, I have to mention I have not read the novella, and also tried to read up on the film as little as I could, just to go in blind and have the strongest reaction I could have.

Eugene, portrayed by Drew Starkey, is a man teetering on the edge of his own desire, orbiting around the enigmatic and perpetually intoxicated William Lee (Daniel Craig) in full a disheveled, world-weary form. Their dynamic is a careful balancing act between seduction and power imbalance, between want and denial. Guadagnino translates that tension into something deeply physical - through stolen glances, awkward gestures, and even a haunting “ghost arm” effect that visually externalizes Lee’s repressed yearning for Eugene. The film often plays with its own sense of touch, most notable in an almost hallucinatory sequence, where the two men are inside each other’s skin as if trying to merge into one. (You read that right.) Yet, for all its sensuality, the film never lets us forget the distance between them, between what is desired and what is allowed.

Visually “Queer” is stunning. The cinematography crafts breathtaking stills - shadows carefully placed, colors deliberately chosen - but then there are the moments that feel off. Abrupt edits, frozen frames, an odd static effect on Lee, as if he’s glitching in and out. Continuity errors stack up: cigarettes light and unlight, chess pieces seem to rearrange themselves, and the film’s pacing often drifts in a way that mirrors Lee’s dissociative state. Is it sloppy editing or deliberate attempt to blur the line between reality and fantasy? With Guadagnino, it is never clear whether the messiness is accidental or if we’re simply being pulled deeper into the main character’s unraveling mind.

And there’s the music. Nirvana’s “Come as You Are” plays over their meetcute - a choice so obvious, it almost becomes brilliant. However, Lee does indeed have a gun..even two…iykyk. Later, dreamlike animations and surreal landscapes push the film further into abstraction, culminating in an ending that is equal parts hypnotic and perplexing. Where did Eugene vanish? Did Lee kill him? The film folds in on itself like an infinite loop or snake biting into its own tail, never quite letting go.

In the end, “Queer” isn’t trying to tell a simple story. It’s about obsession, internalized homophobia, and the blurry lines between attraction and self-destruction. It exists in that liminal space between dream and reality, leaving you with more questions than answers. I guess I will have to read the novel now. Because Guadagnino is not interested in clarity - only in making you feel every moment of Lee’s dizzying, disorienting descent. Love it or hate it, “Queer” won’t let you leave untouched.

[pilotprojectvogelfrei]

Of Fiends & Conmen🃏🔺💸

A/N: Here’s a few doodles for this thing that a some people found interesting. (@localcanadiancreature62 ; @hirotowhosthat; Tagging you both in because y’all were the most excited)

I have to think about the human design I’ll settle with for Bill (I will be making new designs every day till the fixation dies, yes.) this is an early on concept. Maybe I’ll just leave him in triangle form.

I doubt I will have enough fuel for a long fic, I might make it a mini fic or a oneshot. If anyone wants to give it a try and write something in full regarding this (queer platonic?) Billstan/Stanbill prompt, be my guest! I’d be more than happy to see more of this!

P.S.: More doodles will come later, specifically Bill and Stan singing ‘Loser, baby!’.

[skitskatdacat63]

I'm not built for watching movies w straight dudes cause I can't say the things I want to say like, "James Bond would benefit from puppy play," "He should seduce a man next," "If I made a Bond film, I'd have him infiltrate a bdsm club as a sub" etc etc.

[allthecolorwecannotsee]

[alexjcrowley]

So, I watched Casino Royale (2006), in my quest to rewatch all of the Daniel Craig's James Bond movies and answer the question: "Do I really hate James Bond movies? Or was I just a kid when some of them came out and I didn't care for spy movies?"

I'll start by saying that I liked Casino Royale much, much more than I had expected. It's 2 hours and a half long, which today is the standard running time for any blockbuster, but lately I had managed to convince myself that, during my childhood, blockbusters were shorter and didn't kidnap an audience in a movie theatre for almost 3 hours. I was wrong.

(Now, SPOILERS ahead)

Starting with what I liked.

