#finally watched judas and the black messiah

[perfectday1972]

daniel kaluuya via instagram

[violentlydefending]

riceboy sleeps fucked me UP man. fuck. legit cried like four separate times watching it i got FUCKED UP!!!!!!!!!

[leonardcohenofficial]

tagged by @herbaklava @timrothencrantz and @wutheringdyke to post my top nine new-to-me watches of the year—thank you all! in no particular order (l-r, top row to bottom row):

skinamarink (kyle edward ball, 2023) great freedom (sebastian meise, 2021) earth mama (savanah leaf, 2023) nineteen eighty-four (michael radford, 1984) enys men (mark jenkin, 2022) marina abramović & ulay: no predicted end (kasper bech dyg, 2022) paris 5:59: théo & hugo (olivier ducastel and jacques martineau, 2016) nationtime (william greaves, 1972) giants and toys (yasuzo masumura, 1958)

while i hit my continual goal of half of the films by women and nonbinary filmmakers, i still definitely need to keep up with deliberately seeking out films by directors of color! tell me your faves if you’ve seen any of these; do we think i can hit 150 titles in 2024? 👀🎬🍿🎥

i'll tag @sightofsea / @lesbiancolumbo / @nelson-riddle-me-this / @draftdodgerag / @edwardalbee / @majorbaby / @radioprune / @glennmillerorchestra / @deadpanwalking and anyone else who'd like to do this!

my full watchlist is included under the cut, favorites of the year are bolded in red:

The Final Exit of the Disciples of Ascensia (Jonni Phillips, 2019)

Nothing Bad Can Happen (Katrin Gebbe, 2013)

Dive (Lucía Puenzo, 2022)

The Menu (Mark Mylod, 2022)

The Wonder (Sebastián Lelio, 2022)

The Whale (Darren Aronofsky, 2022)

Shapeless (Samantha Aldana, 2021)

Skinamarink (Kyle Edward Ball, 2023)

Avatar: The Way of Water (James Cameron, 2022)

Actual People (Kit Zauhar, 2021)

Honeycomb (Avalon Fast 2022)

Warrendale (Allan King, 1967)

Women Talking (Sarah Polley, 2022)

This Place Rules (Andrew Callaghan, 2022)

Nationtime (William Greaves, 1972)

Deep End (Jerzy Skolimowski, 1970)

Incident in a Ghostland (Pascal Laugier, 2018)

Keane (Lodge Kerrigan, 2004)

I Start Counting (David Greene, 1970)

Bones and All (Luca Guadagnino, 2022)

Tár (Todd Field, 2022)

The Most Dangerous Game (Ernest B. Schoedsack and Irving Pichel, 1932)

These Three (William Wyler, 1936)

Dead End (William Wyler, 1937)

The Sport Parade (Dudley Murphy, 1932)

We're All Going to the World's Fair (Jane Schoenbrun, 2021)

Ratcatcher (Lynne Ramsay, 1995)

Smile (Parker Finn, 2022)

Holiday (Isabella Eklöf, 2018)

When Women Kill (Lee Grant, 1983)

Softie (Samuel Theis, 2021)

My Old School (Jono McLeod, 2022)

Beyond The Black Rainbow (Panos Cosmatos, 2010)

The Diary of a Teenage Girl (Marielle Heller, 2015)

Infinity Pool (Brandon Cronenberg, 2023)

Murina (Antoneta Alamat Kusijanovic, 2021)

The Banshees of Inisherin (Martin McDonagh, 2022)

Doubt (John Patrick Shanley, 2007)

Enys Men (Mark Jenkin, 2022)

Bully (Larry Clark, 2001)

My King (Maïwenn, 2015)

Festen (Thomas Vinterberg, 1998)

Marina Abramovic & Ulay: No Predicted End (Kasper Bech Dyg, 2022)

Elles (Małgośka Szumowska, 2011)

Poison Ivy (Katt Shea, 1992)

ear for eye (debbie tucker green, 2021)

Spring Blossom (Suzanne Lindon, 2020)

God's Creatures (Saela Davis and Anna Rose Holmer, 2023)

