#dennis Philips

[microscotch]

espiritu estate is waiting for you! 👻

[pirillalothario]

If You Can't Stand The Heat

Cap 0.03

"Isn’t my husband nice?

He left his first wife to marry ME.

He covers me with attention and luxurious gifts.

The heat of this city makes me weak and sometimes my pressure drops and I pass out, so my husband is building a pool in the garden. For me.

Well, not exactly. He hired Roland to build the pool.

And Roland is the best gift anyone’s ever given me.

Roland is our handyman, and he really can do anything!

He cooks and cleans the house so my husband and I can relax.

And when my sweet husband suffers his age and needs some rest, Roland keeps me company... And you should hear the way he says my name. "Hazel".. So hot!

Happy wife, happy life. Right?

Thank you for everything, my dear husband"

[mrsbeaker]

Dennis PHILIPS

I got a new iPad and it’s better than my old one so I’m able to play life is strange on my iPad smoothly yippeee

[haveyouseenthismovie-poll]

[browsethestacks]

Hercule Poirot

Art by...

1) Russell Mark Olson

2) faQy

3) Philip Dennis

4) Short Life Long Art

5) BlackDeadlySpade

6) Darell Trianni

7) Zuzana Martínková

[boxwright]

The Mamas & The Papas - John Phillips

[stuff-diary]

The Substance

Movies watched in 2024

The Substance (2024, France/UK/USA)

Director & Writer: Coralie Fargeat

Mini-review:

Revenge is arguably one of the most impactful films I've ever watched, and I've spent the last few years eagerly waiting for Coralie Fargeat's next feature. And, damn, she went even further with this one. It made my jaw drop almost from the beginning, and by the time it ended I was absolutely speechless. Sure, it kind of hammers its message home, but that lack of subtlety makes it even more powerful. And truly, there's some unforgettable imagery here. Most of the body-horror sequences are the stuff of nightmares, with grotesque visuals and shots that etch themselves into your brain. If it wasn't for the major dose of campy humor that frames it all, some of these scenes would be very hard to watch, and this is coming from an experienced horror fan. Also, both Demi Moore and Margaret Qualley go all in, giving two of the most committed performances I've seen in a while. And big kudos must be given to the incredible make-up team, as well. So yeah, with The Substance, Coralie Fargeat continues to prove herself as a filmmaking maverick. Here's to more genre movies from her.

[pierppasolini]

Miami Vice - 1.23 - Lombard

[hug-kiss-marry-kill]

[number1spongebobfan]

Train Cats!

TRAIN CATS!

TRAIN CATS!

Here we have:

Thomas the Tabby

Mavis the Maine Coon

Oliver the Tabby

Rosie the Cornish Rex

Dennis the Persian

Ashima the Siamese

Neville the Black Cat

Norman the Bengal

Luke the Manx

and

Philip the Domestic Shorthair

[postmoderntongues]

top 5 favorite characters of all time?

This is so hard

Trevor Philips

Bojack Horseman

Rick Sanchez

Dennis Reynolds

Chris Keller

[politicaldilfs]

Rhode Island Governor DILFs

Donald Carcieri, John Chafee, J. Joseph Garrahy, John A. Notte, Bruce Sundlun, Lincoln Chafee, Dan McKee, Christopher Del Sesto, John Pastore, Dennis J. Roberts, Lincoln Almond, Frank Licht, Robert E. Quinn, Norman S. Case, Theodore F. Green, J. Howard McGrath, Edward D. DiPrete, Philip Noel

[denimbex1986]

'Patricia Highsmith (1921-1995) was the author largely of books ubiquitously described as psychological thrillers, but the adjective is doing much more work than it usually does in such descriptions. The psychological depths tend to be far deeper than just a worry about being caught for assorted misdeeds. It’s no surprise that her works have proven appealing to all sorts of directors. When your first novel is adapted a year after publication by Alfred Hitchcock, you know you’re doing something right. Strangers on a Train is about much more than just a macabre plan. Wim Wenders’s The American Friend, Claude Chabrol’s The Cry of the Owl, and Todd Haynes’s Carol are all very good.

Tom Ripley is Highsmith’s best-known creation. Turning a Henry James plot into pulp fiction is not the sort of thing that’s usually advisable, but she did it extraordinarily well. The plot of The Ambassadors, an industrialist hiring a man to seek to induce her son to return to America from expat indolence, is cribbed here as a foundation. The James protagonist finds Europe much to his liking, as does Highsmith’s Ripley. When the European idyll is threatened, Ripley has a novel thought: Why not bump the young scion off and take his place?

This sounds like a preposterous plan to execute. And it is! That’s why it’s entirely engrossing. Her aim was, she wrote, “showing the unequivocal triumph of evil over good, and rejoicing in it. I shall make my readers rejoice in it, too.” Netflix‘s new series, Ripley, succeeds in replicating exactly this feat.

The trouble with prior screen adaptations of Highsmith’s Ripley stories has been that he’s always been made far too pleasant. If René Clément’s French language 1960 Purple Noon and Anthony Minghella’s star-studded 1999 The Talented Mr. Ripley are both credible adaptations in their own way, there’s something askew about both matinee idol Alain Delon or effortless everyman Matt Damon as Tom Ripley. Dennis Hopper and John Malkovich both had elements of the Ripley persona down in adaptations of later novels (Barry Pepper did not), but there still seemed to be elements of the portrait missing.

