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burnyouwithacigarettelighter · 1 year ago

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TAKE YOU DOWN A PEG ─── neil lewis ✧𖦹

ೃ⁀➷ “I want you. Your bones. Your body heat. The bite marks your teeth leave. To see how bad and beautiful those eyes look beneath me." — Beau Taplin.

pairing. sub!neil lewis x reader

summary. gumshoe video’s got a rude customer who neil can’t seem to ban…

warnings. swearing, voyeurism, unprotected sex, creampie, p in v, semi-public sex, breathplay, oral sex (m), cockwarming, degradation/insults, SMUT UNDER THE CUT!

word count. 5.3k

a/n. the hardest thing about writing this was scouring letterboxd for obscure films that i think neil would foam over. pls don’t beat me to death if my film references miss the mark 😭

Neil loves his job. Seriously, seriously, he does. It's completely self-satisfying, his personal passion project that’s taken up a large amount of his life, and brings him the uttermost joy of allowing him to do what he does best: recommend films.

Gumshoe Video is like his fucking baby, and he takes care of it, immensely; he wipes down every tape every Sunday, he sweeps the floor and rearranges the furniture, he organizes the tapes almost constantly, and he does his hardest to provide stellar, passionate - if almost annoying - film advice. He wants the reviews up on this place, alright, otherwise it feels like he’s letting his baby down.

Now, if there’s one thing Neil hates about his job, just one minor, teensy weensy thing, it’s probably you. You, the rude customer who came in three months ago and has come in everyday since.

The day you and Neil Lewis met was one just like the rest. Gumshoe Video was promoting old spaghetti westerns; Neil was wearing a cowboy hat and opening deliveries from a video tape shop in Calabasas that had closed down; you were coming off work and were daydreaming, dizzily entering shops to get your mind off the irritatingly mundane job you had. Unlike Neil, you fucking hate your job.

You had entered Gumshoe, browsing lazily through the Film Noir section, when Neil sprung up like a weed behind you, speaking animatedly about how the best film noir’s had to be Casablanca, Sunset Boulevard, or Double Indemnity, and if you’d ever watched them before.

As Neil blabbered on, your left eyebrow became increasingly raised. Finally having enough of him, you spoke. “So, are you one of those guys that talk all over the girl and ask them if they’ve ever seen Citizen Kane, or if I can even name five Ingmar Bergman movies for you?”

Neil spluttered, flustered with being confronted about his obsessive cinephile talking habit of carrying the conversation away like a track runner in a relay race going off with the baton in the wrong direction. “What? I was just —“

“— name dropping film noir’s, ‘cause I’m some ditzy, uncultured bimbo bitch who mistakenly walked in, right?” You said, rolling your eyes. Later, in retrospect, you’ll wonder if you were too rude; then, you’ll remember you don’t give a fuck, you were having a bad day, and Neil Lewis had one hell of an annoying face.

Neil’s face grew offended, an irritated furrowed brow wiggling onto his features. “If you don’t want to watch what I recommend, you don’t have to!” he exclaimed, arms up placatingly in the air.

“Uh huh, okay, and you don’t have to shove your pretentious cinephile knowledge up my ass.”

He just stared at you, boring his bright blue eyes into your own, face contorted so exasperatedly you might as well have climbed up to the stars, plucked the moon from the sky, and used it as a pillow.

My god, Neil thought. Are you just a rude customer? Or did you get off on berating small businesses like a sadistic freak?

After a moment of you two staring each other down in the fluorescent artificial light of Gumshoe, both looking terribly affronted, you left.

Neil would then rant about this “insane customer” for at least twelve hours straight to anyone who’d liste. The next day, the distasteful experience was extremely close to thereby fully exiting his mind, but didn’t, because you, yes, you, walked in again.

You shot straight daggers with your eyes at Neil, but your expression became soft, demure, and gentle when you saw Jonathan manning the register instead. You trailed through the aisles unperturbed, Jonathan too busy sporting a hangover from working the late shift at that obscure speakeasy copycat bar (in which, as often as possible, he would sneak a shot to stay awake) to recommend films.

In any case, that was Neil’s job, and Jonathan leaned over to whisper in his ear: “Neil, man, do me a favor and please distract that customer -- fuck, this headache’s killing me…”

Neil protested, shaking his head rapidly. “That’s her.”

“Her who?”

“Her! The - customer who -- who yelled at me!”

Jonathan blinked blearily, clearly still too incapacitated to think about the matter much. “She yelled at you… and she’s back. Here. And why exactly is that…?”

“To yell at me s’more, probably!” Neil whisper-shouted incredulously.

Suddenly, you broke Neil and Jonathan out of their not-so-quiet argument by slamming down Gumshoe Video’s copies of Casablanca, Sunset Boulevard, and Double Indemnity. The irony did not miss Neil - honestly, it was a little on the nose, even for him.

“Thought I’d see what all the rage was.” you explained “sweetly”, gesturing to Neil as you spoke, indignation seeping through your every word. Your grudge was, well, mostly unexplained, ‘cept for the fact you yourself were an avid cinephile, had watched those three movies more than you could count, and did not take Neil’s “have you watched these before” kindly.

Thus started you and Neil’s long-winded rivalry slash animosity slash terribly caustic back-and-forth correspondence.

You keep coming to Gumshoe Video, because, despite your anger towards Neil, you fucking adore the place. The films are downright amazing, the atmosphere is like fucking heaven with the walls lined full of video tapes, decorated in classic film props, campy lifesize cardboard cutouts making you jump at every turn, and Gumshoe Video’s concept is insanely different (and lightyears better) than the corporate monolith that is Media Giant.

He keeps coming to Gumshoe Video because, again, Neil loves his job, and treats Gumshoe like he carried it for nine months and has been lovingly raising it for the five years it's been open.

From that first incident, you and Neil’s relationship twisted a little into something like this: you come in, insult him on whatever costume he’s wearing, return the tapes you rented the other night, argue with him for exactly an hour and a half on the couch, insult him for another ten as you browse the store, ignore his film recommendations, and rent three more movies.

He waits for you to enter, wears the ugliest costume he owns to visually assault you, gladly takes the tapes back, argues with you for 1 and ½ hours, fires back retorts as you insult him, recommends movies he thinks will make you jump out your apartment window, and gives you your movies.

You’re the minor, teensy weensy headache Neil experiences everyday, but at least, at the very least, Gumshoe makes daily dollars from your rentals - kinda like the payback or relief fund a town gets after a hurricane’s run through it.

But, (somewhat?) shamefully… there’s a reason Neil doesn’t just ban you from the store and live his life without ever thinking of you again.

This reason occurred to him a month ago, when he was in the backroom, pasting barcodes and information stickers on tapes that were yet to be placed in the store. You were looking for the washroom, awkwardly stumbling through the back hallway of Gumshoe Video, and since you couldn’t find Neil — he, in spite of the nature of your relationship, trusted you to look around and rent the tapes by yourself, having done it several times while arguing with him at the counter — you had to brave through it alone.

Now, the thing about the room Neil was in — more of a shoe closet than a room, honestly — was that it was locked from the outside, and he didn’t have the key. The key was currently in the hands of one Lucien, who had gone to buy takeout for the two of them because of the late night cataloging of new tapes ahead of them.

And… he was taking about a hundred years to come back because he was trying to get the cashier’s number at their usual Chinese restaurant.

Anyway, imagine this: you’re looking for the washroom, and the door to a small room is propped open. You enter, don’t think much of the small stack of empty tape boxes acting as a door stopper, and let it close. The light in there is dim, just a shitty little ceiling light; Neil turns, tapes in his hand; you turn, after closing the door.

Finally, remember: the room is more of a shoe closet than a room.

“Jesus -- christ!” Neil yelped, startled at your sudden appearance. “What -- the hell are you doing here?”

“I take it this isn’t the bathroom?” You murmured, ignoring his question and shifting uncomfortably. Seriously, the tape closet was only meant for one person in it at a time.

If the lights were brighter, you would’ve seen how hard Neil rolled his eyes; they almost rolled out of his head. “Well, I don’t think so, given the lack of toilet, sink, and light, no.”

“Well, Neil,” you purred, hot breath curling around the sensitive skin of his neck, “maybe, just maybe, you should have a sign for the bathroom, so I don’t have my tits any closer to your face than I want them to.” You said this sweetly, voice husky, low, and oddly sultry, but Neil knew better than that: you probably wanted to fucking kill him right now.

You were right, though; your tits were flush Neil’s bandy chest, the heat between you two growing the longer you were this close in proximity.

“Now get me out of here,” you said quickly after, ignoring how warm Neil felt against your body. You’d turned so your back faced him, hands twisting at the silver knob of the door - which, Neil honestly didn’t know why was there, considering it didn’t fucking work.

Neil sighed. “The door locks from the outside.”

“What?” You said, distracted by leaning down to press your weight against the door like it was just sticky. Moments later, “…What?” you all but shrieked, hands falling from the knob, turning to face him once more.

And, again, if the lights were brighter you’d have seen Neil’s face better: he was bright fucking red, because, apparently not accounting for the small space of the room, you’d leaned and obliviously had your ass pressed right against him. It didn’t help that his large, warm hands, having long since dropped the tapes he was labeling, hung near the flesh of your rear, having nowhere else to go in the limited space.

Neil thanked the small mercy God graced upon him that there wasn’t any kind of friction, so his soft cock remained just that: soft, and barely noticed by you.

“The door locks from the outside.” Neil repeated breathlessly, the amount of air in the shoe-box room being incredibly small, too small to share between the two of you.

“Fucking…” You cursed under your breath, shaking your head in disbelief. “So, what, we have to stay here ‘till someone busts us out? What’re you gonna do if I go batshit and eat you or something?”

“For one, Lucien isn’t going to take that long to come back. Anyway, why’re you assuming you’ll overpower me - what if I go batshit and tear into you?”

You snorted, like the connotation he could overpower you was completely implausible. “Neil, Neil, Neil,” you repeated nonsensically, before lifting a hand up to his shoulder and digging your nails into him, the fabric of his shirt obviously not thick enough to distort your strength. “I could have you pinned down in less than a minute. I do other things than watch movies all day, unlike your lanky ass.”

Neil merely let out a chagrined laugh in response, hands clammy at the thought: you pinning him down— he then shook himself mentally, about to slap himself upside the head. Fucking hell, this situation was doing things to him.

“You don’t believe me?” You retorted with a raised brow. Swiftly, your hands curled around Neil’s wrists, pinning them behind him and pressing his back against you. “How about now, huh?” you whispered softly in his ear, making his head swim.

Your chin rested on his shoulder, your nose brushing against his neck, and it took everything in Neil not to let out a breathy keen — this was all too much for him: your touch, your voice, and the apparent dawning on him that he found you terribly, massively, attractive.

“Fuck, I, er - - um,” Neil scrambled for a response, when the door to the tape closet suddenly opened. Your hands released him immediately, and you strided out, breathing in deeply.

On the other side stood Lucien, plastic takeout bag in one hand, closet key in the other. “What happened to you?” he asked confusedly, as Neil filed out after you, gaze trained on your stretching figure walking off.

“We got, uh -- locked, in the- in the tape closet.” Neil murmured, thoughts still fuzzy from your rough touch.

“With her?” Lucien shuddered, handing Neil the chinese takeout bag sympathetically. “You need this food more than I do.”

