#film critic

[yourdailyqueer]

Sergei Eisenstein (deceased)

Gender: Male

Sexuality: Asexual / Bisexual

DOB: 22 January 1898

RIP: 2 February 1946

Ethnicity: Ashkenazi Jewish, White - Swedish

Nationality: Latvian

Occupation: Director, screenwriter, editor, film theorist

Note: He was a pioneer in the theory and practice of montage

[u-n-c-o-m-m-o-n]

The Substance (2024) Directed by Coralie Fargeat.

[gamerdog1]

Awards season is coming, and I wanna hear from you guys, what you think should win. Honestly, I had no idea The Boy and the Heron would win last year, so maybe something unexpected will take the crown this time too!

Make sure to follow me if you like stuff about film, cartoons, anime, and gaming!

[citizenscreen]

‘Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them.’

- Pauline Kael (June 19, 1919 – September 3, 2001)

[anarchistfrogposting]

The level of media comprehension of Oppenheimer is so ridiculously terrible.

[daygabs]

Scarecrow Video in Seattle is a non profit and the LARGEST public depository of physical media in the WORLD.

They need your help! As a non profit most of their operating costs come from people’s donations. And guys, this place is dying. If you care at all about the preservation of physical media, any support would be appreciated. It's a very special place that deserves to be preserved.

https://scarecrow.app.neoncrm.com/forms/donatepnw

[iftadwascool]

[the-celluloid-correspondent]

Shōgun: A Historical Masterpiece.

Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.

Based upon the acclaimed novel, Shōgun is a historical retelling of Lord Tokugawa Ieyasu's (Yoshi Toranaga) establishing the Tokugawa Shōgunate in early 17th Century Japan from the point of view of an English Pilot named, William Adams (John Blackthorn)Premiering on the small screen in 1980, the series received mass critical acclaim and earned an Emmy for Outstanding Limited Series. Four decades later, it returns, breathing new life into the television with its unparalleled storytelling. Breaking away from the mediocrity that often plagues the streaming industry, Shōgun stands as a monumental historical epic of a real-life struggle over the throne for Japan. 

Shōgun unfolds like a meticulously played game of Shogi, where every move, character, and line of dialogue is infused with purpose and significance. This captivating narrative takes viewers on a journey through a power struggle that shapes feudal Japan, weaving together political intrigue and human drama in a rich tapestry of storytelling. From the intricacies of Japanese society to the cunning maneuvers of rival warlords, Shōgun immerses audiences in a world where every scene serves a distinct purpose. Each twist and turn of the plot is carefully crafted, drawing viewers deeper into the heart of the conflict and revealing the complex web of alliances and betrayals that define the era. The dialogue and monologues in Shōgun are masterfully written, brimming with both context and subtext that add layers of depth to the narrative. Like beautiful lines of poetry, they flow seamlessly together, driving the story forward with precision and purpose. At its core, Shōgun captures the essence of one of the most pivotal moments in Japanese history, offering a compelling exploration of power, ambition, and the human spirit. As viewers are drawn into this world of political conspiracy and personal sacrifice, they are treated to a mesmerizing blend of drama, suspense, and historical authenticity that commands the screen from start to finish. 

Shōgun derives its true essence from its characters, each intricately woven with layers of complexity and depth, enriching the overarching drama. Among them, Cosmo Jarvis's portrayal of John Blackthorn emerges as a standout performance, deftly navigating the challenges of embodying a character whose natural loudness and clumsiness contrast sharply with the subtleties of his Japanese counterparts. While some may initially interpret Blackthorn's demeanor as a flaw in the performance, Jarvis's deliberate portrayal serves a greater purpose—to underscore the cultural abyss between him and the people of Japan. Through his portrayal, Jarvis adeptly captures the profound culture shock experienced by his character, allowing viewers to witness a compelling transformation from a brash and ambitious Englishman to a man deeply immersed in Japanese customs. It is in these quieter moments that Jarvis truly shines, infusing his character with depth and nuance.

Similarly, Anna Sawai's portrayal of Toda Mariko exemplifies the art of subtle acting. With a mere glance, Sawai effortlessly conveys a myriad of emotions, her thousand-yard stare speaking volumes about her character's inner turmoil and quiet resilience. Her performance is a testament to the power of restraint, as she deftly navigates Mariko's journey of suffering and hope, her emotions simmering beneath the surface until they erupt with raw intensity. Even in moments of despair, Sawai's portrayal radiates a glimmer of hope, underscoring the resilience of the human spirit.