I Blame Society (Gillian Wallace Horvat, 2020)

Bama Rush (Rachel Fleit, 2023)

Is This Fate? (Helga Reidemeister, 1979)

Paris 5:59: Théo & Hugo (Olivier Ducastel and Jacques Martineau, 2016)

Madeline's Madeline (Josephine Decker, 2018)

The Strays (Nathaniel Martello-White, 2023)

Here Is Always Somewhere Else (René Daalder, 2007)

The Weather Underground (Sam Green and Bill Siegel, 2002)

American Revolution 2 (Mike Gray, 1969)

Judas and the Black Messiah (Shaka King, 2021)

Underground (Emile de Antonio, Mary Lampson, and Haskell Wexler, 1976)

Saint Omer (Alice Diop, 2022)

Baby Ruby (Bess Wohl, 2022)

Welcome to Me (Shira Piven, 2014)

Clock (Alexis Jacknow, 2023)

Knock at the Cabin (M. Night Shyamalan, 2023)

Blue Jean (Georgia Oakley, 2022)

Soft & Quiet (Beth de Araújo, 2022)

Jesus' Son (Alison Maclean, 1999)

The Rehearsal (Alison Maclean, 2016)

Violent Playground (Basil Dearden, 1958)

Grizzly Man (Werner Herzog, 2005)

A Banquet (Ruth Paxton, 2021)

Jagged Mind (Kelley Kali, 2023)

The Night Porter (Liliana Cavani, 1974)

Good Boy (Viljar Bøe, 2023)

Sanctuary (Zachary Wigon, 2022)

Little Girl (Sébastien Lifshitz, 2020)

Séance on a Wet Afternoon (Bryan Forbes, 1964)

Massacre at Central High (Rene Daalder, 1976)

Summer of Soul (Amir "Questlove" Thompson, 2021)

Bad Things (Stewart Thorndike, 2023)

Still (Takashi Doscher , 2018)

Lake Mungo (Joel Anderson, 2008)

The Vanishing (George Sluizer, 1988)

The Ringleader: The Case of the Bling Ring (Erin Lee Carr, 2023)

Giants and Toys (Yasuzo Masumura, 1958)

Spoonful of Sugar (Mercedes Bryce Morgan, 2022)

Double Lover (François Ozon , 2017)

Hereditary (Ari Aster, 2018)

Bodies Bodies Bodies (Halina Reijn, 2022)

Don't Call Me Son (Anna Muylaert, 2016)

Great Freedom (Sebastian Meise, 2021)

Mother! (Darren Aronofsky, 2017)

The Mind of Mr. Soames (Alan Cooke, 1970)

The Bloody Child (Nina Menkes, 1996)

Bunker (Jenny Perlin, 2021)

Polytechnique (Denis Villeneuve, 2009)

Scouts Honor: The Secret Files of the Boy Scouts of America (Brian Knappenberger, 2023)

The Woodsman (Nicole Kassell, 2004)

Giant Little Ones (Keith Behrman, 2018)

The Killing of a Sacred Deer(Yorgos Lanthimos, 2017)

Nineteen Eighty-Four (Michael Radford, 1984)

Saltburn (Emerald Fennell, 2023)

Renaissance: A Film by Beyoncé (Beyoncé Knowles-Carter, 2023)

May December (Todd Haynes, 2023)

Free Chol Soo Lee (Julie Ha and Eugene Yi, 2022)

Girl (Lukas Dhont, 2018)

Queen of Hearts (May el-Toukhy, 2019)

Streetwise (Martin Bell, 1984)

System Crasher (Nora Fingscheidt, 2019)

Burden (Richard Dewey and Timothy Marrinan, 2016)

As Above, So Below (Larry Clark, 1973)

The Captive (Chantal Akerman, 2000)

Run Rabbit Run (Daina Reid, 2023)

Subject  (Jennifer Tiexiera and Camilla Hall, 2022)

Earth Mama (Savanah Leaf, 2023)

Woodshock (Kate Mulleavy and Laura Mulleavy, 2017)

Swept Away (Lina Wertmüller, 1974)

Meadowland (Reed Morano, 2015)

Brainwashed: Sex-Camera-Power (Nina Menkes, 2022)

La Ciénaga (Lucrecia Martel, 2001)

Zola (Janicza Bravo, 2021)

The Starling Girl (Laurel Parmet, 2023)

Night Comes On (Jordana Spiro, 2018)

Dance, Girl, Dance (Dorothy Arzner, 1940)

[samprestonbigbadabruce]

Possible Cast Members for “Knives Out 3”?