So, there it was. Neil’s reason. He would’ve called you an insufferable bitch that he never wanted to see enter Gumshoe Video ever again hundreds of times by now — if your sensual voice insulting him didn’t get him all tight in the pants.

He began having thoughts — thoughts of you. You, whispering vulgar, humiliating words in his ear, your hands carding his hair, pulling tight against his scalp, selfishly making him do whatever you wanted him to do, no matter his pleas.

The fantasy was unlike anything Neil had dreamed up before, having always believed it should be him on top, him controlling the situation, him dominating — but it wasn’t a bad one. He’d come faster than he ever did before, just by imagining you were rolling your hips into his own… your strength pinning him down… your lips brushing past the shell of his ear, telling him he was so fucking dirty, so filthy for being this needy.

However, that was all just a vague, distant pipedream, especially with how you seem to actually hate him. All the interaction he’d had with you consisted of poisonous, irritated words, insults and curses — which had him feeling both incredibly turned on, and sick at the fact he was attracted to you just by being mean to him.

Sometime after that, nearing the end of the work day, Neil was the only one left there: Jonathan had taken the morning shift, and Lucien was, surprisingly, on a date with the cashier at their usual Chinese restaurant place. Looks like he succeeded in getting her number, while Neil had been pressed against you in that tiny tape closet, moments away from getting a hard-on.

So, Neil was the only one there - and you were the only customer there. Your daily routine of stopping by and verbally attacking him was late today, so it was nearing midnight when you and Neil sat on the couch and began arguing.

“I’m sure your “manly” ego isn’t at all pathetic and easily hurt by the superiority of Mia Farrow’s performance in Rosemary’s Baby.” You spat, leaning into the diverse array of old throw pillows that sat on the couch day after day.

Neil rolled his eyes, hands up in the air animatedly. “My manly ego - and I don’t enjoy the sarcasm nor the air quotes you’re using - isn’t pathetic, nor easily hurt! Mia Farrow just wasn’t better than John Cassavetes was. I stand by the fact they were equal.”

You let out a disbelieving laugh, your hand coming down on Neil’s knee to dig into him angrily. “Neil, I don’t expect you to understand her performance - I don’t think anyone does, not with that little cinephile brain you have. Do you do any thinking up there, or is it just The Treasure of the Sierra Madre on rewind?”

Neil flushed, both at the insults and how your hand was on his fucking leg. “What about you? What is it that makes you keep coming back here if you think my opinion is so… worthless and entitled?”

You grit your teeth, leaning in closer to him. “Because, Neil, this is the only other video tape shop for miles, and I will not be caught dead at Media Giant. Trust me, I despise this - “arrangement” of ours, far more than you do.”

He huffed, his gaze trailing over your features, unable to come up with a response: he was too busy focussing, trying not to zero in on how your face was inches away from one his, your fingers oddly inching up his thigh.

“Don’t go making this about me. Why is it,” your continued, hands traced dizzying circles into the fabric of his jeans, “that you don’t just kick me out? I come in here, day after day, berating you, ignoring your recommendations… shouldn’t I have been banned a long time ago?”

Neil gulped. “You’re still a - a customer, one who rents daily I might add—“

You smirked up at him. “Don’t lie to me. I know Gumshoe’s doing just fine… and I heard you, y’know? Last week… in your office.”

“What? What are you talking about?” He stammered out, racking his head for what he might’ve been doing in his office— fuck.

Fuck, he thought, mind racing rapidly, he thought you had already left by the time he started—

“I heard you, hiding in your office… stroking yourself, moaning my name.”

You’d rented just one tape last Friday, for a movie date with a guy from work, and you almost left - before realizing Neil took your membership card and never gave it back. You waltzed back in, and to your obvious surprise, Neil wasn’t at the register.

“Neil?” You called out softly, trying not to spark an argument with him that would span hours, because you were trying to show up to this date on time.

You walked down the back hallway, and found his office door, which had a gleaming NEIL LEWIS printed on its foggy glass.

Your hand had almost reached for the handle, his name on the tip of your tongue, when you heard a needy whine slip past the door. Shocked, you lingered and pulled your hand away, pressing your ear against the pane to listen closer.

“God, fuck,” you heard Neil curse, his name slipping from your lips like a prayer. “Need you so bad,” you heard him whisper to no-one but himself, before a low moan belted out of him.

Your face grew warm, immediately, flushed at the news that Neil-fuckin’-Lewis was jerking off, in his office, mumbling your name. You squeezed your eyes shut, continuing to listen to his pretty voice, and after several moments of your lust-riddled mind drinking in his sweet noises, how he was so focussed on his pleasure while completely oblivious to your listening in, you found one of your hands coming up to tweak your erect nipple — fuck, his stuttered little moans had your cunt pulsing with utter need.

Neil was getting close, you could tell, hearing him buck into - what you assumed - was his wooden desk, sloppily muffled mewls leaving his mouth.

You were biting down on your lip, hard, an incredible amount of self control in place. The man was so horny, sounding so fucking submissive it drove you insane: just the thought that he’d bend to your will and do whatever you wanted made your legs clench.

Fortunately, or unfortunately, depending who you ask, you felt your phone begin buzzing in the waistband of your modesty shorts - probably the date you were late for - and you had quickly fled.

“Oh, jesus,” Neil blurted out now, alarmed, immediately in the flight part of fight or flight. “I- whatever you heard, I can - I can explain, really, so please don’t—“

Your hand gripped his thigh, keeping him from getting up. “Hey, hey, shh,” you said, bringing a finger to your lips. “You don’t have to explain yourself. I know, just as well as you do, how bad you want me.”

Truly, Neil couldn’t control himself that night. You had walked in, wearing a delicious little dress with a sweetheart neckline, strolling around in 3-inch heels, cooing mockingly at his costume for that week’s theme — a criminal wearing nifty little handcuffs to promote the double feature promotion of crime films and dramas — purposely leaning down to make him feel smaller than you.

Neil had flushed, looking away, willing himself not to let out a needy groan at your get-up, instead silently checking out your tape rentals and quickly handing them back to you. After you’d walked out of the store, he’d dashed to his office, feeling the tent in his pants grow warm, aching.

Quite similarly to how he felt now, your eyes coursing over his entire form, so close Neil felt himself sinking into the couch.

“Look how fucking hard you are already.” you whispered, hand drawing away from his thigh and reaching for the bulge in his jeans, palming him between the fabric. “Does it turn you on? The fact you got caught?”

Neil’s breath hitched. “Fuck, please, I—“

“You’re so pathetic.” You said, laughing at him. “I can feel how big you are, such a thick cock, and all you know how to do with it is beg.”

Your plush lips were curled into a cheshire grin, baring your sharp teeth at him, and Neil was ashamed at how badly he wanted those teeth to press painful bites into his sensitive skin.

He was about to whine again, plead desperately, but he shut up when you slipped off the couch, sinking to your knees, fingers undoing his belt buckle and fly. Shifting his jeans down, you dipped your hand down the waistband of his boxers and pulled his cock out: it was angry, hard and begging for release.

But you wanted to tease him before you got to the good part. First, your warm breath fanned over his cock, making him jump, trying to rut up into your mouth, and your soft lips slipping past his leaking head had his hands tugging at your hair, trying to pull you closer to him.

You thinned your eyes and got up, hand pressing his cheeks together and forcing his jaw open. You spit into his mouth, then patronizingly patted his face, “Do that again and I won’t touch you - I’ll take my tapes and leave you a needy fucking mess on this couch.”

Neil groaned, your spit foreign and hot on his tongue like lava. “God, I… I just wanna — want you so bad.”

You tutted, sinking back down on your knees to face his rock hard length up and pressed flat against his abdomen. “Not yet. You haven’t earned it, you desperate fucking pervert. D’you know who jerks off in their office to someone they barely know? Fucking perverts.”

He leaned his head back, a moan leaving his lips at your insulting choice of words. It felt like you were torturing him, but his body wanted nothing more than you.

Your lips then ghosted past him for another moment before you started your assault on his strained cock: you laid tentative kitten licks all the way down his length, enjoying how he squirmed under you, wanting nothing more but your wet mouth around him. Then, without warning, you took him in your mouth whole, tongue dragging and curling around his cock. You devoured him salaciously, hollowing your cheeks, sliding his cock in and out of your full mouth at an alarming speed, hitting the back of your neck with each thrust.

Your tongue felt heavenly on his cock: wet, warm, and sticky, lapping at him without stopping. Your teeth grazed against him lightly, and Neil’s back arched into your touch.

He was practically convulsing now, drooling as his eyes rolled to the back of his head at the pure pleasure you were inflicting on him with no split second or moment for him to regain his composure. You wanted to see him fall apart, come undone just by your mouth, he realized, and he wanted to let you, wanted to let go — but, as fast as you’d taken his hard cock into your mouth, you let him drop from your lips.

“Why did you - please, fuck -- why did you stop?!” Neil whimpered noisily, head rolling onto his chest to look down at your face: lips plump, faint tear tracks running off your cheeks, your gagged spit falling from your chin.

“I oughta take you down a peg, Neil. Show you what a dumb fucking loser you are, pretending you’re so confident, so dominant, like you know everything there is about movies.” You responded nonchalantly, getting up and shedding your panties and leggings.

“M’not dumb,” he whined, looking at you through heavy lidded eyes, “god, you’re killing me here.”

“You’ll live,” you grinned, climbing on his lap and lining your wet sex with the fat head of his cock. Then you descended down on him, watching blissfully as his cock disappeared into your folds.

Neil’s hands wrapped around your waist, burying his face into your neck. He mewled against your skin, drunk on your tantalizing scent, lips wet with drool and leaving a slick trail.

Despite your dominance in this situation, completely controlling Neil’s pleasure, you couldn’t control your own: Neil’s cock felt fucking good, long and thick in all the right places, a curve that arched right against your cervix, veins rubbing against your walls pleasantly. He stretched your cunt completely, making you wince, but there was still pleasure there, the feeling of your crevices being filled with his fat cock making your toes curl.

After a moment of getting used to his cock, you rose back up, then sunk down, your hands gripping his shoulders for dear life. Neil’s head shot back, a labored cry leaving him as you set a steady, almost too slow pace, torturously sliding his cock in and out of your tight hole.

Your hands trailed across his still-clothed chest, and you grieved the chance lost to have stripped him, your touch teasing him every step of the way — but having him deep within you was probably better.

“Your- fuck, you’re so -- so soft,” Neil squeaked below you, revelling in how you took him, bottoming out each time like it was nothing.

You simpered at his words, how helpless he was, succumbing to the pleasure; to you. “Knew you were,” you slammed down on his cock, making Neil choke, “pretending to be arrogant. You just needed someone to put you in your place.”

Neil hadn’t realized it wasn’t a rhetorical question until your hand came up to his hair, tangling through his locks and tugging. “Who d’you belong to? Who put you in your place?” you murmured lowly.

He whimpered at your roughness, leaning into the sofa obediently. “You! You own me,” he pleaded, desperately chasing his own pleasure.

“That’s it,” you said, shutting your eyes, bobbing up and down on his cock faster. Your ass bounced above him, and Neil’s hands rested on the flesh of your rear, massaging you.

Greedily, Neil tried to thrust into you, but you weren’t having any of it, deterring his attempts by pushing him so he laid flat on the couch, your hands pinning his wrists above his head, the new position pushing him deeper into you.

