#culture kid films

[deus-ex-mona]

thrilled with the unexpected return of cheongsam mona tbh~~~

[ct-multifandom]

I don’t usually make posts like this, but I’ve been seeing a lot of anti-intellectual junk lately, and I really think we need to put the word “pretentious” up on a shelf until people learn what it actually means.

It doesn’t describe someone who likes artsy-fartsy deep meaning media. People who are pretentious are fake. They’re posers trying to be sophisticated and unique, not like other girls. They pretend to only like stuff they think will make them sound cool when they talk about it. They want to act like they know something you don’t, and they want attention for it.

By definition, if you genuinely enjoy something, you can’t be pretentious. If it resonates with you, and you analyze it, and you don’t care what people think, that’s the polar opposite, actually. If you love obscure experimental prog music, if you watch underground high concept indie films through English teacher eyes, if you spend hours in a modern art museum reading each piece as a vessel for storytelling, if your backpack’s full of poetry books that inspire you, if you play underrated games that were someone’s passion project, if you have an interest in studying the classics or the masters, you are not pretentious.

Of course, some people just don’t like some stuff, and that’s fine, but that’s not what this is about. Don’t let anti-intellectuals shame you for enjoying things just because your interests are inaccessible to them, because they refuse to be brave and put effort into critical thinking. You’re not stuck up for refusing to overlook the craft of artists.

[funpuddle]

I hate you if youre fully grown and watch gore of real humans and think that's normal or cool

[i-am-trans-gwender]

When I saw Monsters Inc as a kid I thought that if either Sulley or Mike was a girl then they would have been romantic partners. I wasn't trying to be homophobic, I didn't know that gay people existed yet.

[atomicc]

Bonus thought

I think a lot of teenagers and kids opinions on trolls 3 will change a lot as they get older, not in a bad way, and I hope it brings some ppl who grew up in unhappy houses solace as they get older that the mistakes you make with your siblings as a kid due to be stressed children don't have to be your future as you reconnect as adults and you can confront your past when the time comes ok ily

[blackswaneuroparedux]

Butch: What happened to the old bank? It was beautiful. Guard: People kept robbing it. Butch: Small price to pay for beauty.

- William Goldman, Butch Cassidy and the Sundance Kid: Screenplay (1970)

In a brilliant William Goldman script peppered with memorable lines, the first exchange sets the tone of this classic Western movie. Butch looks around a bank at closing time, chatting with the security guard as he perhaps sizes up his next job.

“What happened to the old bank? It was beautiful.” “People kept robbing it.” “That’s a small price to pay for beauty.”

Right away, Goldman establishes Butch as a charismatic mouthpiece for the quip-ready screenwriter, contrasting nicely with the Sundance Kid, Robert Redford’s taciturn sharpshooter. But he’s also created two heroes who break the western mold, neither justice-seeking white-hats nor grizzled, sneering black-hats, and not as traditionally masculine as either party. Butch is a man who appreciates beauty and art, but doesn’t have the stomach for violence; it’s not until late in the film that we (and the Kid) discover that he’s never shot a man before and he looks sickened to have to do it. He’s a pleasure-seeker above all else: robbing banks and trains are his way to make an easy living and enjoy whatever sinful freedoms his vocation affords him.

Audiences in 1969 were all too happy to embrace the light, quippy irreverence of Butch Cassidy and the Sundance Kid after a turbulent summer, and Goldman, director George Roy Hill, and the two impossibly handsome stars made them feel cool for doing it. True Grit had performed well earlier in the year as a throwback to the genre’s past, giving John Wayne a proper victory lap, but Butch Cassidy was thoroughly modern, a star-making vehicle for Newman and Redford that reflected a need for the genre to turn the page and that feels as much of its time as it does authentic to Wyoming in the late 1890s. With Katherine Ross at the centre of a love triangle between friends, the film attempted to bring a French Jules and Jim vibe to the American mainstream, taking a lesson from the French new wave on how to revive old Hollywood craft.

It still works spectacularly well. There’s an alchemy up and down the production. Redford possesses easy charm, which parries so well with Newman’s smarts that the two would run it back again with Hill a few years later in The Sting.

The pop doodling of Burt Bacharach’s musical score is about as far from a traditional western score as possible, but it somehow meshes with the sepia sheen of Conrad Hall’s photography, which burnishes the legend of these two men while their story is still being told. And while Goldman’s screenplay dances on the edge of glib, it’s lively and sophisticated, with a strong theme about the capitalist forces that really tamed the Wild West.

Butch Cassidy and the Sundance Kid is such a rollicking good time that it takes a while to notice it’s about the end of the line for its heroes, whose celebrity is already widespread when the film opens and ultimately hastens their demise. “Your times is over and you’re gonna die bloody,” warns a sheriff, prophetically, in an early scene, and the film is mostly about Butch and Sundance getting chased out of America by hired guns and dying at the hands of the Bolivian army. 