Rian Johnson has done it again with Glass Onion, an excellent follow-up to the raucously enjoyable Knives Out. The consistency in the writing and the way both films award repeat viewings make them great comfort watches, and Daniel Craig seems to be having a wonderful time playing the over-the-top Southern drawling, eagle eyed dandy Benoit Blanc. 

The success of the series so far has been not just the clever writing, but the casting, as each film utilises an ensemble of tremendous character actors who enjoy being outlandish and ridiculous. Unsurprisingly, Twitter quickly began asking who fans would love to see in the cast, and it prompted me to consider my own ideas. It won’t shock many to hear I quickly thought of many, but below are some of my ideas. The good thing is that Benoit Blanc has the potential to be the Columbo of feature films, appearing every few years in an ongoing franchise, so even if these don’t all appear in the third movie, there could always be the next one...

Brendan Fraser is currently in the midst of a career renaissance due to his performance in The Whale, where he has become a front runner for Best Actor prizes in his heartbreaking portrayal. But this kind hearted, beloved man first came to prominence with his self-deprecating manner in fan favourite cult classics such as George of the Jungle and one I particularly love, The Mummy. He’s shown his ability to balance comedy with pathos, so he’d be perfectly suited in this world.

Jon Hamm is man who looks like he is chiselled out of perfection, and yet surprised many with his comedic timing in 30 Rock and the Unbreakable Kimmy Schmidt. Hamm could work perfectly as the murder victim in a Benoit Blanc movie, his magnetism allowing him to be depicted positively before flashbacks reveal a darker edge, akin to his more dramatic roles.

Stephanie Hsu was the surprise break out from Everything Everywhere All At Once, demonstrating surprising pathos in her support role and impressively holding her own against Michelle Yeoh. A trope in the previous two movies of the series has been Blanc’s double act with a young female, firstly the Cuban-Spanish Ana De Armas, and then the non-binary African-American Janelle Monae, so it wouldn’t be surprising if they continue that method. Hsu could have a brilliant double act with Craig, so I think she’d be fantastic.

Hugh Jackman is handsome, can sing, is funny, an amazing dramatic actor, and reputedly one of the nicest human beings in Hollywood. Renowned for his classic portrayals of Wolverine, one of the few action heroes to challenge James Bond, I could see him portraying one of Benoit’s best friends, inviting both Blanc and Hugh Grant’s Phillip to a Broadway event (any excuse to see Jackman, Grant and Craig singing Broadway together).

Daniel Kaluuya is mostly known for his partnership with Jordan Peele, specifically in the excellent horror films Get Out and Nope, as well as his appearances in Steve McQueen’s Widows and his award winning performance in Judas and the Black Messiah. However, an often underrated element is his dry, deadpan line reading, epitomised by his performance in Nope especially. I could see Kaluuya in a similar role to LaKeith Stanfield from Knives Out as an exasperated detective working alongside Benoit Blanc.

Lupita Nyong’o may be better known for her dramatic roles in 12 Years A Slave, Jordan Peele’s Us, and even her role as Nakia in the Black Panther series, but it’s actually her role in the horror comedy Little Monsters that makes me think she would suit the series. Portraying a kindergarten teacher trying to protect her class from a zombie outbreak, her mix of sincere positivity and deadpan humour could make her a Toni Collette / Kathryn Hahn esque figure.

Sandra Oh finally got the lead role she deserved in her series Killing Eve, her role as Eve Polastri allowing her to demonstrate her tremendous range in comedy and drama. She mainly now features in voiceover roles, such as Turning Red or Invincible, but it would be great to see her bring her frazzled energy to a Benoit Blanc mystery.