“You stay down, you dirty fuckin’ loser,” you said caustically, but your actions said otherwise: your walls were squeezing around him needily, your cunt sucking him in so far you could feel his balls brushing against your clit.

The tip of his cock brushed past your g-spot each time you rutted into him, and soon enough you felt it: that pulsing, that heat, that familiar coiling within your insides. Neil was reaching it too, his face flushed pink and his breathing as heavy as it was back then, in the tape closet.

You began thumping down on him, your fingers tightening around his scalp. Your pace had gotten feverish, bordering feral, both your minds focussed on one thing: release. You could feel your cunt tensing, your mind going foggy, and then, there it was: your pleasure ran through you like electric current, shocking your body. You felt numb, tingly like when the blood flow to your arm gets cut off for a moment, making your pace stutter.

You didn’t stop, however, riding out your high on his cock, bouncing up and down on Neil’s thick length. He felt fucking delicious, piercing you in all the right ways, and you adored how malleable he was right now: so horny and submissive he stopped speaking and was merely letting dirty moans leave his mouth without any protest. His gaze, his focus, was elsewhere, lost in the deep haze of pleasure your cunt was subjecting him too.

You leaned down, pressing small love-bites onto his skin like he’d fantasized so many times before, and it broke him out of his stupor. “Did you think of this, in your office?” you whispered, “did you think of me, my tits bouncing, your cock deep in my cunt?”

“Ugh,” Neil groaned, reveling in how your seductive voice sounded like music. He was much, much closer than he thought, and when you licked up his jaw, your hot breath on the shell of his ear making him sweat, your cunt still fucking him roughly, he let go.

You felt it first, the familiar liquid bursting past his thick head and painting your fleshy walls creamy, like a new coat of alabaster that Gumshoe desperately needed.

“So good, so wet,” Neil groaned, shutting his eyes and pressing his forehead to yours. You stared at him, watching his lewd expression throughout his entire high, waiting for that beautiful blue gaze of his to open and face you again.

“I’m milking you dry. Look how fucking full you’ve made me, you filthy pervert.” You were taking him for every drop he could offer, and it was delectable.

You two were heaving now, both coming down from your highs. You’d effectively ruined the couch, your slick soaking the cushions and his jeans, as well as his come, which was leaning out of your still-stuffed hole.

“I think you’ve gotta replace this manky ass couch, Neil,” was the first thing you said, your hands sliding down from their grip in his hair to his pink cheeks, rubbing his skin delicately.

His eyes opened, watching you carefully. “It was about time,” Neil shrugged breathlessly. “Do you… do you actually - hate me?” he continued, murmuring self-consciously.

You laughed, but it wasn’t sharp, not at him like before, no; it was tender, like a scarf Neil wanted to wrap around him in the winter time.

“I never hated you,” you murmured, tone reverent, “you’re just a little, how does it go…”

“Presumptuous?” Neil finished for you.

You nodded, then grasped at his shirt and pulled him from the couch so he was sitting upright again. “Jus’ wanted to, ahem, “take you down a peg” like I said earlier..” you trailed off, cheeks growing warm remembering your earlier behavior during sex.

This was all very new, to the both of you — you, in all your relationships and flings, were not the dominant partner. You guessed there was a first time for everything.

Then, you were about to get off his lap, but Neil held you steady on his cock. “Don’t go,” he said simply. “I’ve got Brief Encounter in the player, if you want to, y’know…”

He wasn’t hard anymore, but it just felt good, cozy, having you two talk and regain your composure with him filling you nicely. It felt right.

You smiled, a gummy, blissful smile. “Okay. I’ve actually never seen this,” you said, turning to face the tv, wincing slightly.

“Really?” Neil said, an amazed joy seeping into his voice.

“I’m joking,” you snorted, and you could practically see Neil pouting behind you. “But I don’t think we’ll be paying much attention…” you purred, clenching your thighs around his length.

“Jesus fuck,” Neil groaned behind you, hands coming under your shirt, “you’re exactly like those movies.”

“I’m even better, baby.”

#cillian murphy x reader #cillian murphy #cillian murphy smut #neil lewis x reader #watching the detectives #neil lewis smut #sub!neil lewis x reader

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icallhimjoey · 1 month ago

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I'm a Joseph quinn fan And I feel dumb for asking this but I've literally never heard of a movie called relapse that Joseph will be in. Can someone explain the premise of the movie/shaw or anything else I should know about it?😭

well... so... he won't be in it, since he had to pull out BUT

all info below the cut:

when joe got announced for f4, feb 14th 2024, he ALSO got announced for relapse:

That variety article gave us a short little explanation of what the film was going to be about:

... stars in ”Relapse” as Matt Cullen, who checks into rehab after witnessing a horrific death during a debauched party. Three months later, he is set to get his life back together, staying at his parent’s mansion in the hills of Los Angeles. But things have changed around Matt and everything seems off balance.

imdb has a shorter summary:

Fueled by paranoia from social media, Matt's addiction returns. A monster from his youth appears, but his therapist believes it's in Matt's mind.

and when it also got added to letterboxd, we got the following synopsis:

Matt Cullen is checked into rehab after witnessing a horrific death during a drugged-up party. Three months later, he is set to get his life back together, staying at his parents’ mansion in the hills of Los Angeles. But things have changed around Matt and everything seems off balance. Fueled by his unstable personality and the invading power of social media, Matt’s paranoia grows, messing up with his rehabilitation program. As he starts using again, a mysterious presence starts growing around Matt, and a monster that has been haunting him since he was a teenager reveals itself. His therapist tries to help, convinced that the monster is actually in Matt’s head.

and then this is what bret had to say about relapse:

Ellis said “Relapse” will be a first-of-its-kind within the horror genre. “[I’ve] never seen a monster movie in the kind of upscale L.A. setting I wrote about and I am familiar with,” Ellis said. He went on to call the film “personal” and said that it will have his “signature characters — young, handsome, rich — at the center.” “It will have my strokes: sex, drugs and paranoia. It will also be a fun, lush, and commercial feature film for a lot of people to enjoy,” Ellis said.

what's INTERESTING (i think) is that about a week after they announced joe was gonna be attached to relapse, bret posted this statement to his website about his boyfriend re: an event that happened on the 13th of february 2024:

if you give bret's boyfriend todd a google, there is... a lot of information (it's a lot of really heartbreaking troubled lash outs and break downs, it's not pretty) but this is what the arrest was for:

bret stating that this film is personal and in a setting he's familiar with leads me to think that he kind of wrote about his boyfriend's struggles with drugs and mental illness, and then cast joe to play his boyfriend

obviously, it's never that black and white, but its INTERESTING none the less

anyway, joe dropped out bc he's playing george harrison and won't have the time to sink into this project, unfortunately (i wouldve LOVED to see him in this role)

#<3 #relapse

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bluetomorrows · 2 years ago

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The Top 10 of the '10s (Part 1)

Many moons ago I noticed something about my history of watched films on Letterboxd. There was a huge drop off in the amount of films I had seen pre-50s. I'd say it's normal to have seen more recent movies than older ones, but I didn't like just how sparse my viewing was of those earlier decades. So I set out on a mission to familiarize myself with every year I was missing. I decided to watch 5 of the most popular films from every year that ever had films. I finally finished the 10s today. The 1890s and 1900s are also very interesting, but the 10s are when the film industry really began to take off and movies took a form more recognizable to modern audiences. Maybe some other time I'll talk about my favourites from those more experimental decades, but today I wanna talk about my 10 favourite films from the decade where modern film was born.

10. The Rink (1916, dir. Charlie Chaplin)

The Rink is a comedy where Chaplin really gets to show his strength at creating gags that continue to build, and his surprisingly strong roller skating skills. By this point, the tramp character is really coming into his own and Chaplin continues to invent new and exciting ways for him to be stupid. The specificity in the action and choreography make this occasionally feel more like a Keaton short than a Chaplin one.

9. One A.M. (1916, dir. Charlie Chaplin)

One A.M. is an incredibly interesting short for Chaplin as it's just him performing by himself on one small set. He plays some guy who comes home piss drunk at One A.M. and struggles to navigate the foyer of his own home. It really speaks to Chaplin's talent as a performer that this is as consistently entertaining as it is. Maybe there's something just primordially funny about people failing at simple tasks, but he seems to squeeze every ounce of potential out of this setup. It feels like this guy is Sisyphus if he was crushed by the weight of his own stupidity. Great stuff.

8. Coney Island (1917, dir. Roscoe Arbuckle)

While he's now remembered as one of the "big three" silent comedians, Buster Keaton got his start acting in smaller roles in films by and starring Roscoe "Fatty" Arbuckle, who was also funny in his own right. I would describe the plot here but it's pretty meandering and unfocused, all you need to know is Fatty is hiding around Coney Island. The plot being weak doesn't really matter in this kind of short, it's just a vehicle for gags which is all it needs to be. Adding a theme or moral to this through a more focused story would honestly bring the short down. There are some great gags here with Buster getting his girl stolen from him and Fatty crossdressing (something he apparently did a lot), as well as plenty of slapstick and humour derived from carnival games. It gets incredibly ridiculous and is not at all interested in being grounded or feeling real. This whole style is a nice change of pace compared to some other silent comedies that tried to be something they weren't. This is primarily interested in getting you to laugh, and it gets there in some quite impressive ways. Something I do want to note is that the original release of this movie has an extended ending which is super racist. Modern restorations use the later versions which cut this out, but it still exists and is pretty gross.

7. The Unchanging Sea (1910, dir. D.W. Griffith)

The Unchanging Sea is a much more emotional and subtle film than much of Griffith's later plot-focused work, however, the ways it stands out from the style he went on to refine in this decade is what makes it so interesting and memorable. It's really a film about longing and the quiet sadness and isolation women experienced in this time period. I've always maintained that despite him being behind on other groups (i.e. being a vile racist), Griffith's films were always much more feminist than his contemporaries. Perhaps his willingness to portray complex female characters with unique issues was a factor in his early success. For the women in The Unchanging Sea, the work of their husbands out on the open ocean transfers them to a liminal state, unable to tell if their lover and possibly only friend would return until the moment he did. The sea does not care for their sorrow and their concern, it's a force much greater and mysterious than any fight they could muster. The light plot here lets us sit in the anxiety of these women and understand the way that their experience of life is fundamentally limited by the circumstances they were born into. There isn't even any real way to protect each other, as the ways of love for a woman in this time and place are a force more powerful than their pleas for other women to stay alone and self-reliant. The Unchanging Sea is about how human connection is all we have yet for many it's a prison. It's a kind of story that was only possible by someone like D.W Griffith when he and film were in this more primordial state, more willing to experiment and craft experiences that differed from the stories pioneered by other mediums, and is a shining example of exactly why this period of film history is so worth returning to.

6. The Cook (1918, dir. Roscoe Arbuckle)

Don't worry, this post isn't all silent comedy shorts. But in said genre, The Cook stands above the rest. This one feels a bit more focused than Coney Island, I know I ranted about how a proper plot wasn't super important in that one, but it did still feel a bit too disconnected overall, where here there's a full funny throughline from beginning to end. Not a throughline that's really trying to say anything, just a method to build tension and add onto gags to make them the best they can be. There are a lot of setups that take quite a while to pay off, often with several gags in between them, as well as some gags that feel like Rube Goldberg machines. It's an impressive piece of work that clearly took a lot of planning and care to execute. It has workplace safety violations and a cute dog, what more do you want?