First thing first: James Bond. I was never fond of Bond's character, I have always thought him boring instead of serious, slimy instead of charming, and generally very annoying with the whole "I'm the man" demeneanor. I was also wrong. I really liked Daniel Craig in this first movie. We see Bond at the very start of his career, he has just been promoted 00 status and he has a lot to learn. He takes almost as many punches as he gives, he is too instinctive and his ego often gets his own way. He is far from perfect and many people give him shit for that, especially women. Casino Royale holds his main character accountable for most of the bullshit he does and that was a welcome surprise.

The plot. I am proud to say I think I understood the entire plot of the movie. I know it might not seem much a of a brag and I swear I can usually understand the plot of a movie- but James Bond's ones are often too convoluted for me. I feel like Casino Royale, partly thanks to chunk of explaination given by M, was fairly easy to follow. There were also many predictable twists- not necesserily a bad thing though, because they did make sense. I really liked how Mads Mikkelsen- brilliant as always in the role of the main villain Le Chiffre- was being hunted both by Bond and by far more dangerous people he owed money to. I think the movie lost itself a little bit in a the last part, but I'll discuss that later.

Vesper Lynd. I have no idea what the press conferences around Casino Royale were like, but I wouldn't be surprised if a lot of them focused on a better treatment of female characters in the Bond's franchise. I was expecting to be bored to death by the umpeteenth only apparently hard-to-get woman falling for Bond's charms, and I am happy to say it was nothing like that. First of all, and I mean it as a compliment, the Bond and Vesper banter is ao3-tier. The chemistry is there, there's equal teasing on both sides, which makes it looks they just work very well as a couple. But the scene I liked the most is right after James Bond loses a really important game of poker. He goes out on the balcony, Vesper follows him and James asks her to give him more money, because he thinks he can win the next game. Vesper says no. James insists, in what you could call the classical "all or nothing" scene of a movie. The one in which the protagonist is like "you have to believe in me, I can do this, look into my eyes, trust me one more time and I'll prove it to you", sprinkled with a little more "If you don't do this, all that money" that he lost "will be in the villain's hands" and grasping Vesper's arm very tightly. And Vesper's response is not "Okay, I will give you the money to save the world, but don't let me regret this, James". The first thing Vesper tells him is get his hand off of her. The second is that she is not going to give him more money, because he lost that game due to his ego (a motif that had already been introduced at the beginning of the movie) and if he keeps playing now, he is going to keep losing. And then she leaves. This, and the dialogue in which she basically asks if she has to worry about Bond's breaking into her room and trying to force himself on her with Bond reassuring her he won't, were moments I really appreciated. The James Bond saga is not exactly well known to be fair to female characters and, especially, James Bond's love interests are often poorly written. They could have gone the easy route, they could have had Vesper trusting James blindly because he is the main character, but, instead, she stood up to him. I really, really like this decision. As James Bond has been cemented as an icon of masculinity, it is shown that not only even he can be wrong, but also that this is rightly pointed out by a woman. In this occasion, he's being emotional and illogical, while she is being the reasonable one. And I feel this is as relevant today as it was in 2006.

Favourite scene: the torture. I am not really crazy about torture scenes usually, but I really loved the one between James Bond and Le Chiffre. It's not just that the acting- especially on Daniel Craig's part- is phenomenal, it's what that scene means. According to my interpretation, based purely on how Craig played the character, that seems to be the first time James Bond has ever been tortured and you can see he's fucking terrified. And you see him going from terrified back to that mask of neutrality, even though it is now dented. There are moments in which pain slowly morphs into an exasperated laughter and James is turning to crude humour to deal with the situation because he has already made his decision- he won't give up the code, so he's gonna die there, if he is lucky. If he's not, many hours, if not days, of torture await him. It's a momumental test of an actor for Craig.

So, yeah, lots to love. Let's now move to what I didn't like.