Pedro Pascal is currently the lead in two of the biggest possible television shows, firstly playing the eponymous character in Disney’s The Mandalorian, and recently taking on the lead role of Joel in HBO’s The Last Of Us. Although these two roles means Pedro is likely going to be fully booked for the majority of his time, a role in a Benoit Blanc ensemble seems perfectly suited for him.

Florence Pugh is probably the least likely, considering she’s now a critical and commercial darling with upcoming roles in Dune: Part Two and ongoing performance as Yelena Belova in the Marvel Cinematic Universe. However, her comedic timing demonstrated in Fighting With My Family and as Yelena is an underrated element of her repertoire that deserves more attention. She would seemingly suit a similar role to Ana De Armas and Janelle Monae, but I’d love to see that expectation get turned on its head and reveal her to be more similar to Kate Hudson in Glass Onion, the reversal of “hidden depths”.

Those are just some that come to mind, but I’d love to hear others thoughts on who they would have join the Benoit Blanc Cinematic Universe?

[nijjhar]

Messianic Jews are Killer Temple Priests in Black Sheep Judas Iscariot's... Holy Gospel of our SUPERNATURAL FATHER of our supernatural “souls” Elohim, Allah, ParBrahm, etc., delivered by the first Anointed Christ, which in my native language Punjabi, we call Satguru Jesus of the highest living God Elohim, Allah, Parbrahm, etc. that dwells within His most beautiful living Temple of God created by the greatest artist demiurge Potter, the lord of the visible Nature Yahweh, Brahma, Khudah, etc. and it is called Harmandir or “Emmanuel” if you are not “greedy” according to Christ  Rajinder:- Here, I am highlighting the Antichrist activities of the Messianic Jews who keep all the Seven Candles of the Menorah at the same level that Christ has not come yet in line with the Orthodox Jews whose Messiah is of TERROR rather than PEACE. Here are some of my previous videos:- Messianic Jews who keep all the 7 Candles at par, they are the killers who created Pope and Priests.   • Caption - Messianic Jews who keep all...   Saltless Jews outwardly unfaithful to Noble Abraham who killed Jesus, what do you expect from them today?   • Saltless Jews outwardly unfaithful to...   Could anyone build the covenant of the Jews with Abraham? Remember this man of dead letters Church Father Origen couldn't. They are Tares getting bundled up in Israel for the Final Burning expected soon after the attack of Israel on Iran, the Fake circumcised sons of Isaac. Watch my other videos, and my seminars are totally FREE, which will also set you FREE. End Time Gospel. Israel is supposed to attack Iran by 14/11/2023. Then, the JUDGEMENT Atomic War.   • End Time Gospel. Israel is supposed t...   This knowledge is known from God within you if you are not greedy and worship Him within you, His Temple in Truth as Peter spoke, and the holy spirit that the illiterate Shepherds and Farmers possessed and not the men of the dead letters that the University Professors possessed and made them haughty and arrogant. I live in Reading and attended Seminars at Oxford University and none of them know in whose name John, the Baptist baptized the Jewish men in the water and Jesus. John never baptised a woman, Gentile, or a Samaritan. I know such facts but the Oxford University Professors hate me and throw me out of their Seminars for asking such questions. I also know the names of the Five Husbands of the Samaritan Woman who became an Apostle in the name of Saint Photina. The Second coming of Jesus was Satguru and not the Brahmin Guru Nanak of Punjab where I was born. The Messianic Jews have the knowledge but the understanding comes by the grace of our Supernatural Father Elohim, Allah, Parbrahm, etc. His Word = Logo are His Treasures and only He through His Sons, the Saints dishes them out to the people worthy to have them. You do not get the Gospel Truth from the spiritually blind men of dead letters. Life of the Scriptures is in the Oral Torah = His Word that Jesus came to deliver but the "Saltless" Fanatic Jews outwardly killed Him but the people of Salt, the generation of much hated Joseph whom the liars and murderer brethren sold him as a slave highly appreciated and the whole village became Apostles. The "Saltless" Jews hated the Samaritans as they hated their Patriarch Joseph, the True Salt of Jacob, Isaac, and Abraham. Finally, the prayer is for the once-born Disciples of the Rabbis and not for the Twice-Born Solitary Virgin Brides, the Apostles or Talmidim of our Bridegroom Christ Jesus as our Father lives in His Temple to be worshipped in Truth as Peter spoke, and the holy spirit, which is common sense called Surti in Punjabi and no more alienated in the heaven. Our Supernatural Father Elohim lives in His Living Temple created by Yahweh. Then, why say prayer?   • Our Supernatural Father Elohim lives ...   John 3v16-21:- Messianic Jews, the sacked Husbandmen of the WinePress, the Temple, have twisted the Gospel.   • John 3v16-21:- Messianic Jews, the sa...   END TIME GOSPEL TRUTH – FREE LECTURES AND SEMINARS. www.gnosticgospel.co.uk/JAntisem.htm www.gnosticgospel.co.uk/GistEndGospel.htm Other:- www.gnosticgospel.co.uk/Nobility.htm http://www.gnosticgospel.co.uk/tenlig... http://www.gnosticgospel.co.uk/JattIs... Proofs of the Virgin Birth of Jesus: - www.gnosticgospel.co.uk/bojes.htm Matt 21v33-46:- As the Jews killed the Prophets and then collected money from the devotees, so they did to Christ Jesus and created the Antichrist Pope and his killer stooges.   • Captions - Matt 21v33-46:- As Jews ki...     • Super Hitler tribal Putin will destro...     • Super Hitler Putin will punish the Bl...     • The Son of Man Super Hitler Putin spe...   www.gnosticgospel.co.uk/GrimReaper.htm www.gnosticgospel.co.uk/Unlisted.htm My Kindle. ASIN: B01AVLC9WO Bitter Gospel Truth videos:- www.gnosticgospel.co.uk/JAntisem.htm www.gnosticgospel.co.uk/JOHN 8V44.htm www.gnosticgospel.co.uk/Rest.htm My Books:- ONE GOD ONE FAITH:- www.gnosticgospel.co.uk/bookfin.pdf John's baptism:- www.gnosticgospel.co.uk/johnsig.pdf Trinity:- www.gnosticgospel.co.uk/trinity.pdf