5. Dante's Inferno (1911, dir. Francesco Bertolini, Giuseppe de Liguoro, and Adolfo Padovan)

Dante's Inferno/L'Inferno is the oldest surviving feature film, and the first one ever produced in Italy. I hate to call a film "an experience" but it really applies here. The narrative simply consists of two guys wandering around hell for 70 minutes. It's just an excuse to look at some really gorgeous visuals. The sets and effects in this are gorgeous, and the film seems determined to keep outdoing itself in its scope and ambition. This is much more inspired by Meliés than the likes of Griffith. It's something you look at and take in like a painting. You really need to just appreciate the artistry and imagination. It doesn't work for everyone, I'd forgive you if you got bored, but for me, it's a wonderful and astounding piece of art, that exemplifies the facet of early film to portray sharp and impactful images.

I'm realizing now that I have much more to say about these films than I expected, even ones that didn't make it into the top 10. So I'll end this post here! Look forward to seeing the top 4 and a ton of honourable (and dishonourable) mentions.

#film #history #film history #list #buster keaton #keaton #chaplin #charlie chaplin

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ankle-beez · 2 years ago

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[ID: A three-star review of "Elvis" by ankle-beez on Letterboxd that reads:

"was ready to give this 2 stars but the directing and last 30 minutes pushed it to the current rating for me

Genuinely do not think this would've worked without Austin Butler's incredible performance AND Baz's direction. Every bizarre cut and transition, every mesmerizing camera swoop, every insane needle drop (the DOJA CAT needle drop and the Toxic mashup made me lose my damn mind), every single decision that shaped this movie up to be the way it is is 100% integral to the type of story Baz wanted to tell. I can't say it's particularly any good but im glad it's out there and I'm glad this batshit vision made it out compromised. Studios should give Baz free reign to do whatever he wants every couple years

Also if Austin doesn't get an Oscar nom for this I'll burn everything down"]

#had a lot to say about this one hm.#elvis #elvis film #elvis 2022 #elvis movie #my letterboxd reviews #angel.post

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letterboxd · 4 years ago

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Savage Cinema.

From anarchists and adultery to milk baths and massacres, Matthew Turner shares five of the weirdest and wildest highlights of Hollywood’s pre-Code era, as #PreCodeApril comes to a close.

Pre-Code April was directly inspired by Noirvember, a month-long celebration of noir cinema instigated by Marya Gates (Oldfilmsflicker). I did Noirvember for the first time in November 2019, really enjoyed it, and thought it would be great to do the same thing for pre-Code movies. Although I’ve watched most of the classic 1930s films, I realised there were a huge number of pre-Code films I’d never seen (of my Letterboxd list of over 900 Pre-Code films, I have only seen 200).

As a sucker for a bit of wordplay, no matter how tenuous, I picked April partly because it’s six months away from Noirvember and partly because of the shared “pr” sound in April and Pre-Code. I’ve been absolutely delighted by the response—the #PreCodeApril hashtag on Twitter is a daily treasure trove of pre-Code-related joy, but I was genuinely thrilled to see the response on Letterboxd (here is my watchlist for the month). It’s been a real pleasure to see pre-Code movies constantly popping up in my ‘new from friends’ feed. My hope is that it’ll be even bigger next year—and that maybe TCM will want to get involved, the way they do with Noirvember.

Produced between 1929 and 1934, pre-Code cinema refers to films made in a brief period between the silent era, and Hollywood beginning to enforce the Motion Picture Production Code censorship guidelines (mandatory enforcement came in from July 1934). The “Code” in question was popularly known as the Hays Code, after then MPPDA president Will H. Hays. As the depression set in and box office declined, theater owners needed fare that would drive cinema-goers to the movies. It was a wild time to be a scriptwriter; they threw everything at the page, designers added even more, and actors played out the kinds of scenes, from the suggestive to the overt, that would otherwise be banned for decades to come.

The following five films demonstrate some of Hollywood’s craziest pre-Code excesses. They’re still jaw-dropping, even by today’s standards, and notably give female characters an agency that would be later denied as the Christian morals of the Code overruled writers’ kinks.

Madam Satan (1930) Directed by Cecil B. DeMille, written by Elsie Janis, Jeanie Macpherson and Gladys Unger

A critical and commercial flop in 1930, Cecil B. DeMille’s utterly insane musical comedy stars Kay Johnson as a straight-laced wife who plots to win back her unfaithful husband (Reginald Denny) by seducing him at a costume party, disguised as a mysterious devil woman. The location of this party? Oh, nothing too fancy, just on board a giant zeppelin. (“Madam Satan or: How the Film gets Fucking Crazy on the Blimp,” as Ryan reviewed it.)

Madam Satan is not by any stretch of the imagination a good movie (the editing alone is laughably bad), but as a piece of pre-Code craziness, it really has to be seen to be believed. Co-written by a trio of women and set in just three locations, it goes from racy bedroom farce to avant-garde musical to full-on disaster movie after a bolt of lightning hits the blimp.

The film is justly celebrated (in camp classic circles, at least) for the wildly over-the-top costumes paraded in the masquerade ball sequence, but there’s weird outfit joy everywhere you look. Keep an eye out for an enterprising extra who’s come dressed as a set of triplets.

Call Her Savage (1932) Directed by John Francis Dillon, written by Tiffany Thayer and Edwin J. Burke

Adapted from a salacious novel by Tiffany Thayer, Call Her Savage was former silent star Clara Bow’s second-to-last film before her retirement at the age of 28. She plays Texas gal Nasa Springer, who’s always had a “savage” temper she can’t explain. In the space of 88 minutes she goes from wild teenager to jilted newlywed to young mother to prostitute to wealthy society girl to alcoholic before finally (it’s implied) settling down with her Native-American friend after discovering that she’s half-Native-American, something the audience has known all along.

Bow’s performance is frankly astonishing, to the point where you simply can’t believe what you’re seeing from one moment to the next. Sample scenes see her savagely whipping both a snake and her Indian friend, smashing a guitar over a musician’s head and violently wrestling her Great Dane… and that’s all in the first five minutes. She’s also frequently in a state of near undress throughout—one funny scene has her maids chasing her with a dressing gown because they’re afraid she’ll run down the street in her négligée.

The rest of the film includes alcohol, adultery, strong violence, attempted rape, murder, syphilis (not named, but heavily implied) and baby death. It’s a veritable smorgasbord of outrageous content and Bow is pure dynamite throughout. The film is also noted for being one of the first on-screen portrayals of homosexuality, when Nasa visits a gay bar in the Village frequented by “wild poets and anarchists”.

Smarty (1934) Directed by Robert Florey, written by Carl Erickson and F. Hugh Herbert

This deeply problematic sex comedy features pre-Code stars Joan Blondell and Warren William (often nicknamed ‘The King of Pre-Code’) at their absolute filthiest. Blondell plays Vicki, a capricious, happily married wife who gets an obvious kick out of taunting her husband, Tony (William). When he cracks and slaps her at a party, she divorces him and marries her lawyer, Vernon (Edward Everett Horton), whom she also goads into slapping her in a deliberate ploy to win back Tony.

Essentially, Smarty hinges on Vicki liking rough sex and it’s completely blatant about it, ending with her sighing “Hit me again” (the film’s UK title!) as they sink into a clinch on a couch, a rapturous expression on her face. It’s a controversial film because on the surface it looks like it’s condoning domestic violence, but it’s very clearly about Vicki’s openly expressed sexual desires—she wants to be punished and dominated, she just has a rather dodgy way of getting what she wants.

It might be unsophisticated, but in some ways Smarty is remarkably ahead of its time and ripe for rediscovery. To that end, it would make a fascinating double bill with Stephen Shainberg’s Secretary (2002). Oh, and it’s also chock-full of lingerie scenes (like most pre-Code films), if you like that sort of thing.

Massacre (1934) Directed by Alan Crosland, written by Sheridan Gibney, Ralph Block and Robert Gessner

Several pre-Code films (notably those made by Warner Bros) took a no-punches-pulled approach to their depiction of social issues, and star Richard Barthelmess actively sought out such projects. Here he plays Joe Thunderhorse, a Native American who’s become famous on the rodeo circuit. When he returns to his tribe to bury his father, he ends up fighting for their rights, taking on corrupt government officials and religious authorities.

Massacre is fascinating because on the one hand it’s wildly insensitive—Barthelmess and co-star Ann Dvorak are both cast as Native Americans—but on the other, it burns with a righteous fury and does more than any other Hollywood film (before or since) to champion the rights and highlight the injustices dealt out to Native Americans. That fury is encapsulated in a horrifying and rightly upsetting rape scene (it happens off-screen, but the cuts leave you in no doubt) that the film handles with surprising sensitivity.

In addition to being a passionate fight against racism and social injustice, the film also has some genuinely shocking sexual content. Most notably, Joe is seen making love to a rich white woman (Claire Dodd, who’s also in Smarty) who has an obvious sexual fetish, flaunting him in front of her friends and making a shrine in her room with Native-American paraphernalia.

The Sign of the Cross (1932) Directed by Cecil B. DeMille, written by Waldemar Young and Sidney Buchman

Yes, this is Cecil B. DeMille again, but no list of weird and wild pre-Code films would be complete without the jaw-dropping ancient Rome epic, The Sign of the Cross. Adapted from an 1895 play by Wilson Barrett, it stars Frederic March as Marcus Superbus (stop sniggering at the back there), who’s torn between his loyalty to Emperor Nero (Charles Laughton) and his love for a Christian woman (Elissa Landi), while also fending off the advances of the Emperor’s wife, Poppaea (Claudette Colbert).

The film is racy enough in its sexual content alone: highlights include the famous scene of Claudette Colbert taking a nude milk bath and an erotic “lesbian” dance sequence, where Joyzelle Joyner’s “most wicked and talented woman in Rome” does ‘The Dance of the Naked Moon’ at Frederic March’s orgy, trying to tempt Landi’s virtuous Christian, to the obvious arousal of the gathered guests.

However, it’s the climactic gladiatorial-arena sequence that will leave your jaw on the floor. Lasting around twelve minutes, it includes: someone getting eaten by a tiger, a tied-up, naked women being approached by hungry crocodiles, pygmies getting chopped up by female barbarians, elephants stomping on heads, a gorilla approaching a naked woman tied to a stake, a man getting gored by a bull, and gladiators fighting to the death, complete with blood and gory injury detail.

The whole thing is genuinely horrifying, even for 2021. Best of all, DeMille pointedly critiques the audience (ourselves included), by showing a series of reaction shots ranging from intense enjoyment to abject seen-it-all-before boredom.

Matthew Turner (FilmFan1971) is a critic, author, podcaster and lifelong film fanatic. His favorite film is ‘Vertigo’. The films in this article are also listed here: Five of the Pre-Code Era’s Most Outrageous Films.

#preCodeApril #pre code april #precode april #hays code #mppa code #cecil b demille #clara bow #matthew turner #letterboxd #1930s films #1920s films #depression films

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turqrambles · 5 years ago

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I watched all 26 episodes of an obscure Australian cartoon in one week and I’m not okay - My journey with Wicked! (2001) PART 1

Here it is, the reason I started this blog in the first place. I need to talk about this cartoon I ran into completely by chance.

It all started, like you would, with Tubitv.

