#ellenwong

[etcemais]

A Netflix liberou um novo trailer de Scott Pigrim: A Série.

O trailer conta com uma belíssima e marcante animação, que traduz perfeitamente o longa de Edgar Wright, já o cineasta é um dos produtores executivos da série.

O elenco conta com Michael Cera como Scott Pilgrim, Mary Elizabeth Winstead como Ramona Flowers, Ellen Wong como Knives Chau, Alison Pill como Kim Pine, Johnny Simmons como Young Neil, Brie Larson como Envy Adams, Chris Evans como Lucas Lee, Satya Bhabha como Matthew Patel, Kieran Culkin como Wallace Wells, Brandon Routh como Todd Ingram, Aubrey Plaza como Julie Powers, Jason Schwartzman como Gideon Graves, Mark Webber como Stephen Stills, Anna Kendrick como Stacey Pilgrim e Mae Whitman como Roxy Richter.

Autor dos quadrinhos, Bryan Lee O'Malley, atuará na série como showrunner ao lado de Ben David Grabinski. A série ainda terá canções inéditas da banda Anamanaguchi.

Scott Pilgrim: A Série estreia na Netflix no dia 17 de novembro.

[stevesauve2007]

Watching the 2016 #horrorfilm #thevoid starring #aaronpoole #kathleenmunroe #ellenwong https://www.instagram.com/p/Cpimv_3gu0M/?igshid=NGJjMDIxMWI=

[geekynerfherder]

#ScottPilgrimVsTheWorld, first released in cinemas #OnThisDay in 2010⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ #TitleScreen #OTD #ScottPilgrim #EdgarWright #MichaelCera #MaryElizabethWinstead #KieranCulkin #ChrisEvans #AnnaKendrick #BrieLarson #AlisonPill #BrandonRouth #JasonSchwartzman #AubreyPlaza #EllenWong https://www.instagram.com/p/CSe9DRlnn-5/?utm_medium=tumblr

[beadsofparadisenyc]

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Power up and also zen out, Knives, with some gemstone beaded jewelry you can design yourself, and crystals with which you can surround yourself! #kniveschau #scottpilgrimvstheworld #scottpilgrimedit #kniveschauedit #ellenwong #amazing #customjewelry #diyjewelry #jewelrydesign #healingcrystals #zen #zenout #peaceful #happyplace #shop #nyc #unionsquare #beadsofparadise (at Beads of Paradise NYC) https://www.instagram.com/p/B9ms__zBnAh/?igshid=wwibgz5td8ag

[doomonfilm]

Favorites : Scott Pilgrim vs. the World (2010)

When my group of friends and I came out of or opening day viewing of Scott Pilgrim vs. the World, my friend Erin made a statement that I will always associate with this film : ‘If I talk to someone, and they didn’t like this movie, I’m not sure we can be friends.’  I wholly agree with this statement, because this movie stands head and shoulders above all others in terms of films that check my boxes.

Scott Pilgrim (Michael Cera), the 22-year old bassist of Toronto-based garage band Sex Bob-Omb, finds himself the center of judgement within his band and social circle after announcing that he is dating Knives Chau (Ellen Wong), a 17-year old high school student.  Much to Scott’s chagrin, he is continuously questioned and accosted by bandmates Stephen Stills (Mark Webber) and Kim Pine (Alison Pill), his sister Stacey (Anna Kendrick), his roommate Wallace (Kieran Culkin), and most everyone else in his life.  As Scott navigates dating with Knives, and all of the fallout that comes with it, Scott finds himself suddenly smitten with Ramona Flowers (Mary Elizabeth Winstead), an American living in Toronto and working as a delivery girl.  Scott, in the messiest of ways possible, unceremoniously dumps Knives and begins feverishly chasing after Ramona, eventually winning her over.  Unbeknownst to Scott, however, Ramona’s love comes at a price : he must defeat Ramona’s seven evil exes.  With his heart on the line and his life at stake, Scott embarks on an adventure that will alter him forever.