They’re mostly guilty of stealing from the wrong guy: EH Harriman, the railroad tycoon, spends more trying to catch them than they rob from his safes, but it’s an opportunity for a powerful man to send a message about who’s really in charge. Guys like Butch and Sundance can handle local lawmen and half-hearted posses, but they can’t fight progress. The EH Harrimans along with the the Rockefellers, JP Morgans, and the Carnegies and of the world - the original robber barons - would make certain of that.

[dalesramblingsblog]

Not gonna lie, maybe this is supremely petty of me (it is), but as someone who is the very embodiment of a casual gamer and can name vastly more video games than he has ever actually played, the backlash to the Minecraft movie trailer is perversely satisfying to me, because... yeah no shit, of course this was what Hollywood was always going to turn out.

Like did you really think that a video game movie languished in development hell for a decade because they were just sitting on an absolute gold mine of an idea, and not that they had consistently and singularly failed to get any idea off the ground? Then again, the Mario movie was supposedly going to be the absolute worst thing in history because Chris Pratt, only to have the discourse completely shift to how wrong the evil/woke critics were to think the Italian plumber kids' movie wasn't the single defining moment of twenty-first century cinema.

So y'know, capital G gamers are both fickle and whiny. Shocking information. See you all in a few months when a clip referencing the Yogscast or some shit goes viral and everyone decides that you're not allowed to bad-mouth it without being shot in the back of the head and dumped on the I-405.

sidebar to get ahead of this before some smart-arse points it out: "oh you're just mad 'cause they called out critics"

uh yeah actually i do kinda take issue with hordes of people spouting borderline anti-intellectual rhetoric about how the thing i do for a pseudo-living is empty and meaningless. it's just like the widespread "haha what if the author just wanted to make le curtains le blue" snickering. like yeah am i expecting everyone to deep dive into the relationship between auteurism and profit under the capitalist studio system in order to analyse a random book trilogy? no of course not, i fully understand that i'm just very mentally ill and probably have an outsized grasp of my own writing abilities.

but looking down your nose at people who choose to think about media in that way is indicative of nothing more than your own staggering lack of curiosity, and it's a pretty good answer for how you get to a declaration that the people of the uk have had enough of experts, or a world in which there's a real possibility that americans are somehow going to look at the events of 2017 to 2021 and say "more of that please" come november.

so no, don't expect me to coddle your desire to retreat from the world back into your fond childhood memories just for the sake of it. that's not a critic's job.

[culturekidfilms]

Video Production in Hong Kong: A Dynamic Creative Hub

Video production Hong Kong thrives at the intersection of East and West, showcasing a blend of rich cultural heritage and cutting-edge technology. The city is home to many talented filmmakers and innovative studios that cater to an eclectic range of projects, from commercial advertisements to feature films. With its stunning cityscapes and breathtaking natural backdrops, Hong Kong offers a unique canvas for creating visually compelling narratives. The vibrant atmosphere and access to skilled professionals make Hong Kong an ideal location for both local and international filmmakers to elevate their creative visions

[hayabs]

[alliluyevas]

I assume the Mormon church’s PR dept is slightly less crusty than the average church org, and if there are any 40-ish-year-old ladies working there, they likely had a doll (or wanted one). I thought for sure they’d have a knockoff pioneer doll.

On a semi-related note, if you haven’t fallen down the rabbit hole of Mormon trek videos on YouTube, I highly recommend it for the sheer WTF-ness.

oh, I'm sure that would be the case for PR people, you're right. I have watched some Trek videos! I do find the Mormon people's cultural propensity for LARP really endearing on some level. I would have enjoyed Trek so much had I been raised LDS but I do understand why a lot of people find it miserable.

[eradicatetehnormal]

When watching wish reviews leads you to finding people bitching about activism in hollywood.

""Corporatism kills creativity" yea I guess but you know what kills it more? When activism comes before entertainment" in other words, shut fuck up and make me a movie. For fucks sake, artists are better off working independently at this point, I swear. At least you'll be subjected to semi-self imposed bad working conditions. At least you put more thought into the "wokeness" in your movies

People like that *really* love to ignore the biggest movies of last year.

Mario (bitched about because they made peach a #girlboss)

Barbie (bitched about because feminism (cowards didn't even call it a feminist movie))

Spiderverse (has black-Latino main character with a love interest implied to be Trans. The fan favorite is OVERTLY left wing)

Didnt see Oppenheimer but I doubt it was pro-american.

[badolmen]

Supermassive games made something that was almost perfect and then decided to make several much worse things before reeling it back to something decent that makes the same damn mistake the first game made without any of the first game’s charm and cleverness to make up for it. Like you’ve had the time to figure out this professional video game thing maybe you should start acting like it lol

[cinemaocd]

I tried to screencap it but fucking Criterion channel won't let me but in Ken Russell's The Boyfriend, there's a bit where we see the actor's dressing room/mirror set up and one of the actors has a picture of Charles Laughton pinned up. WE STAN.

[dreamcast-official]

hey i think the fact that a lot of media about latinos made outside of latin america, even when its made by latinos, is specifically about the latino experience outside of latin america says something about the latino identity and not only how we see ourselves but how we're seen by gringos. but that's neither here nor there

[ankylosaurusthesaurus]

that’s it i’m setting fire to the netflix building