[haroldgross]

New Post has been published on Harold Gross: The 5a.m. Critic

New Post has been published on http://literaryends.com/hgblog/transformers-rise-of-the-beasts/

Transformers: Rise of the Beasts

[2.75 stars]

Well, this latest franchise reboot attempt, helmed by Steven Caple Jr. (Creed II), is about on par with Bumblebee. It has some heart and a plot you can sort of follow and buy into. Which is to say it is better than the most of the franchise as a movie (if not topping them in big screen effects). In the end, story always wins anyway and, in fact, when this flick tries too hard, I got bored. Fight scenes get numbing without emotion behind them, and the finale was fairly void of that for me. The ideas were there, but the connection was not.

Anthony Ramos (In the Heights) tries his best to add depth to the tale. And there are some great moments and humor, especially with Pete Davidson’s (Meet Cute) Mirage. But as with most of this series, if there was time to be trimmed it was taken from the character moments in exchange for the flashy effects. The other main human, Dominique Fishback (Judas and the Black Messiah), was just too broad and without any real backstory to have me caring much about her. She felt more like a prop in the story than a person.

I won’t even get into the bad science and forced logic, because why bother? This isn’t a series that intends to be “real” on any level. It isn’t that I don’t like Transformers and some of the old storylines but, almost to a one, these flicks forget their humanity and try to live on flash. It just isn’t enough to sustain two hours. If you love the series or just want eye candy, sure, dive on in, but the choice is yours. It isn’t unwatchable, it just didn’t feel worth the time. They also set up a sequel (that makes me cringe) if you’re hoping there will be more.