The ensemble cast of "Shōgun" shines brilliantly, each member delivering performances that leave a lasting impact. From the charismatically charming yet brutal portrayal of Tadanobu Asano as Yabushige to the scheming and cunning rendition of Fumi Nikaido as Ruri, every actor breathes life into their character with skill and precision. Moeka Hoshi's portrayal of the broken yet resilient Fuji, and Takehiro Hira's power-hungry depiction of Ishido, further solidify the ensemble's strength, while Tokuma Nishioka's powerful and wise portrayal of Hiromatsu adds depth to the narrative.

However, it is Hiroyuki Sanada's performance as Yoshii Toranaga that truly stands out, marking a triumphant moment in his career. Despite being typecast and overlooked by Hollywood for years, Sanada seizes the opportunity to showcase his talents as both an actor and a producer in Shōgun. In his portrayal of the powerful and intimidating Toranaga, Sanada commands the screen with a commanding presence, embodying his character's intellect, ambition, and prowess with aplomb. What sets Sanada's performance apart is his ability to infuse Toranaga with an unpredictable nature, keeping viewers on the edge of their seats as they anticipate his next move. With each moment on screen, Sanada captivates audiences with his depth and nuance, delivering what can only be described as his finest performance to date. Finally given a role where he can truly shine, Sanada proves himself to be a force to be reckoned with, cementing his status as one of the industry's most talented actors.

Every aspect of this series is a visual feast. The cinematography is nothing short of breathtaking, capturing the stunning landscapes and rich cultural tapestry of Feudal Japan with remarkable skill. From the intricate costumes to the meticulously crafted production design, every detail is thoughtfully considered, drawing viewers deeper into the immersive world of Shōgun.

But Shōgun is more than just television—it's an immersive journey into one of the most pivotal moments in Japanese history. With its masterful storytelling and captivating characters, the series transcends the screen, offering viewers a profound exploration of the human experience against the backdrop of historical upheaval. In a landscape dominated by formulaic narratives, Shōgun stands as a shining example of the power of the historical epic, reminding us of the importance of stories that not only entertain but also enlighten and inspire.

My Rating: A

[illustrioussanguine]

PSINK_FILM_1: Session 9

Watched it last night (December 19), drew the review this morning (the 20th)

Apologies to @gd-rd-me-of-gd for suggesting this for a movie night.

[miscellaneousjay]

“I THINK THEY WENT AND CLOOOONNNEEEDDD TYROOOONNNNNEEEEE! CLOOOONNNEEDDD HIM!”🎶 When I tell y’all this movie had me like 😳😬😭🤣😭, I MEAN it, okay?! Like, Slick Charles, Fontaine, and Yo-Yo had me rolling THE ENTIRE TIME! But also, on a deeper level, I like how the fate of the Black community was left on those who everyone would’ve counted out and/or deemed problematic: the pimp, the drug-dealer, and the sex worker. Most of the time, depending on the lens, these people are deemed community miscreants and are heavily side-eyed. However, no one ever takes into account these people’s lives; the people and events that make up their everyday experiences in order for them to have ended up where they are in their lives and in society. They weren’t dealt the best of life’s cards and they were making due like everyone else in their community. It wasn’t until Fontaine seemingly came back from the dead that they knew more sinister-than-usual things were at work. If you enjoyed Jordan Peele’s “Get Out,” you will definitely enjoy “They Cloned Tyrone”!

P.S. I really loved how the time setting was 1970s x early 2000s! The costume department did their thing and I want me-sized replicas of Slick Charles’ coat and Yo-Yo’s entire outfit in this scene!

[kjudgemental]

Tonight live on YouTube, talking female horror directors. What's your favourite horror film helmed by a woman? Best female director working today? All live at 8pm GMT/2pm Central on October 23rd 2024. Be there or be scared.