I’m sure I’m not the only reader to find the versatile con man who appears across five Highsmith novels initially repellent. He is not enthusiastic, loathing nearly all of the effort involved in his cons. And he is not loquacious or charismatic as we might expect from a grifter. In almost his very first deception at the start of The Talented Mr. Ripley (the subject of this adaptation), he himself notices the cracks in his crocodile grin: “When he looked into the mirror, he found that his face had turned down at the corners.” Most frauds will say nearly anything to wheedle their way into favor. Talk is normally very cheap when you have no regard for truth. Ripley can’t bring himself to muster more than the mildest of faint praise for execrable paintings by his main mark. Almost every decent person has told white lies with less hesitation.

Things are different in Ripley, the best adaptation of the novel to date, thanks in considerable part to the casting of Andrew Scott (familiar from a variety of things but most germane to this particular role as Moriarty in the BBC Sherlock series) as Ripley. Scott telegraphs unease and strain with great facility. Sometimes, he’s vaguely normally personable. At many other points, his strained effort seems entirely transparent. This sort of calibration captures in excellent fashion the frank distaste that Ripley feels for almost everyone in the source material, a difficult thing to pull off in a book largely composed of his own train of thought. He is terrifically bored by most of his targets and doesn’t work all that hard to conceal the fact. He succeeds somehow with most people. It’s reliably a surprise that only a few see through him.

If the promise of streaming television has been tarnished by countless long-winded series that have no idea how to pace themselves or end, this one makes excellent use of an eight-episode frame to tell the tale of the novel basically in full. Prior adaptations simply couldn’t do that within a feature film length. Purple Noon opens in media res. The Talented Mr. Ripley condenses a number of things. There are some minor emendations, most of which are actively good and almost all at least forgivable.

The book dedicates an enormous amount of time to Ripley’s scheming and improvising. His plans are usually not airtight. Much of the riveting character of the book is how easily he might be caught at almost any moment. A number of sequences whose dramatic tension is contained in their great length are presented in white knuckle effulgence here. Two very lengthy corpse disposals are engrossing. Conversations are lengthy, full of pregnant pauses. There’s even high drama wrought out of multiple bank scenes in which we find Tom feloniously drawing funds.

Steven Zaillian, who wrote the screenplays for Schindler’s List, The Gangs of New York, and The Irishman, provides an excellent script and credible direction. The work of cinematographer Robert Elswit (whose credits include There Will Be Blood) is great. Ripley’s early miserable life in New York is presented well. The tenements are squalid and subways sweltering. La Dolce Vita-era Italy looks all the more rapturous afterward, with shadows and light in various palazzi motivating almost anyone to murder. Locations across south Italy, Capri, and Venice are excellent.

Casting beyond Ripley himself is very strong. Johnny Flynn’s Dickie Greenleaf is a perfect, vaguely dim, but charismatic offspring of privilege. Maurizio Lombardi, perhaps familiar as a cardinal in The Young Pope, is a very strong inspector on the case. Playwright Kenneth Lonergan (who also co-wrote The Gangs of New York) is an ideal Herbert Greenleaf. The casting of Freddie Miles is one substantial deviation, here not the churlish porker of the novel (Philip Seymour Hoffman was about ideal) but rather an androgynous proto-Eurotrash wisp. Dakota Fanning’s Marge Sherwood, Dickie Greenleaf’s tedious paramour, is rendered more truly than any prior. She’s no stunning beauty but a rather average girl in “naive clothes” with “windblown hair and her general air of a Girl Scout.”

Now, Ripley is not exactly a fan of any women if Marge is particularly low on the list. Ripley is very deliberately rendered as sort of gay in the novel. He finds Dickie handsome and Marge repulsive. At a key juncture, he notes he “could have hit Dickie, sprung on him, or kissed him, or thrown him overboard.” This is not the range of options most people consider in a social dilemma, no matter their sexual orientation. Purple Noon basically omitted this element, while The Talented Mr. Ripley camped it up. Ripley replicates the novel’s deliberate ambiguity. He seems devoid of almost any active sexuality and likes almost no one, with exceptions for a handful of men.

What Ripley does like are the finer things in life. He thrills to travel, fine clothing, beautiful objects, and art. These things receive all sorts of close cinematic attention. There is a Hitchcockian cinematic focus on pens, an ashtray, and other talismans of the good life (that also might be used to kill).

Ripley contains a cameo from Malkovich (who portrayed Ripley in another earlier adaptation, Ripley’s Game) as a character from the next novel, and Zaillian optioned all five Ripley novels. Let’s hope that the viewers stream in, as it would be nice to see more of this Ripley.'

[unpopularvivian]

*Second diesel works DND night*

Diesel 10: When I said take the goblins out I didn't mean ON A DATE!

Dennis: Shut up your not even worth the XP!

Diesel 10: *Takes 1d4 vicious mockery damage, Condition: Flabbergasted* Uh- bu- buti'mabbeg?

Dennis: A bbeg in the TUTORIAL FIGHT!

Diesel 10: *Takes 1d4 vicious mockery damage*

Diesel: Is he going to explode?

Salty: Well, I hope that he doesn't matey! I mean, that's even worse than the time I fought a group of sea krakens!

Phillip: Can I go home?....

*Everybody instantly start laughing and snorting as Diesel 10 has an expression of dismay*

Mavis: Okay, now look what you guys have done....

Diesel: GAHAHAHAHAHAHA-

BoCo: I think inviting Phillip to the Dieselworks was a bad idea....

[boxwright]

The Mamas And The Papas - John Philllips