Edgar Wright already had the TV series Spaced under his belt, as well as two-thirds of the Cornetto triliogy, under his belt, but Scott Pilgrim was Wright operating on maximum levels of cool (or, at least the maximum levels known prior to Baby Driver).  If you’re in or around your 40s and have ever loved rock and roll (or music in general), comic books, video games or fashion, then this film is a feast for the senses.  The story is basic enough upon first glance, but the very basic love triangle premise is quickly turned into the structure of a side-scrolling action video game, where each evil ex is like a gradually increasingly difficult boss fight.  Add to this the infinite amount of texture created by the previously mentioned references to properties like X-Men, The Legend of Zelda, Dr. Who, Street Fighter, and many many more, and you’re dealing with a true feast for the senses.

More so than many other films based on graphic novels, Edgar Wright manages to find a beautiful balance between his unique film presentation and a style that mimics a living comic book, complete with frames, captions and onomatopoeia-style text.  Narratively, watching the progression of taste that Ramona went through in the form of her seven evil exes provides loads of subtext, adding to the pleasure of repeat viewings.  The banter between the different groups in the film (Knives and Scott, Ramona and Scott, Wallace’s house, and Sex-Bob Omb, not to mention the different parties and social gatherings) is also loaded to the brim with jokes and references, making listening to this film on repeat viewings equally as rewarding as the rewatches are.

The opening credit sequence of Scott Pilgrim vs. the World may be my favorite set of opening credits ever, simply because of how arresting they are upon the first view, and how revealing they are upon repeat viewings.  The editing finds amazing ways to not only provide exposition, but move time forward and cover tons of Toronto ground with expressive and creative cuts.  Beck, Dan the Automator and Metric are all given enough tribute to be vaguely familiar, but their work is allowed room to be shaped and shifted in order to fit the talent level of the actors portraying those performing their work.  The combat scenes are not only dynamically choreographed, they are enhanced by the use of old school practical film techniques (such as wire work and the dust effect found in kung fu films) mixed with special effects and digital touches.

Michael Cera somehow manages to be absolutely perfect for the role while avoiding all of the obvious trappings, giving a range of innocence and attitude that makes his toxicity present, but a gradual and subtle revelation.  Mary Elizabeth Winstead handles her opposite arc quite gracefully, as if inwardly searching for redemption while putting up a wall of wildness around her.  Kieran Culkin is the comedic heart of the film, as well as one of the few voices of reason to be found in the film, and his antics could be their own separate film.  Ellen Wong is delightful as Knives, transforming from sweet innocence to mature bad-assery as the focus of the film shifts away from her.  Anna Kendrick feels slightly separated from the rest of the cast, but manages to bring a boost in spirit when she appears.  Mark Webber and Alison Pill help balance out Scott’s range of personality with their frantic and blunt (respectively) natures, while Johnny Simmons quietly became a fan favorite with his quirkiness and occasional hilarious outbursts.  Aubrey Plaza was given what seems to be a green light to embrace all the wonderfully hilarious parts of her personality, and her performance made me a fan for life.

The seven evil exes definitely deserve their own examination.  Satya Bhabha takes a ridiculous role on paper and makes it endearing in its strangeness.  Chris Evans gives us a slight of art imitating life, as his star was definitely on the rise in real life at the time, and his presence feels bigger than life in the film.  By comparison, Brandon Routh is given the chance to subtly be a hipster Superman with a hilariously poor attitude, with Brie Larson’s aggressive pride and cockiness playing the perfect counterpart.  Mae Whitman plays very well against type, being one of the more aggressive of the evil exes in her speech as well as her actions.  Shota and Keita Saito are more or less given the eye-candy role, but their twin nature pops in their brief appearance due to Wright’s presentation.  Jason Schwartzman gets to play a bit broader than usual, and the joy he seemingly finds in this is evident on the screen.