[yourdailyqueer]

Michael Dwyer (deceased)

Gender: Male

Sexuality: Gay

DOB: 2 May 1951  

RIP: 1 January 2010

Ethnicity: White - Irish

Occupation: Journalist, film critic

[menagerievideo]

[gamerdog1]

Deadpool and Wolverine Review

If third time's the charm, Deadpool is the whole goddamn bracelet. I kinda grew up alongside the Deadpool movies. I saw the first one at overnight camp at 16, then saw the second in theaters at 18. Now, at 23, I feel like I've grown as a person, which means I can actually articulate how I feel about these films (though specifically, the newest one). I guess that whole 'wisdom comes with age' thing was right after all.

For starters, Ryan Reynolds absolutely kills it. I know the phrase 'born to play this character' is thrown around a lot, but it really fits here with him. Reynolds once again is a delight as Deadpool, with all his usual snark, pizazz, and heartfelt moments. He's always on point, either with a quick jab at another character, comical reactions, or his character's usual fourth-wall breaks.

He isn't always all happy-go lucky, though. The film, like the previous 2, has a story beyond gratuitous violence, one that centers on Wade Wilson's sense of inadequacy in comparison to other famous heroes. We see how his life has changed since the previous film (go watch that before this, it will not make sense otherwise), both for better and for worse, and watch him continue to grow as a person in a satisfying way. That, I believe, is what separates these movies from other ultra-violent movies of its type: that there is an emotionally-driven story, and it remains important beyond getting characters from setpiece to setpiece.

Though, that's not to say that this is some deep philosophical mediation on the character. Fear not, there's still as much, if not more, violent fight scenes and action here like the previous movies. After all, what would a Deadpool movie be without a few dozen (read: thousand) bad guys to kill, in creative and gorey ways? This film ups the ante, by giving more interesting fight scenes that revolve around different set ups (tower defense, 1v1 in a car, etc) to keep everything visually fresh.

There's never a dull moment in this film. Heart-to-hearts are full of little sneaky one-liners that take a minute to register. Tension between the two leads is thick enough to see, let alone cut with a knife. And all the while, the film keeps bringing in new reveals, fully using the 20th Century Fox backlog of C-listers to call back to this franchise's history, and keep them from fully being forgotten. Add that, with an army of multiverse Deadpools, and you've got yourself a film that even non-comic book nerds like me gush over.

Above all this, beyond the not-quite-irritating-like-most use of the multiverse, or the hundreds of liters of CGI blood shed, this movie did something so profound, I'm still reeling. It made me love Wolverine.

Growing up, Logan always felt like a gross old man type of character. The kind who pressures you to drink at a young age, and owns at least 20 guns that he refuses to part with. Any portrayal of his animal-ness always felt like lip service. But here... its like I've met him for the first time, and now I'm obsessed.

Hugh Jackman has practically been playing this character since I was born, but only here do I really feel like we get to meet Wolverine in full. No longer is he that hunched-over, stoic gruff weirdo that X-Men have around, now he's a deeply emotional character with valid reasoning behind it, and strong motivations. We are finally in an era where tough guy characters are being done justice and allowed to have emotions, and it is glorious.

X-Men Apocalypse gave us a taste of what he could do, but putting Wolverine in an R-Rated movie was the best decision anyone could have ever made. His animal fury is on full display here, and with a higher age rating, ever stab and slice is shown in bloody, glorious detail. Pairing him with another character who can take hits and survive, like Deadpool, was a match made in heaven.

The two are perfect foils, playing off each other in such a satisfying way that had me disappointed when it was all over. Deadpool has worked with bigger, tougher guys in the past, but Wolverine's short temper and guardedness go well with Deadpool's silly, jokester persona. Platonically, romantically, sexually, I don't care. They're meant for each other.

Above all, Deadpool and Wolverine is a loving send off to the studio that made the X-Men film franchise. Its a culmination of all the passion and hard work that went into those movies, and stands as a testament to how far we've come since the first X-Men hit theaters over 2 decades ago. With a film like this as a sample of what's in the future, we won't have anything to fear.

[brekky-at-noon]

watching joker: folie à deux had the same vibes as sitting through an extremely depressing Good Friday church service.

[pixelsunshine]

Okay as someone who is EXTREMELY nerdy about non-humanoid aliens depicted in media I LOVED this movie. The Vuvv are super weird, and tiny, and POWERFUL. Incredibly unsexy weird capitalist aliens. Go watch it!