Good ol’ Tubi, the free streaming service that makes you either an expert at being able to find diamonds in piles of garbage or a connoisseur of said garbage. It’s thanks to Tubi that I put down that I watched Alpha and Omega: Family Vacation on Letterboxd for all to see and judge, but it’s also thanks to Tubi that I finally ended up watching Killer Klowns from Outer Space.

Anyhoo, one day I was browsing their family film selection when I ran into this selection. And that was the day my life changed forever.

What you see before you, posted to a streaming service accessible in the United States, is the movie adaptation of an Australian TV show that never made it to the United States, which is based off a series of Australian children’s books from the 90′s that also never made it to the United States. It made it to other territories like Germany and the United Kingdom (and it apparently did super well in France but don’t quote me on this) but the TV show ran for one year and then disappeared without a trace after one 26 episode season.

How obscure is this franchise? Well, for starters, at the time I’m writing this in 2020, the books, the TV show, and the movie all don’t have a single Wikipedia page to call their own, and the easiest way to get info about this thing is to find the (rather tiny) TvTropes page.

Let’s just get right into this shall we.

What is Wicked!?

Before you try to be all cute and make any references to the hit musical, there’s a reason I’m putting that exclamation mark there.

Wicked! started out as a series of six children’s books written by Paul Jennings and Morris Gleitzman. I actually grabbed a kindle copy of all six books (because I’m in this thing too deep and I wanted to see how the cartoon compared with the source material) and I gotta say, they’re very charming.

The best way I can describe them is that they’re in the kid horror genre, but they’re less Goosebumps and more The Weenies book series by David Lubar in terms of gore and child endangerment. Wicked! has some artful depictions of blood and gore, but in a way that can be digested by the grade school crowd.

Being a former child, I can proudly proclaim that I would’ve adored this series when I was younger. Just look at these covers!

The plot of the books is that there’s a widower with a daughter and a divorced wife with a son who get married, and the two new step-siblings Rory and Dawn absolutely hate each other. They can’t stand the fact that their parents are getting married! Gross!

But then, on the day of their wedding, creepy things begin to happen after Rory receives an appleman doll in the mail, and then, over the course of six books, a deadly single-minded virus that feeds on hate and is targeting Rory’s bloodline begins to spread across wildlife, creating crazed mutant animals that try to kill everyone in the household. It’s up to Rory, Dawn, and Dawn’s grandfather Gramps to stop this virus before it kills Rory and his mother, and to do so, they have to seek out Rory’s father, who seems to be the mysterious cause and/or the solution to the virus.

I’m not sure how well these books did, on account of the whole “not Australian” affliction I seem to suffer from, but they seemed to do well enough to get a TV show adaptation.

And surprisingly, the TV show is a very close adaptation of the books, only they changed the plot in two big ways so that it fits an animated series with a “monster of the week” setup.

The first big change was that, of course, they toned down the blood and gore and removed the deadliness of the virus, choosing to go with a more cartoony mutagenic approach. Rory gets infected by the virus several times in the show, just like how he does in the books, but unlike the books, he never thinks that he’s going to die from it and it’s definitely treated as a more temporary thing. There’s no race against time either. Everyone is trying to live their lives except every so often, the virus shows up. A wacky cartoon virus with cartoony stakes.

That brings me to the other main change that they make in the show. Unlike the books, where the main villain is a mindless virus that feeds off of hate, an invisible foe that can only be defeated at the end of the last book with the help of Rory’s father, the TV show decides that that’s no fun and instead makes a main villain out of one of the main plot points in the books. Say hello to The Appleman. (Apple-Man? Apple Man? Fuck it, I’m going with the first one from now on)

Instead of having the virus mutate mysteriously and having the main characters constantly hypothesize what’s going to happen next, the TV show made a main villain who constantly reinvents new strains of virus in a laboratory that he set up in an abandoned refinery.

What then happens is a basic plot set-up that the show follows pretty consistently in every episode. The family is trying to do something, we get the theme for the episode, and The Appleman, who is a spiteful bastard who is trying to ruin this one family in particular (and I’ll get to that), decides to make a virus that will infect the theme of that episode.

Pretty standard cartoon stuff, right? Ah, but then you don’t realize the beauty of this show. But first, I gotta introduce the main stars of this show.

The Characters

(quick note: this bus is incredibly important to the plot, but only in the books)

First we have Rory (the boy holding up the tin) and Dawn (the mad red head).

Dawn is the step-sister who lost her mom, a bus driver, in a gruesome bus accident, Rory is the step-brother whose parents got a divorce and then his dad went missing, believed to have run away from his whole family. Both of them are meant to be the dual protagonists, but I feel that there’s just a tiny bit more focus on Rory. There’s a reason for this that I will mention later.

What is interesting to note is that they make Rory the smart, non-athletic little nerd that gets picked on a lot at school for being a dork while Dawn loves sports, is failing science, gets made fun of for not being as girly as the other girls in her class, and likes violent computer games. I wouldn’t exactly call them “fleshed out” but they did enough to make these kids feel like actual kids.

Also, they fight. Constantly. This is the main complaint of anyone who actually looks into this show judging by my brief skimming of Internet comments because these two constantly bicker and insult each other and that makes up like 40% of the dialogue in any given episode. While this is one of the main story conflicts and they’re like this in the books too, it just feels super exhausting to see these two constantly at each other’s throats in every single episode.

They get mean too. Which, surprisingly, makes them both more realistic (I babysat multiple times and kids can be pretty verbally awful to each other) while also making them just a tiny bit unbearable at times. Here’s some actual dialogue.

"My dad sent it to me!" "Gee, he must think a lot of you to send you a doll full of worms." "Your mum thought so much of you she drove this bus over a cliff and into the river to get away from you."

GEEZ, guys...

Eileen, Rory’s mom.

It feels out of the three adults in the family, she gets the least amount of character development, but she does get a fair amount of screentime, so you can’t really say they’re intentionally ignoring her. She divorced her previous husband and works as a mail courier. Instead of owning a car, she drives a motorcycle, and, in the first episode, even drives it to her own wedding while dressed in a bridal gown. Rory’s mom rules.

She tries to bond with Dawn because she always wanted to raise a daughter, but Dawn clearly doesn’t like her new stepmom very much. Dawn is also afraid of the motorcycle and it comes up a couple times in the show.

Eileen is the adult that gets targeted the least by The Appleman’s schemes. There’s a very pointed reason for this, and I swear, I’m getting to it soon.

(quick note: yes, the show uses real photos to put in picture frames in the backgrounds and it’s real weird and never addressed)

Jack, Dawn’s dad.

Jack is a sheep shearer, just like in the books, and he’s a big easy-going dope that is hard not to love. Look at him hammer in this carpet. A true champ.

Out of the three adults in the family, he seems to be the one that nearly dies the most, with The Appleman going out of his way to specifically target Jack in some episodes. If you know Appleman’s backstory, this reads as absolutely petty spite and I love every minute of it.

Gramps, Dawn’s grandfather and Jack’s dad.

He’s an aging WWII veteran (one that has killed people in combat no less) who radiates constant Boomer vibes and, unlike Eileen and Jack, he actually sees some of the crazy shit that happens and will sometimes sense when something is infected with virus when the other two adults can’t.

In the books, he’s suffering pretty badly from dementia, but thankfully the cartoons drop that completely. I’m glad too, because I don’t have the confidence that they would’ve written it with enough sophistication to make it not seem ableist. Instead, he’s just your typical kooky cartoon grandfather.

He’s probably the adult that gets the most screentime because he will actually help Dawn and Rory out. Again, this ties into the books, where he was the main adult ally for the kids.

He says a lot of army-themed catchphrases. It’s a tad overplayed but it never really gets to a point where I would call it “annoying”. Also, instead of living in the house, he lives in a tiny granny flat on the property. Sometimes Rory spends the night there.

Last but not least, we have the star of the show, and the reason why the easiest way to find information of this show is to google “Wicked The Appleman”.

The Appleman, as explained, is the main villain of the story. Dressed in a very fancy suit complete with dress shoes and a nice blue tie, he lives in an old refinery full of rats, bats, and giant worms (called Slobberers), and he’s rocking a voice that can be best described as “Australian Mark Hamil” with an absolutely heavenly evil laugh. He has gross clawed hands, a rotten apple for a head, and likes making people miserable, because he’s basically the living puppet for a virus that feeds off of negative emotions. The main goal of each episode is to either defeat him or to stop the mess he’s made. Usually both.

Since all of his minions are non-sentient animals, a lot of his dialogue is him lurking behind something while he monologues to himself, sometimes turning it into a creepy little rhyme. He’s a pretty lonely guy, so him hanging out with this family can be seen as a very non-subtle cry for help.

The best episodes are the ones where he tries to lurk about in public with a very poor attempt at disguising his hideous features. Somehow it always works, you know, despite the fact that he has yellow eyes, the skin like a moldy apple, and no ears.

What Makes Wicked! Unique

(no, The Appleman doesn’t actually use that axe)

The first thing this show does that most of the formulaic shows don’t do is that it does, in fact, have a beginning, a middle, and an end. That’s why this show was packaged into a full-length movie - you can glue scenes together and actually make a pretty decent narrative, even if the resulting movie definitely had a “glued together TV show episodes” feel ala some of the bad Disney sequels like Cinderella II and Atlantis II.

This show even has some plot-heavy episodes that dive into just why this whole Appleman situation is going on and why he seems to have it out for this one family in order to flesh out the characters more.

Because that’s a thing that this show does. The Appleman is a cartoon-y villain who cackles in his lab and constantly invents new strains of viruses that can mutate things like animals and household appliances, but he doesn’t do it to take over the city or to “destroy the world”. He does it purely to inconvenience this one Australian family, who he stalks pretty regularly. This is a thing that comes from the books and honestly, it’s a thing that elevates Appleman from “ugly-looking cartoon villain” to “pretty damn creepy, if also still cartoony in execution”.

Sure, a lot of cartoon villains target the main protagonist in their evil schemes, but this one is definitely more personal.

He regularly follows Rory and Dawn to school and, when the family goes on a camping trip, he comes too. If Rory decides he’s going to hang out in the wrecker’s yard, The Appleman will be cackling and hiding behind totaled vehicles. If Gramps takes the kids out to the bay to go fishing, The Appleman will pull an ice cream truck out of his garage and follow them there. That’s how the main conflict is really set up.

I think if a scarier cartoon tried, they’d make him out to be this grotesque stalker, but instead, since this show is kinda goofy in execution, he’s like the shittiest cryptid in the world, constantly crouching behind trash cans and on top of rooftops while constantly cackling about how clever he is and how, miraculously, no one notices anything’s amiss.

This alone would make this villain interesting, but then they set up something about this show at the beginning if you watch the intro and the first episode and put two and two together.

Right from the start, the opening shows that The Appleman was once human by depicting his transformation by the virus. They don’t even try and pretend that he’s some demon or some sort of supernatural monster - he’s specifically a blue collar worker who had a nasty run-in with fate and mutated into this hideous apple-headed creature that now has to hide out in an abandoned refinery. You see why he’s dressed like that - he’s still wearing his work uniform.

Right after you watch that intro, the first episode of the show has Rory receiving a mysterious package from his father on the day of his mother’s wedding. It’s the first time that Rory and his mom Eileen have heard from their dad after he mysteriously vanished years ago.

What’s inside? An apple-headed doll, which contains the first virus-infected monsters, The Slobberers.

When The Appleman makes his first dramatic appearance, he never says Dawn’s name, but he does know Rory’s name.