I try not to throw hyperbolic words like ‘perfect’ around when it comes to film, but in all honesty, this may be the closest thing to a perfect film I’ve ever seen.  I’ve yet to have a viewing of this film, be it a direct sit down or having it on in the background, that hasn’t managed to bring me the same joy and excitement as the first time I viewed it.  For that, it does not matter if this film is perfect or not, simply because it’s a completely pleasure of an experience.

[kedisrkive]

one-sided love

[mrr080t0]

Silent Night (2012). First time watch of this cheesy over the top slasher. #MrR080T0watches2020 #SilentNight #malcolmmcdowell #JaimeKing #EllenWong #christmashorror #christmasslasher #horror #horrormovies #horrormovie #cultflick #cultflicks #cultmovie #cultmovies #cultfilms #cultfilm https://www.instagram.com/p/CJFeM-fp78L/?igshid=q9bmxwpza7et

[lyrasky]

和訳【Summertime】Sex Bob-Omb(Scott Pilgrim vs.the World)解説 生きてイケ! Strut & Strum!

和訳【Summertime】Sex Bob-Omb(Scott Pilgrim vs.the World)解説生きてイケ!Strut &Strum! LyraのBlogへ #summertime #sexbobomb #thescottpilgrimvstheworld #soundtrack #scottpilgrim #michaelcera #markwebber #alisonpill #ellenwong #johnnysimmons #beck #edgarwright #bryanomalley

大好き映画の”The Scott Pilgrim VS. The World” (スコット・ピルグリムVS. 邪悪な元カレ軍団) 。

バカでどうしようもない青春Rock ムービーなのだが、LyraにはキュンキャンMovieなのであ〜る。

好きな女の子を自分の彼女にするために、ヘロヘロ自己中男子が、戦うってのがまず心躍る。

そして、それ以上にサウンドトラックが、めちゃ良いのだ。

最近、忙しい上にプライベートな事で問題起きるわ、私生活でのストーカー問題出たわ、ブログ運営で「はあ？」て問題が出て来て落ちつかねー！

落ちつかせてよー。

もうゆっくりしたいわっ。

ってことで、このムシャクシャ＆モヤモヤな気持ちをぶっ潰すには、この曲でイクゥ〜！

(more…)

[cultfaction]

#ellenwong https://www.instagram.com/p/B6rPE55Fa5U/?igshid=cwun03kawd7

[kingtodd-92]

The ending to "Scott Pilgrim VS The World". One of my fav endings to one of my fav movies. Until recently... I hadn't realized how kinda sad this is. But also nice. #scottpilgrimvstheworld #RamonaFlowers #ScottPilgrim #KnivesChau #film #movies #MichaelCera #EllenWong #MaryElizabethWinstead #Ramona https://www.instagram.com/p/BvpRcU5FiSW/?utm_source=ig_tumblr_share&igshid=g9wljmg0a0gq

[tineyho]

IT ME 😆 #Glow #kniveschau #sewing #cosplay #ellenwong #netflix

[etcemais]

A Netflix finalmente liberou o teaser de Scott Pigrim Takes Off, nova série de animação que é continuação da trama do filme Scott Pilgrim Contra o Mundo de 2010.

No teaser ainda não ficamos sabendo muitos detalhes sobre a produção, mas é possível vermos que a produção conta com uma belíssima e marcante animação, que traduz perfeitamente o longa de Edgar Wright, já o cineasta é um dos produtores executivos da série.

O elenco conta com Michael Cera como Scott Pilgrim, Mary Elizabeth Winstead como Ramona Flowers, Ellen Wong como Knives Chau, Alison Pill como Kim Pine, Johnny Simmons como Young Neil, Brie Larson como Envy Adams, Chris Evans como Lucas Lee, Satya Bhabha como Matthew Patel, Kieran Culkin como Wallace Wells, Brandon Routh como Todd Ingram, Aubrey Plaza como Julie Powers, Jason Schwartzman como Gideon Graves, Mark Webber como Stephen Stills, Anna Kendrick como Stacey Pilgrim e Mae Whitman como Roxy Richter.