The action. Not all the action in Casino Royale is bad, on the contrary, but a couple of things were simply goofy. Like the first bomber being a parkour God, especially compared to James Bond's clusmy ass? Top-tier comedy, maybe intentionally, maybe not. I know for a fact the dramatic zooms were not intentionally comedic, but alas. And I gotta ask, other than being the easiest way to kill off Vesper, what was the point of that last Venice action sequence? To me, that was really overdrawn and forgetful.

The wife of the first villain. Her dialogue about liking bad guys is very cringe and I don't know who directed Daniel Craig in the scene in which reacts to her death, but holy shit that's one of the worst sequence of the movie. At first he seems indifferent to her being tortured and killed, then M goes on her whole tirade about Le Chiffre, and then, suddenly, when she asks if James Bond can handle the mission, Daniel Craig is looking at dead body of the villain's wife doing the most exaggrated heavy breathing since the stuff you could find of Looney Tunes. And then says "no" in a completely neutral, and accidentally comedic, tone. Jesus Christ. What a shit show.

James Bond's character arc, a.k.a. the romcom act. Yeah, I know, I said I liked James Bond before. But I have beef with the way the character evolved. I would say I pretty much like what we see in 2/3 of the movie. The problem for me arrives post torture, when we are made believe we have finally reached a happy ending. Vesper and Bond declare their love to each other, great, it was to be expected. But the fact that a few days after that- at least it looks like a few days- James Bond is like "Yeah, no, I'm in love with you, I wanna quit my job and spend the rest of my life with you" feels very rushed to me. Sure, near death experiences really bond people together, but let's recap the events of this movie. At the beginning of the movie, James Bond has just become 007. If I am not wrong, Casino Royale is James Bond's first mission as a 00 agent. We don't know how much time he has spent hunting down the parkour-bomber of the beginning of the movie, but we know that something like 2 days later he is sent to the Bahamas, then goes to Miami, all in the span of 2 days, and then he gets sent to Montenegro for something like 3 or 4 days. At the end of the Montenegro section, there's the torture scene, so all we know is that he ends up in a hospital and stays there for an unspecified while (which he spends mostly unconscious) and it's at that point, after declaring his love to Vesper, that he goes "Yeah I don't want to be a spy anymore". Bitch, you have been a spy for less than a month and you have known this woman for 2 weeks at best, and I am counting the time you were unconscious. Am I the only one who feels this is rushed? Especially because, during a game of deduction he and Vesper played, Vesper seemed to rightly deduce James wanted to be a spy because he had a chip on his shoulder about proving is worth- did that just go away? Wow, James, you gotta teach me how to solve self-worth related issues that fast. And the canonical reason why James wants to leave the job is because it's "eating his soul away" or some shit like that, and he wants to leave with that little bit of soul he still got. Once again, bitch, please. You have not been on the job for one month, what the fuck are you talking about. Maybe it's because you're not used to have a job, Mr Bond, but every single job eats your soul away and you live with that, because otherwise you won't be able to pay the bills. Just to be clear, I'm not mad at the idea that James Bond wants to leave his job. I think it feels rushed and I think it's a little bit too obvious something will happen to Vesper at this point because there's no way James Bond is quitting the job in his first movie, but I would have accepted this change of heart from Bond if I had been given a good reason for it. For example, the fact that he has been tortured. To me, it would have made much more sense if James Bond would have been like "You know what? Being tortured is fucking terrifying, much more than I thought during my spy training, I don't think I can handle that again", I would have believed that. But instead, we got some bullshit on the soul. James Bond screenwriters, being afraid of torture doesn't make you any less of a man, I swear. All in all, James Bond deciding to change his entire life goals just because he fell in love seems the kind of shit writing the female lead would get in a shitty romance movie, not the one of the main (male) character of a spy movie. Maybe it's poetic justice, but I think James Bond somehow found himself a victim of what is usually regarded as misogynistic writing. He then regresses to the emotional maturity of a teenage boy who spends too much time on reddit when he feels betrayed by Vesper, while M has to explain as you would to a 5-year-old that Vesper, if anything, tried to save Bond. A very undignified main character arc, if you ask me.