And, in case you didn’t pick up the hints from the first episode, the fourth episode really drives it home without spelling it out. Then the last episode of the series decides to say it out loud.

That’s right. Rory’s father, the man who mysteriously vanished from Eileen and Rory’s lives, is still an important part of the cartoon’s storyline, but instead of being the man who appears in the last book that knows how to cure the virus while also being the first victim of the virus, he’s the main antagonist.

The Appleman is Rory’s father.

And honestly, because of this little plot point, this show becomes a much richer experience once you look at the unhinged appleman who keeps unleashing horror on these kids and realize that he’s a divorced dad who constantly keeps tabs on his ex-wife's unstable dysfunctional family in order to make them more pissed at each other because that feeds the virus that mutated him.

This is a very cool concept. This is where Wicked! shines when, for all intents and purposes, it is otherwise a pretty average turn-of-the-century Australian cartoon that can be best described as “it’s okay, I guess” in terms of quality.

Because that’s really the rating I can give this show. It’s Okay.

It’s a very solid Okay, but I think any adjective more powerful than “Okay” is really pushing it. It’s not Great, it’s not Amazing. It’s Okay. Alright. Kinda Good.

But man, is it a wild ride.

Next time, I’m going to start discussing the actual episodes as well as this show’s pros and cons. Dividing this up into multiple parts partly because I feel like these things are more easily digested in smaller chunks and partly because I’m pretty sure tumblr now has a size limit on posts soooo...yeah.

Follow this handy link for Part 2 - The Actual Review!

#Turq watches a cartoon #Wicked! (2001)#Wicked!#The Appleman #Turq Reviews

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the-domestication-of-the-dog · 5 years ago

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The 10th Annual L.A.O.K. Awards

Wow. Ten years of the Layokies. What a trip. I would like to give my heartfelt thanks to all five of my faithful fans for your readership over the years. In my first ever Layokies post, I named it the “1st (Possibly) Annual L.A.O.K. Awards.” I had no idea how long I’d be working at the Academy, let alone living in LA, but here we are. I bragged about seeing 180 movies that year. I just checked my Letterboxd stats for this year and it turns out I watched...180 movies. However, this year I hit a new personal best for new releases: 125. While this is about half as many as some people I know, some of the first Layokies were based on a field of 60 or 70 movies, so I’ve doubled up on my old self. Funny thing is, I can still look on other year-end lists and find many films I haven’t seen, and even some I haven’t heard of, so the field of films I’ve added are probably in the middle to bottom range of the pack. But someone out there has to watch��Tolkien, Gemini Man, The Goldfinch, and Where’d You Go, Bernadette?, so it might as well be me.

In all honesty, my absolute favorite thing about living in Los Angeles and working at the Academy is access to watching movies and being around the general cinephile community, and even a bad couple of hours in a movie theater beats a lot else. Over Christmas break I saw Star Wars: The Rise of Skywalker in Shawnee, OK’s own Cinema Center 8.

It was quite a trip going back to this theater after so many years and to think of the love of film that was fostered there. Alas, the picture was pretty muddy, and I’m almost positive they showed it in 2k. ¯\_(ツ)_/¯

Now, in penance for naming The King’s Speech Best Picture in my first year (lol), I give you five real good’uns for 2019:

Best Film The Farewell The King Little Women Parasite Uncut Gems

Sometimes I touch on a year being good or bad for film in general. Not sure about the whole, but I’ll call 2019 a real SEC year (aka stacked at the top and mediocre to poor the rest of the way down). While I would probably only give one title on this list must-see status (Parasite), these are all definite should-sees. The Farewell made me laugh and cry and cringe. One might even go so far as to say it “gave me all the feels.” The King gave me actual siege warfare and period-accurate haircuts. Little Women hit me with that structure, and at first I was all “hol up,” but then I was all “OK I see you.” Little Women also made me cry because I cry in movies now. (A quick aside, because while I absolutely loved Little Women, it’s not really going to come up again. If you liked the movie and haven’t read the book, please do yourself a favor and make it the next one on your list. You can’t know how great this movie is unless you know how good Beth is. Beth kind of got lost in this one, and you need to know Beth.) Parasite blew me away through its normality (who, having seen The Host, Snowpiercer, and Okja could have guessed that it wasn’t about some actual alien parasite??). And Uncut Gems was exactly as perfect as I expected it to be. And the Layokie goes to... The King

Faithful readers will know that one of my absolute favorite genres is ‘discreet conversation behind castle walls,’ and The King absolutely nailed it. It has everything: leadership position foisted on a worthy but flawed character who doesn’t want it, conversations in tents about battle tactics, love built on almost nothing but mutual respect, and most of all, Robert Pattinson doing a funny accent (it’s just a French accent, but he makes it quite funny). I would have already watched this again five times on Netflix, but I’m hoping and praying for an Oscar nomination that will never ever in a million years come in hopes that I can see it again in the theater during nominations screenings.

The Next Five Six 1917 Honey Boy The Laundromat The Lighthouse Marriage Story Portrait of a Lady on Fire

Best Actor Timothée Chalamet - The King Adam Driver - Marriage Story Paul Walter Hauser - Richard Jewell Joaquin Phoenix - Joker Adam Sandler - Uncut Gems

Another super stacked category this year. You might even say they’re *puts on sunglasses*...Stacked Actors. (<-- This is a really good joke for anyone whose favorite band from 7th-8th grade was The Foo Fighters.) These are all kind of obvious, so I’ll take a second to comment on Paul Walter Hauser and the fact that I gave out a very specific award last year titled “Refuse to Watch - Any More Clint Eastwood Movies” after trying and failing to watch The 15:17 to Paris on a plane (one of the worst pieces of filmmaking I’ve ever witnessed). Then this year Richard Jewell was getting such good buzz, and it seemed like such a good cast, and it was such a low-risk watch (on my second screen at work while doing spreadsheets), that I decided to shamefully renege on my earlier pronouncement and give it a shot. And...it was great pretty good! What is the deeal with Clint Eastwood?? He’s made some of my least favorite movies of the decade (Gran Torino, Invictus, Hereafter was a particularly awful stretch, Sully was pointless, and even parts of American Sniper, which was otherwise tolerable, were absolute cringefests). Anywho, I was very impressed by Paul Walter Hauser’s understated but perfect performance, in which he gets one good chance to blow up and yell at people--which you know I love. I hope he gets nominated, because it would be a great Oscar clip. (My ultimate dream job would be to pick the acting Oscars clips and I would be very very good at it.)

And the Layokie goes to... The Sandman (love that everyone is calling him the Sandman again)

I touched on Adam Sandler “A” in the Best Supporting Actor section of my 2018 Layokies post regarding his performance in The Meyerowitz Stories, lamenting that he hadn’t taken more dramatic roles after Punch-Drunk Love and hoping that good writer/directors would keep casting him. One more wish granted by the Safdie brothers. Adam Sandler’s talent is undeniable. He is truly one of the Great Actors of his generation. I really hope this is a respected-actor-making turn for him, but the upcoming roles on his IMDd--Hubie Halloween and Hotel Transylvania 4--don’t give much hope for the immediate future.

Honorable Mentions Taron Egerton - Rocketman (but only for the phone booth scene) Shia LaBeouf - The Peanut Butter Falcon Noah Jupe - Honey Boy Robert Pattinson - The Lighthouse Jonathan Pryce - The Two Popes

Best Actress Ana de Armas - Knives Out Scarlett Johansson - Marriage Story Elisabeth Moss - Her Smell Florence Pugh - Midsommar Saoirse Ronan - Little Women

Found out last night from my resident celebrity expert Bridgette Smith that Florence Pugh is dating Zach Braff and it absolutely crushed me.

And the Layokie goes to... Elisabeth Moss - Her Smell

Her Smell was the last 2019 film I watched before writing this post, and I was really just looking for something to pass the time. I had been wanting to see it for a long time and noticed it was on HBO, so I pressed play and planned to work on this post while I watched. I couldn’t. I was riveted. The writing, score, and sound design are incredible, but it’s all tied together by Elisabeth Moss’s performance. She’s excellent at being revolting but still has all of those qualities that made her Peggy. You can’t not like her, even though you fairly hate her.

Honorable Mentions Awkwafina - The Farewell Cynthia Erivo - Harriet Lupita Nyong’o - Us (You know I love weird voices, you know I love actors doing weird voices and faces, but this was a bit much even for me. Reflective of Us on the whole, which I thought was interesting but really missed the mark.) Charlize Theron - Bombshell

Best Director Ari Aster - Midsommar Bong Joon Ho - Parasite David Michôd - The King Benny and Josh Safdie - Uncut Gems Céline Sciamma - Portrait of a Lady on Fire

And the Layokie goes to... Benny and Josh Safdie - Uncut Gems

Wired: New directors Tired: Old directors

Boy do I not understand the love for The Irishman and Once Upon a Time in Hollywood. I’m not totally against boring movies if there’s a good reason for it (Midsommar was actually quite boring), but these were some of the least compelling films I watched all year. On the other hand, you have these young directors coming out of prestige horror, Ari Aster, Robert Eggers, and to a lesser extent David Robert Mitchell and Trey Edwards Shults, making some of the most dynamic films out there. Reminds me of Roger Ebert talking about early Scorsese in Life Itself (which I can’t find a clip of). Then you have Benny and Josh Safdie doing Scorsese better than Scorsese with literally breathtaking shots like the one below. How they construct such amazing edits out of such disparate takes as the one in the still above is a wonder. They’ll go from five extreme close-ups in a row to a jaw-dropping shot of the inside of a jewelry store zoomed in from across the street. And that’s just the tip of the iceberg on what makes them the best filmmakers working right now.

Honorable Mentions Noah Baumbach - Marriage Story Robert Eggers - The Lighthouse Claire Denis - High Life Greta Gerwig - Little Women Alejandro Landes - Monos Sam Mendes - 1917 Alex Ross Perry - Her Smell Joe Talbot - The Last Black Man in San Francisco Lulu Wang - The Farewell

Best Supporting Actress Laura Dern - Marriage Story Lena Headey - Fighting with My Family Lee Jung Eun - Parasite (The housekeeper) Meryl Streep - The Laundromat Shuzhen Zhao - The Farewell (Nai Nai)

And the Layokie goes to... Laura Dern - Marriage Story

Here’s one for the Laura Dern stan accounts: There’s no question that Noah Baumbach is a talented director of actors, but Laura Dern makes so much out of seemingly not a lot in this role. She truly embodies a wholly unique and three-dimensional character that could have extremely easily been one-note.