Where to watch

[thelowkeygeek]

Check out the latest LOWKEY GEEK #youtube video! THE COLOR PURPLE Official Trailer REACTION | Halle Bailey, Taraji P. Henson, Danielle Brooks by LOWKEY GEEK! Check out the original classic before the new one: https://amzn.to/43k9Hxf We finally get to see a first-look trailer for the upcoming The Color Purple that is set to release this Christmas. Keep watching to see my full reaction! 🔔 Consider Subscribing: https://ift.tt/3eC8NW4 🎤 LOWKEY GEEK Podcast Channel: https://ift.tt/WRopvFQ 🎧 Listen on Spotify: https://ift.tt/GRZbKhQ ► Fever events and experiences: https://ift.tt/9xK6EM2 ► 80s Tees: 30% OFF with code WINTER30: https://ift.tt/E4VYjWo ► Bulletproof Coffee - 20% Off with code LOWKEYGEEK20: https://ift.tt/jYZa2ox ► Entertainment Earth - 10% OFF In-Stock Items Plus Free Shipping On Orders $40+: https://ee.toys/LOWKEYG ► The gear we use on this channel: https://amzn.to/3L79c1Y ► Merchandise: https://ift.tt/vNTlJr5 Follow Us --------------------------------------------------- Twitter: https://twitter.com/the_lowkey_geek Instagram: https://ift.tt/mpW16ce Follow the Team on Letterboxd ----------------- Blake Wolf: https://ift.tt/be53j6v Rene A. Zelada: https://ift.tt/gxW4kjf Movie Info --------------------------------------------------- Warner Bros. Pictures invites you to experience the extraordinary sisterhood of three women who share one unbreakable bond in “The Color Purple.” This bold new take on the beloved classic is directed by Blitz Bazawule (“Black Is King,” “The Burial of Kojo”) and produced by Oprah Winfrey, Steven Spielberg, Scott Sanders and Quincy Jones. “The Color Purple” stars Taraji P. Henson (“What Men Want,” “Hidden Figures”), Danielle Brooks (“Peacemaker,” “Orange Is the New Black”), Colman Domingo (“Ma Rainey’s Black Bottom,” “Fear the Walking Dead”), Corey Hawkins (“In the Heights,” “BlacKkKlansman”), H.E.R. (“Judas and the Black Messiah,” “Beauty and the Beast: A 30th Celebration”), Halle Bailey (“The Little Mermaid,” “Grown-ish”), Aunjanue Ellis-Taylor (“King Richard,” “If Beale Street Could Talk”), and Fantasia Barrino (in her major motion picture debut). The screenplay is by Marcus Gardley (“Maid,” “The Chi”), based on the novel by Alice Walker and based on the musical stage play, book (of the musical stage play) by Marsha Norman, music and lyrics by Brenda Russell, Allee Willis and Stephen Bray. The executive producers Alice Walker, Rebecca Walker, Kristie Macosko Krieger, Carla Gardini, Mara Jacobs, Adam Fell, Courtenay Valenti, Sheila Walcott and Michael Beugg. Joining director Bazawule behind the camera are director of photography Dan Laustsen (“John Wick: Chapter 4,” “The Shape of Water”), production designer Paul Denham Austerberry (“The Flash,” “The Twilight Saga: Eclipse”) and editor Jon Poll (“Bombshell,” “The Greatest Showman”). The choreographer is Fatima Robinson (“Coming 2 America,” “Dreamgirls”) and the costumes are designed by Francine Jamison-Tanchuck (“Emancipation,” “One Night in Miami…”). The music supervisors are Jordan Carroll (“The Greatest Showman,” “Godfather of Harlem”) and Morgan Rhodes (“Space Jam: A New Legacy,” “Selma”); the music is by Kris Bowers (“King Richard,” “Green Book”); and the executive music producers are Nick Baxter (“Babylon,” “CODA”), Stephen Bray (“Respect,” “Juanita”) and Blitz Bazawule. Warner Bros. Pictures presents a Harpo Films Production, an Amblin Entertainment Production, a Scott Sanders Production/a QJP Production, “The Color Purple.” It will be distributed worldwide by Warner Bros. Pictures and is set to open in theaters in North America on December 25, 2023 and internationally beginning 18 January 2024. #TheColorPurple #warnerbros #hallebailey #trailerreaction #teasertrailer #officialtrailer #trailerpark via YouTube https://youtu.be/wSlnrGN19mI

[tcm]

Reframing Films of the Past: An Interview with TCM Writers

All month long in March, TCM will be taking a look at a number of beloved classic films that have stood the test of time, but when viewed by contemporary standards, certain aspects of these films are troubling and problematic. During TCM’s Reframed: Classics in the Rearview Mirror programming, all five TCM hosts will appear on the network to discuss these issues, their historical and cultural context and how we can keep the legacy of great films alive for future generations.