Autor dos quadrinhos, Bryan Lee O'Malley, atuará na série como showrunner ao lado de Ben David Grabinski. A série ainda terá canções inéditas da banda Anamanaguchi.

Scott Pilgrim Takes Off estreia na Netflix no dia 17 de novembro.

[graphicarchitectureporn]

_SUBMISSION_

Homonym Typology 

Ellen Wong

[iliabold]

January 13 Famous BirthDays Celebrities 1961 Julia Louis-Dreyfus #JuliaLouisDreyfus 1961 Hanne Jacobsen #HanneJacobsen 1964 Penelope Ann Miller #PenelopeAnnMiller 1964 Артур Ваха #АртурВаха 1966 Patrick Dempsey #PatrickDempsey 1966 Ирина Апексимова #ИринаАпексимова 1967 Suzanne Cryer #SuzanneCryer 1972 Nicole Eggert #NicoleEggert 1976 Michael Peña #MichaelPeña 1977 Orlando Bloom #OrlandoBloom 1979 Jill Wagner #JillWagner 1982 Ruth Wilson #RuthWilson 1983 Julian Morris #JulianMorris 1985 Ellen Wong #EllenWong 1986 Josefine Preuß #JosefinePreuß 1988 Milos Bikovic #MilosBikovic 1989 Александр Головин #АлександрГоловин 1990 Liam Hemsworth #LiamHemsworth 1997 Natalia Dyer #NataliaDyer https://youtu.be/qcAha67VbAI #13января #January13 #celebrities

[ajwoodson]

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#GLOW ... Gorgeous Ladies of Wrestling! #Netflix #AlisonBrie #BettyGilpin #MarcMaron #ChrisLowell #KateNash #KiaStevens #BritneyYoung #SydelleNoel #JackieTohn #GayleRankin #BrittBaron #SunitaMani #EllenWong #KimmyGatewood #RebekkaJohnson #MariannaPalka #ShakiraBarrera #BashirSalahuddi #VictorQuinaz #RichSommer (at Springfield, Illinois) https://www.instagram.com/p/BzfPNsFgBpe/?igshid=wrz2lajfma4

[doomonfilm]

Thoughts : The Void (2016)

October is here, and any film blogger worth their salt has already done a deep dive into the world of horror.  As a movie love who is only recently rediscovering their love for the genre, it’s been nice to have an excuse to go back and check out a few films that slipped past my radar due to me being a bit of a sissy.  One of those films that always looked like it was going to give me the heebie jeebies was the retro-style horror and psychological thriller The Void. 

At an isolated farmhouse on the edge of the woods, James (Evan Stern) barely escapes from Vincent (Daniel Fathers) and Simon (Mik Byskov), leaving a young woman behind in the process that Vincent shoots before he and Simon burn her alive.  A few moments later, James is picked up off the road by Deputy Daniel Carter (Aaron Poole) and taken to a local hospital, barely operational and mostly abandoned in the wake of a fire.  The skeleton crew at the hospital includes Dr. Richard Powell (Kenneth Welsh); nurses Beverly (Stephanie Belding) and Alison Fraser (Kathleen Munroe), Carter’s estranged wife; intern Kim (Ellen Wong); and grandfather Ben (James Millington), his pregnant granddaughter Maggie (Grace Munro), and patient Cliff (Matt Kennedy).  Carter, barely holding on in his role of authority figure, is shaken when he walks in on Beverly in the midst of stabbing Cliff in the eyes shortly after disfiguring herself.  In self-defense, Carter shoots her, just as State Trooper Mitchell (Art Hindle) arrives, who attempts to take control of the situation.  In rapid succession, however, Beverly emerges as a monster, Carter is attacked by a strange sect of hooded figures who gather outside of the hospital, and James is discovered in the hospital by Vincent and Simon.  As issues arise and tensions escalate, James kills Dr. Powell, throwing the group in disarray.  As individuals attempt to make sense of the growing madness, the actions grow increasingly strange, and the people trapped in the hospital are forced to take drastic actions in an attempt to survive what they cannot comprehend.