Honorable Mentions Lily-Rose Depp - The King Florence Pugh - Little Women Margot Robbie - Bombshell

Best Supporting Actor Timothée Chalamet - Little Women Willem Dafoe - The Lighthouse Shia LaBeouf - Honey Boy Al Pacino - The Irishman Robert Pattinson - The King

And the Layokie goes to... Willem Dafoe - The Lighthouse

For being all: https://www.youtube.com/watch?v=xT7uR4wNMJs

Honorable Mentions Bill Hader - It Chapter Two Tim Heidecker - Us Sam Rockwell - Richard Jewell Song Kang Ho - Parasite (the dad) Lakeith Stanfield - Uncut Gems

Best Original Screenplay The Farewell - Lulu Wang Her Smell - Alex Ross Perry Marriage Story - Noah Baumbach Parasite - Bong Joon Ho Uncut Gems - Benny and Josh Safdie

And the Layokie goes to... Parasite - Bong Joon Ho

Another genre we don’t get nearly enough of: comedies of errors. A script like this is as sophisticated as any mystery, political thriller, or...some other sophisticated type of script, like uh, I don’t know, they usually just say Chinatown or Witness. I did think it lagged a bit in the third act, but everything that came before it was so tight. Twist after turn after twist, so funny, so shocking. This is such a rare prestige crowd-pleaser that it really does harken back to Hitchcock; if a wide audience can get over watching subtitles, this has to have one of the lowest barriers for entry of any foreign film in a long time. Here’s hoping for a Best Picture Oscar nomination and a wide release. Uncut Gems played at Shawnee’s other theater (titled simply Movies 6), so it’s not that far out of the realm of possibility. But I know people in LA, even that work at the Academy, who won’t watch subtitled films, so getting people to actually go see it is another question.

Honorable Mentions Peterloo - Mike Leigh

Best Adapted Screenplay Jojo Rabbit - Taika Waititi Joker - Todd Philips & Scott Silver The King - David Michôd The Laundromat - Scott Z. Burns The Two Popes - Anthony McCarten

And the Layokie goes to... The King - Joel Edgerton and David Michôd

It wouldn’t be the Layokies without me championing one film that no one else cares about. I just really really liked The King. Timothée Chalamet is so hot right now! How did this get so overlooked?? 😭

Best Documentary Apollo 11 Honeyland It’s a Hard Truth Ain’t It Maiden Mike Wallace is Here

And the Layokie goes to... Maiden

As I’m in the process of producing a documentary right now, it pains me a bit that my top two picks in this category are almost entirely archival. I thought Mike Wallace is Here was so well done, and the director did some amazing things playing with aspect ratio. But Maiden came into port first. What is wrong with people who don’t appreciate sports? This xkcd comic (who I usually appreciate) makes me so angry. Tell the women who worked their asses off for years to claw their way into this male-dominated space and literally made the world a better place that their efforts were no more than a weighted random number generator on which to build narratives! Clearly the narratives are there, but it rarely has as much to do with the result of the competition as it does the effort that it took individual human beings to get there. See also: Undefeated (currently streaming on Netflix).

Honorable Mentions Fyre They Shall Not Grow Old Satan & Adam

Best Foreign Language Film Duh Parasite

Biggest Missed Opportunity Pokemon: Detective Pikachu (How the first live action Pokemon movie should have happened)

Not Even Close to Enough Monsters Godzilla: King of the Monsters

Most Unbelievable Cosplay Tom Hanks as Mr. Rogers

Absolutely Crushing the Sensitive Dad Roles Billy Crudup in After the Wedding and Where’d You Go, Bernadette?

Good in Everything Too obvious, but Florence Pugh - Fighting with My Family, Midsommar, Little Women Robert Pattinson - High Life, The Lighthouse, The King Adam Driver - The Dead Don’t Die, Marriage Story, The Report, Star Wars: The Rise of Skywalker

Destigmatizing Fatness Award Dolemite is My Name The Laundromat Skin Almost Hustlers but then not (Lizzo got what, 30 seconds of screentime??)

#WasteYourAudience’sTime2019 The Souvenir The Proposal

Didn’t Actually Deserve to be Driven into the Ground Dark Phoenix The Kitchen

Just Plain Liked It Triple Frontier

Most Forgettable Tie: Tolkien and High Life (not for me, but it took me a full 10 minutes to convince Becca that she watched this, and I had to describe the masturbation chamber aka fuck box in a lot of detail before she got it, and I’m still not totally convinced she remembers it)

The Something Award Motherless Brooklyn

The Nothing Award Judy

Worst Movies 1. Rambo: Last Blood 2. Between Two Ferns: The Movie 3. Abominable 4. The Lion King 5. Godzilla: King of the Monsters 6. Wine Country 7. Jumanji: The Next Level 8. Frozen II 9. The Goldfinch 10. Pet Semetary

Best Scenes

Avengers: Endgame - The hammer, the portals, all the nerdy/normie BS, what can I say call me a basic bitch but there were some genuine holy schmoly moments in this that made it a really fun movie to experience in the theater

A Beautiful Day in the Neighborhood - When Mr. Rogers uses the puppets on Lloyd

Captain Marvel - When she went full shit on ‘em

Climax - The opening dance sequence (the only thing that made this movie worth watching)

The Farewell - Too many to choose from, but I think my favorite moment in this movie was when they were taking photos of the fiances and another couple stumbled in on them, claiming they were lost. That couple leaves and we never see them again. These are the kinds of details that make movies come alive. Absolutely brilliant.

Gemini Man - The motorcycle chase (a rare scene actually made better by the high frame rate)

John Wick: Chapter 3 - Parabellum - The knife fight in the knife store

The King - The conversation between Hal and Catherine

Knock Down the House - When A.O.C. debated the incompetent proxy

The Last Black Man in San Francisco - Skateboarding into town

Little Women - The “break-up” scene between Jo and Laurie (not a spoiler)

Midsommar - The drug trip scene (not that I’ve ever done drugs but this was the most accurate drug trip scene of all time) and the Ättestupa ceremony. Also found out in the video linked above that Ari Aster pronounces it Mid-SO-mar?? I thought that was the dumb way to pronounce it but apparently I’m the dumb one. Also also, another amazing detail worth mentioning: I absolutely loved that every time they were in their community sleeping barn, there was a baby crying somewhere on the second floor that we never see. Such a perfect way to put the characters and the audience on edge and indicate that there’s something wrong here.

Once Upon a Time in Hollywood - While I didn’t care for this movie, the scene where Brad Pitt went to the movie ranch and when he fantasized about going to the film set were absolutely dripping with tension, which made them as just as riveting as the rest of the movie wasn’t

Parasite - When the other family comes home early

The Peanut Butter Falcon - The scene after they come out of the corn field and share one of their first genuine moments

Uncut Gems - *Sarah Palin voice* All of ‘em, any of ‘em. But seriously the finale with the Celtics game

Us - The initial home invasion and the visit to the Tylers’ home (Tim Heidecker and Elisabeth Moss)

The A.V. Club also does a best scenes list at the end of the year, and I love writing mine first and then seeing what they came up with. I’m always surprised at how many we match on. Just goes to show that a good scene is universal. I also enjoyed some of theirs that I overlooked here, including from Her Smell, Bombshell, Ad Astra (I almost included the moon chase myself and thought the baboon scene was equally compelling), and Portrait of a Lady on Fire.

Stupidest Scenes Every other John Wick 3 scene

Deserves Discussion The Dead Don’t Die

This movie was a lot of fun. But then it also completely sucked? Not really a Jim Jarmusch fan in the first place, but this had so many awesome elements to it: a great cast, great soundtrack, really fun and unexpected ways of breaking the 4th wall, but then it was also pointless and boring. I would love for someone to tell me why this is a good movie after all, but judging by its complete absence from the end-of-the-year discussion (or any discussion), I’m guessing no one cares enough to mount that challenge.

Best Visuals Alita: Battle Angel Aquarella A Hidden Life Honeyland Midsommar Monos

Many LOLs It Chapter Two Jojo Rabbit Parasite

Best Song Ready or Not - The Hide and Seek Song (why was this not submitted?)

youtube

Best Soundtrack Waves - Never have I already known so many songs on a film’s soundtrack; it’s almost as if Trey Edwards Shults is another white guy around my age with the same interests as me...

Worst Accents Midway

Started But Never Finished Cats Cold Case Hammarskjold Genndy Tartakovsky’s ‘Primal’ - Tales of Savagery The Highway Men High Flying Bird Queen and Slim Spies in Disguise

Didn’t See Ash is Purest White Atlantics The Beach Bum The Body Remembers When the World Broke Open (still really want to see this one) Clemency Diane Invisible Life Luce Shadow Synonyms Transit Woman at War

Absent on Purpose Pain & Glory Ford v Ferrari I think these are the only two contenders that I’ve seen and haven’t mentioned. I actually liked both of these movies quite a bit. Just didn’t stand out for me in any one category I suppose. But then also: Booksmart Brittany Runs a Marathon Just Mercy The Mustang

Hah!

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nightmareonfilmstreet · 7 years ago

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The Greatest Year in Horror Film History PART I: 2017

New Post has been published on https://nofspodcast.com/greatest-year-horror-film-history-part-2017/

The Greatest Year in Horror Film History PART I: 2017

Question: What is the greatest year in horror film history?

Answer: LOUD SCREAMING

I don’t blame horror fans for the passionate debates we get into. It’s almost impossible to be totally objective with a question like that. The most important and invaluable aspect of art is its subjectivity. It creates the possibility for different viewpoints, allowing for discussion and (sometimes) healthy debate. Every person, whether they mean to or not, has an opinion on the pieces that they come across. Sometimes, however, this debate can spiral into a cycle of nastiness that prohibits the free expression of ideas and views.

Horror is no exception. We watch, discuss and rate each movie that we watch, trying to determine its place in the pantheon of great horror cinema. Websites such as Rotten Tomatoes and apps like Letterboxd allow us to share our thoughts and start discussions with other fans about the merits of each film we rate. The problem with these discussions, however, is the very subjectivity that makes art so important. No one can be either “right or wrong”. The conversation often devolves into name-calling and hurt feelings, effectively shutting down our willingness to share our views in the first place. What we need, as a community, is to answer some of these questions once and for all so that we can get back to discussions about how to improve the genre.

You’re in luck, Fiends! We have taken the numbers into consideration and come up with a definitive answer to the question on everyone’s mind at the end of the year. Which year, officially, is the greatest year in horror film history?

OUR METHODOLOGY OR: HOW WE LEARNED TO STOP WORRYING AND LOVE EXCEL

Here’s a quick rundown of how the rankings were decided:

We took a look at all of the horror films from 1970 to 2017. (The early 1970’s were a starting point for us because A) We needed one and B) The frequency of quality and iconic horror films really picked up during this time).

To determine a “score” for each year, we took a look at 5 different rating sources-

Rotten Tomatoes Tomatometer Score

RT Critic’s Average Rating

RT Audience Score

RT Audience Average Rating

IMDB Viewer Ratings

– These ratings were averaged to find the “Fiend Score” for each film. We then combined the Fiend Score of the top three horror films from each year to give that year a total. I admit, the selection of the top three films was sometimes difficult. It was necessary to take other factors into account, such as the size of release, box office total and iconic status to determine which films were included in the top three. These three films were totaled and given an official number which we are calling its “NOFS Score”. These NOFS Scores ranged anywhere from 142 (Ouch) to 255.

Over the next few weeks we will be counting down the years and finally reveal, once and for all, the Greatest Year in Horror Film History! This week, we will be discussing-

#3- 2017

NOFS Score- 239

Several journalists and publications, most notably The New York Times Magazine, have dubbed 2017 “The Year of Horror”. It was a blockbuster year, for sure, with horror films raking in over $1 Billion at the box office. Our official ranking, however, places 2017 at number three. How did we end up with this score? Here are the film with the top three Fiend Scores for 2017:

#3– Split

Written and Directed By: M. Night Shyamlan Starring: James McAvoy, Anya Taylor-Joy

Fiend Score- 73

As a devoted Shyamalaniac (TM), I couldn’t be happier about his resurgence these last few years. The Visit (2015), while not my favorite film of his, definitely showed that he is still very effective within the confines of a low-budget horror movie. Split was a huge success, bringing in over $278 Million for Blumhouse Productions, and it brought us one of the most satisfying closing scenes of the year.