Vesper's death. Why did Vesper basically kill herself? I genuinely thought her death was a Jack and Rose situation- they both could fit on the door! I think James would have been able to save Vesper if she only didn't lock herself in the elevator. The only explaination that I can give myself to that decision is that Vesper didn't want to live with the guilt of condemning her past lover to death in saving James.

I am not good at giving grades to movies, instead I will say this: it's definitely worth a watch if you're into spy movies and the bisexual panic induced by Eva Green and Daniel Craig will not leave you for a good while. If you're willing to be forgiving of a few sequences, it's a very enjoyable action flick.

Onto the last part: my quest to prove James Bond is aro and/or ace.

Why do I want to prove that? I guess if there were more aromantic characters I could just turn to them for representation, but I have to do everything by myself around here.

My reasons to believe James Bond is aro: as someone who, for the moment, identifies as aroallo, I really sympathise with characters that indulge in a lot of sex, but keep romance at an arm's lenght. I don't think they're shallow, I think maybe romance is simply not their thing, just like it's not mine.

My reasons to believe James Bond is ace: I think James Bond may have a pretty fucked up relationship with sex because of his job. His entire body basically belongs to the governemnt: it's a weapon to kill, a disposable dummy to be tortured and, in some occasions, an object of desire, used to seduce, possess and be possessed. You could pretty much say that a fraction of his job is similar to that of a sex worker. Far from implying that being a sex worker automatically fucks up your relationship with sex, I think being forced to have sex with people who you sometimes despise and who might want to hurt you or even kill you is not, like, the best thing ever. And also, while a sex worker can theoretically pick their clients, James can't. He has to seduce who is useful to seduce for the mission, regardless of how he feels about them. And, to top it all off, I like the idea of James Bond being ace because I am tired of the whole "James Bond is so cool because he fucks a lot and which man wouldn't want to fuck a lot". Maybe James Bond doesn't want to fuck a lot, or maybe he doesn't derive as much pleasure from it as people believe he does.

Okay, so. Starting with aro spectrum, even though James falls for Vesper, I think we still have good chances of him being aro, either fully aro or something like greyromantic. After all, aromantics can still, even if rarely, fall in love and I think, for the way the character of James Bond has been presented, him falling for Vesper was quite an unexpected/out of character thing for him. Him deciding ti quit his entire past life to be with Vesper...is truly just bad writing for me, but even accepting it, I don't think it makes him any less aro, because as I explained he could have had much better reasons to want to quite his job and, personally, if I fell in love with somebody after years of that just not happening for me, I wouldn't know how I would react. Maybe I would also call it a miracle and just roll with it.

About the ace spectrum, we see him seducing a villain's wife at some point, but I will be honest. That shit don't count. There is this moment in which the woman is like "I always fall for bad men😏" and James Bond immediately gets out of the sexy mood and goes "So would you say your husband is a bad man? Why? Because of his job?". He does a 180 and goes from wet dream to interrogator in less than a second. Plus, he seems to leave her without having sex with her to go chase her villain husband. Very professional of him, but also makes me think he was never that much into her as he made her believe. The whole thing felt too calculated on his part, I would definitely say he was faking the whole time. James does have very enthusiatic sex with Vesper, though. If I want to stick to what the movie implies, without going off the tracks with something like "he pretended to be enthusiatic during the whole thing but he was faking for Vesper's happiness", I may still go with the fact that he is for sure sex positive and maybe demi-sexual.

Well, if you have read until this point, I am genuinely surprised. You don't have that much to do, I guess, good for you.

Onto Quantum of Solace next, and I am already shaking: I know that movie is bad. I know about the writers strike. God help me.