The idea of having your protagonist portrayed by a broken man with an unwillingness to do his job, due to fear or whatever reason, in tandem with placing him in a situation where he must depend on a wife he has lost connection with, creates a tension that is present outside of the protagonist/antagonist realm that is very effective.  On the antagonist side, no less than 4 different characters or character sets are presented as possible antagonists, and none are really given much in terms of intention until the final third of the film.  These supposed antagonists are placed in that role solely off of their intimidating or questionable natures, which works well in the mystery format we are presented with.  Just like any good mystery that involves a body count, we as an audience find ourselves rooting for and against certain characters, which makes this film’s ‘survivor’ choices quite interesting in retrospect.

Where this film really works, however, is in the aspects of location and obstacles to overcome.  The setting of an abandoned, partially burned hospital surrounded by cult members that just so happens to be a possible portal to a hellish dimension works ridiculously well in terms of both tone and tension, and that’s just the outer layer.  Narratively, the film just keeps throwing problems at the characters, sometimes one right in the middle of another, with such a wide range of aspects included that it is mentally jarring.  Dealing with a hostage situation is stressful enough, but when the nurse you just shot because she was acting like a possessed psycho becomes a literal monster in the middle of that, all bets are off.  Both the characters’ and the audiences’ depths of madness and ability to comprehend it all are pushed to an absolute limit.

The choice to do old school, practical effects in The Void was an inspired one.  Everything from the gore and violence to the monster effects, and even the strange visions that Deputy Carter undergoes, all seem to have been done practically, making them feel tangible within the world that the characters inhabit.  Visually, everything is given a saturated, aged look, making this film feel like an overlooked 1980′s gem.  The entire proceedings were certainly inspired by John Carpenter, with the movie feeling like a weird mixture of several influences... think House of Leaves meets Event Horizon, with a blend of The Thing and The Mist forced into the middle of it all.  The score is powerful in the way that it adds to the overall experience, never really making itself noticeable until key moments, where it then emerges similar to the monstrous creatures that emerge in the film.

Aaron Poole does a great job of embracing his shook nature initially, coming off like a slightly more serious version of the Super Troopers, before circumstances force him to act heroically.  Daniel Fathers and Mik Byskov work well in tandem, with Father’s intensity driving the actions of both to the point that Mik is able to make the tough choices near the film’s conclusion.  Kathleen Munroe is miraculously unbothered by all of the craziness that surrounds her, with her laser-like focus being locked in on her patients to the point that she doesn’t even realize when it’s too late for her.  Kenneth Welsh purposefully plays a bit withdrawn in order for his eventual emergence to have greater impact.  Ellen Wong brings a subtle bit of comedy, and is a huge beacon for the audience to connect with in terms of her skill set versus the situational stakes involved.  Grace Munro and James Millington originally come on as characters the audience can pity, with Munro’s eventual turn playing well even though you see it coming.  Evan Stern radiates his fear perfectly, to the point you are never quite sure if you can trust him.  Appearances by Art Hindle, Stephanie Belding and Matt Kennedy help ramp up the tension and uneasiness.

I enjoyed this movie so much more than I thought I would, mostly because I assumed this move was going to shock me into submission.  Instead, it gave me quite a bit to think about in the wake of the film’s conclusion, and quite a lot to enjoy and re-examine upon repeat viewings.  What are some of your favorite horror films?  Leave a comment below, or do an ‘Ask Me Anything’, and let me know what you’d like to see me write on.