James McAvoy and Anya Taylor-Joy’s performances make this film the joy to watch that it is. Without their work to back up the story, this film quickly turns into just another “girls trapped by a psycho” movie that we would have quickly forgotten about. Anya’s Casey deserves to be placed in the upper echelon of horror “Final Girls” because of her survival instincts and the quiet strength she shows in the face of a monster. With the confidence that he displayed in Split, I have no doubts that Shyamalan is back and will crush next year’s Glass.

#2– It

Directed By: Andy Muschietti Written By: Chase Palmer, Cary Fukunaga and Gary Dauberman Starring: Bill Skarsgard, Jaeden Lieberher and Sophie Lillis

Fiend Score- 80

Here lies my favorite horror film of the year. The first chapter of the new adaptation has grossed a staggering $695 Million at the worldwide box office, making it one of the top grossing films of the year. It has been written about extensively all over Nightmare on Film Street, so going over what the film is about is a bit redundant. Instead, let’s take a quick look at what made the film so successful.

Nostalgia can either be your best friend or it can be the death of your project. The expectations surrounding this film were immense and there was very little room for error for Muschietti and company. What stood out to me was how much of Stephen King’s vision the director was able to get on the screen. Yes, plot points were changed, scares were either combined or replaced and character roles were altered, but the essence of the story was left intact throughout the film. It did not focus solely on Pennywise (interpreted and played beautifully by Bill Skarsgard), but instead followed our Loser’s Club as they each dealt with the Clown and the demons in their personal lives. It was a film that reminded us all about how important those early friendships were, and helped us all to remember those that helped us fight the Dancing Clowns in our own lives.

#1– Get Out

Written and Directed By: Jordan Peele Starring: Daniel Kaluuya, Allison Williams, Bradley Whitford

Fiend Score- 86

It may have been my favorite, but Get Out was the most important horror film of 2017. Jordan Peele delivered, in his directorial debut, a tightly-wound thriller that not only delivered the scares, but also started important conversations about race relations in the United States. The film featured a standout performance by Daniel Kaluuya and grossed a very impressive $254 Million at the box office.

The most effective parts of Get Out happened before we even knew what was going on in the film. We obviously knew that something was amiss with the Armitage family, we just weren’t sure what it was yet. It has been years since I have felt as uncomfortable as I did during the outdoor party scene, and it was my favorite horror moment of 2017. The interactions between the older guests and Kaluuya’s Chris were dripping with subtle racism, whether it was how they changed the way they spoke in front of him or the need for one of the guests to mention Tiger Woods. These interactions can be brushed off as out-of-touch old folks just being uncomfortable, but then the bidding begins.

It will go down as an iconic moment in horror history and we are all lucky to have been able to experience it. Get Out is not only the film with the highest Fiend Score of 2017, but it has an extraordinary effect on everyone that watches it. It forces us to look inside ourselves and assess how we treat the people of color in our lives. The comfort bubble that sometimes surrounds us was burst open and we were able to see how our behavior effects people different from ourselves. This is a rare thing in horror, and I hope that more films moving forward are able to comment on social injustice as well as Get Out.

HONORABLE MENTIONS:

Both Annabelle: Creation and Happy Death Day were close to cracking the top three films of the year. They finished with Fiend Scores of 68 and 67, respectively. I feel like both films are still required viewing, however, especially the scarecrow scenes in Annabelle.

It Comes at Night sported the second-highest Tomatometer Score of the year, but it was also the recipient of the Newly-Created-By-Me “Garbage Day” Award for the film with the largest disconnect between the critic and audience ratings. The Tomatometer score for the film was 88%, but the audience score dropped down to 43%, a difference of 45%! This is less an indictment of the film itself and more of a failing grade to the studio for marketing it as something it was not. Apparently nobody at A24 learned from their marketing mistakes with 2016’s The Witch.

Join the Discussion:

Let’s start a constructive conversation! What do you think about 2017 being the third Greatest Year in Horror Film History? Is it too high? Too low? Which years do you think will rank above it? Join our official Facebook Group and let us know! Stay tuned to Nightmare on Film Street and we will be posting the top-two years over the next two weeks.

#2017 #2017 horror #Andy Muschietti #annabelle creation #film history #get out #greatest year in horror movie history #happy death day #horror #horror film history #horror lists #it #it comes at night #Jordan Peele #m night shyamalan #split #the visit

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letterboxd · 3 years ago

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Poker Face.

Tiffany Haddish tells Gemma Gracewood about taking a holiday from comedy in Paul Schrader’s The Card Counter, her hotel comfort viewing, and why Oscar Isaac thinks of her as Jesus.

“When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working.” —Tiffany Haddish

Comedians taking on dramatic roles is not an innovation in cinema, but it’s which comedian, in which role, that makes a casting choice a talking point. Melissa McCarthy in Can You Ever Forgive Me? Mo’Nique in Precious. Peter Sellers in Being There. Robin Williams in everything.

In The Card Counter, Paul Schrader’s meditative slow-burn on American shame, part of the tension as a viewer lies in what we already appreciate about Tiffany Haddish as a performer. She is an unbridled crack-up, a live wire on screen and off, a former foster kid committed to busting unsustainable Hollywood beauty myths by wearing the same dress throughout an awards season. Her physical comedy is electric, even when it’s a simple raise of an eyebrow.

The wildest thing about La Linda—a gamblers’ agent working the mid-level casino circuit, who spies, in Oscar Isaac’s William (Bill) Tell, a potential new thoroughbred for her stable of card counters—is the way her drinks order changes from hotel bar to hotel bar. “I came in there with my comedy ways and it sucked,” Haddish laughs, disarmingly honest about her leap from the hi-jinks her fans know her for, to her dramatic role in Schrader's new film. “Paul was hard on me at first,” she recalls. “He had to reel me in, make adjustments, strip all this stuff off, all my tools, leave me with these instruments I barely ever use.”

Oscar Isaac and Tiffany Haddish in a scene from ‘The Card Counter’.

There’s an enduring myth that drama is tougher to pull off than comedy, something Haddish’s friend Morris Chestnut corrected her on a few years back. “He’s like, ‘No, what you do, that’s hard work. You are actually overworking yourself, doing these comedies.’ And I’m like, ‘He don’t know what he’s talking about.’ Then I actually did a drama. And I was like, ‘Oh, that was so easy. Oh, that was beautiful.’ It’s way easier. It’s way easier.”

What La Linda doesn’t know, but any casual observer of Schrader’s work will, is that Isaac’s Bill has a past, and that his methodical attempts to keep his guilt in check through a supremely minimal lifestyle, perhaps even to allow himself a spark of pleasure—redemption, even—are about to come unwound.

Before that, though, there’s time for La Linda, Bill and Cirk (Tye Sheridan)—the son of one of Bill’s former, shall we say, colleagues—to become an odd little chosen-family unit as they travel the circuit. Bill and La Linda cook up a nice heat while killing time in cocktail lounges, and her casual business charisma is a charming offset to the deeper themes at play. Writing fresh from a Venice Film Festival viewing, Rahul notes “you keep expecting Haddish to break out of the understated style and that tension works.” Andy agrees: “Her simple outlook on life and lack of existentialism offer a nice contrast to Tell’s brooding sorrow. Plus, La Linda is just a great character name.”

Haddish understood the pull between Bill and La Linda, and La Linda’s desire to probe into his mysterious monotony, in a very specific way: “As a standup comedian, I work with a lot of men that—they’re very talented, they’re doing big things when they’re on stage—but then when they come off the stage you’re like, ‘Who are you? Why are you so dark? Who hurt you? What’s going on?’ I can relate to that in so many ways.”

Still, of all the dramatic writer-directors to work with in America, why Schrader? What was it about his specific brand of lonely-white-man stories that appealed? “Cat People. It’s my jam,” declares Haddish, of Schrader’s 1982 erotic horror reimagining of the 1942 classic (and one of his few films with a female lead, played by Natassja Kinski). “I love that movie. It had some weird, twisted shit in it.” She has been campaigning Schrader to mount a sequel, so that she can have a crack at playing a sexy, predatory jungle cat. “I try to bring it up to him all the time. And he’s like, ‘Tiffany, we’re not doing it. No.’”

Natassja Kinski in Paul Schrader’s 1982 remake of ‘Cat People’.

Haddish imagines that Cat People would certainly be on La Linda’s list of hotel-room comfort watches, along with Shaft and Goodfellas. Haddish, on the other hand, prefers to kick back with series television when she is on the road. “I watch old sitcoms like Martin or, like, The Facts of Life. I love a good cartoon, especially the throwback ones on Boomerang. I really like the old school, like ThunderCats. That’s a good wind down for me.”

Filming days are long, making the minutes can be stressful, and Covid safety protocols add layers of complexity to the job. There are performers who are cast not only for what they bring to their roles, but also for the energy they bring to set. Haddish has an undeniable magnetism, so it is unsurprising to read her co-star Isaac, in The Card Counter’s production notes, describe her as being “like Jesus”, in that people would drop everything and follow her. She enjoys this comparison, revealing that she has always wanted to be an AD, the crew member with, traditionally, the greatest people skills. “I always wanted to be assistant director just so I can be like, ‘All right, picture’s up, guys.’ And just so I can know everybody and be cool with everybody.”

But as a performer with clout, what is her intention when she—Tiffany Haddish, famous actress™—walks onto a soundstage? Haddish’s answer is a generous primer on how to be a good sort on set (or, indeed, in any working environment). “When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working,” she explains. “I’m going to work with them again in something else, and I want to have a pleasant experience with the crew. The DP, the gaffers, all these people, we all work together as a unit, so I think it’s super important.”

Paul Schrader, Oscar Isaac and crew on the set of ‘The Card Counter’.

Certain crew members, she admits, “are imperative to making me look good”, but more than that, her approach is grounded in her own physical and emotional safety in an often volatile and unpredictable creative environment. “I see how some actors won’t talk to any crew members at all, and I feel like that’s not okay because these people are busting their ass to make you look great, and they are part of telling this story too. They might not be hanging off the side of the building like you are, but they are making sure that the camera’s operating correctly, so you don’t have to shoot it five hundred times.

“These people keep me alive. They keep me going and they can tell when I’m in a bad space. They’re like, ‘Here’s a Snickers.’ If I’m working with an actor who might be treating me not the best, they’re coming over, they’re giving encouraging words, ‘You’re going to be okay.’ We’re a team. I even talk to the editor. They’re like, ‘Picture’s up, sound’s rolling, and speed.’ And I’d be like [staring down the camera lens], ‘What’s up editor? Hey, it’s your girl Tiffany Haddish. Just a little note: I’m thinking about you. Now, if you could just make sure this lazy eye is this way… I know you’re in that room by yourself, but look out for your girl.” Sometimes, Haddish will even throw a bone to the studio executives. “I know they’re watching the dailies,” she laughs.

Her investment in the welfare of her film families is paying off in unexpected turns such as The Card Counter, with more to come. Up next, a trio of unusual comedies: Jerrod Carmichael’s existential buddy farce On the Count of Three, which was picked up by Annapurna out of Sundance this year; Cory Finley’s surrealistic sci-fi romp Landscape with Invisible Hand; and the intriguing Nicolas Cage vehicle, The Unbearable Weight of Massive Talent.