[theheartmold]

I have nothing productive to add to the conversation about the Dellamortes except ☝️ for the fact that I have to consistently reshoot my flycam and replacer mod screenshots and/or crop them because Illario's in-game model is just absolutely caked up. it's genuinely distracting. I don't know if his outfit just accentuates it but someone turned his glute slider up when they were making him I just know it.

wow. that's insane. i too would be cropping it out who would want to see that. wow. insane. that's so. wow. you should show me so i understand. i would love to agree with you on this. WOW. i can help you review and decide which ones are too "caked up" even. we would never want this to reach anyone else's eyes. obviously.

[celesart]

"No Time to Die" no es solo el cierre de Daniel Craig como 007, es un adiós emocional que no pensé que me afectaría tanto. Visualmente está impecable —las tomas en Italia, Noruega, y Jamaica son de postal— y la acción, como siempre, no decepciona. Pero esta vez Bond no es solo el tipo cool con gadgets y una copa en la mano; es humano, vulnerable, y eso le da un peso emocional que otras entregas no han tenido. Y creo que ese detalle de aportar un poco más de humanidad al personaje de bond lo hace impresionante ya que te das cuenta de lo vulnerable que puede llegar a ser el humano más fuerte de la tierra aparentemente. Ese contraste entre el mito y el hombre es lo que termina doliendo más: Bond ya no es invencible, pero justo ahí, en su fragilidad, es donde se vuelve más real que nunca.

Por otro lado la música de Hans Zimmer cumple 100% con la estética y sentimientos de la película, Billie Eilish suena excelente en los créditos iniciales, me hace parecer como si ella nos diera el shot de nostalgia y tristeza que lograríamos obtener en la película al mismo tiempo que nos hace preguntarnos el tipo de misión que tendrá nuestro agente en esta entrega además de la vocalización impecable que nos entrega Billie en esta película, simplemente wow. Rami Malek como villano… pudo dar más, aunque se siente un poco desperdiciado. Él supo llevar bien el misterio del personaje a la pantalla grande.

Pero lo que realmente brilla es la dinámica entre Bond y Madeleine (Léa Seydoux), y la manera en que el guion juega con la idea del legado, del sacrificio, y del amor real en un mundo donde eso parece imposible. La historia se va desenvolviendo con forme estos personajes se dan el tiempo de perdonarse el uno al otro y poder llevar sus diferencias a un lado y trabajar por salvar sus vidas con todo el tiempo del mundo que solían creer que tenían. El sacrificio final de Bond hacia su familia me hace creer en este dúo. Cómo olvidar las palabras de Madeleine hacia bond, "She does have your eyes" refiriéndose a su hija, la cual se sabe que tiene un gran parecido a su padre. Es una frase corta, pero muy cargada emocionalmente. Hasta ese momento, Bond tenía dudas de si la niña era realmente su hija. Esa confirmación, justo antes de su sacrificio final, le da un cierre brutal y hermoso a su historia: muere sabiendo que deja algo de sí en el mundo.

¿Es la mejor de Craig? Para mí, es una de las mejores con Casino Royale que es la que nos introduce a Daniel como el nuevo bond, pero como cierre, no es predecible en mi perspectiva, es arriesgado, y muy conmovedor. No pensé que me doliera tanto decirle adiós a este agente.

CA

[disposable-an0de]

the shadow over innsmouth by H.P Lovecraft

[review-anon]

//Well I just finished Chapter 1's Class Trial of Project Eden's Garden and 3 things.

//One: Things went both the way it did and it didn't.

//Two: FUCK the AA for this game, as a warning; if you NEVER played a Bullet Hell game before you will get crushed, a lot. (Disclaimer: I never played a Bullet Hell Madness game before so I think I spend 2 fucking hours in this game.)

//Three: Holy Shit the Trial didn't relent on the emotional trauma.

//I'm doing a full write up tomorrow and also not doing any more story updates since I'm drained.

[bastardiary]

Watched the Casino Royale movie (2006¿?). The james bond movie and it was.... meh. I really expected better but oh well. At least I got to see bad guy Mads torture Bonds Balls ☺️

[delusionaltoma]

Don't touch me..there's a CLOWN CASINO??

Bro..this is fire..but I'm keeping Bombita at the clown motel