Also joining in on this conversation are four TCM writers who were open enough to share their thoughts on their love of classic movies and watching troubling images of the past. Special thanks to Theresa Brown, Constance Cherise, Susan King and Kim Luperi for taking part in this conversation. Continue the conversation over on TCM’s Twitter.

What do you say to people who don’t like classics because they’re racist and sexist? 

KL: There are positive representations in classic Hollywood that I think would blow some peoples’ minds. I always love introducing people to new titles that challenge expectations. 

That said, anyone who broadly slaps a sexist or racist label on a large part of the medium’s history does a disservice to cinema and themselves. That mindset keeps them ignorant not only of some excellent movies and groundbreaking innovation but history itself. 

I think people need to remember that movies are a product of their time and they can reflect the society they were made into a variety of degrees - good, bad, politically, culturally, socially. That’s not to excuse racism or sexism; it needs to be recognized and called out as such for us to contend with it today. But it’s important for people who say they don’t like classics for those reasons to understand the historical context. In particular, we need to acknowledge that society has evolved - and what was deemed socially acceptable at times has, too, even if sexism and racism are always wrong - and we are applying a modern lens to these films that come with the benefit of decades worth of activism, growth and education.

SK: I totally agree K.L. For years I have been encouraging people to watch vintage movies who keep proclaiming they don’t like black-and-white films or silent films. For every Birth of a Nation (1915) there are beautiful dramas, wonderful comedies and delicious mysteries and film noirs. 

 These films that have racist and sexist elements shouldn’t be collectively swept under the rug, because as K.L. stated they shine a light on what society was like – both good and bad. 

CC: First off, fellow writers may I say, I think your work is amazing. I'm continually learning from the talent that is here, and I am humbled to be a part of this particular company. Similar to the prior answers, for every racist/sexist film the opposite exists. Personally, classic musicals attracted me due to their visual assault, creativity and their unmistakable triple-threat performances. While we cannot ignore racist stereotypes and sexism, there are films that simply are "fantasies of art." There is also a review of evolution. In 20 years, what we now deem as acceptable behavior/conversation will be thought of as outdated and will also require being put into "historical context."  What we collectively said/thought/did 20 years ago, we are currently either re-adjusting or reckoning with now, and that is a truth of life that will never change. We will always evolve.

TB: I would say to them they should consider the times the movie was made in. It was a whole different mindset back then. 

Are there movies that you love but are hesitant to recommend to others because of problematic elements in them? If so, which movies? 

TB: Yes, there are movies I’m hesitant to recommend. The big one, off the top of my head, would be Gone With the Wind (1939). The whole slavery thing is a bit of a sticky wicket for people, especially Black folks. Me, I love the movie. It is truly a monumental feat of filmmaking for 1939. I’m not saying I’m happy with the depiction of African Americans in that film. I recognize the issues. But when I look at a classic film, I suppose I find I have to compartmentalize things. I tend to gravitate on the humanity of a character I can relate to. 

KL: Synthetic Sin (1929), a long thought lost film, was found in the 2010s, and I saw it at Cinecon a few years ago. As a Colleen Moore fan, I thoroughly enjoyed most of it, but it contains a scene of her performing in blackface that doesn’t add anything to the plot. That decision brings the movie down in my memory, which is why I have trouble recommending it.

Also Smarty (1934), starring Warren William and Joan Blondell, is another movie I don’t recommend because it’s basically about spousal abuse played for comedy, and it did not age well for that reason.

SK: Breakfast at Tiffany’s (1961): Audrey Hepburn is my favorite actress and I love her Oscar-nominated performance as Holly. I adore Orangy as Cat, as well as George Peppard and Buddy Ebsen, who is wonderfully endearing. And of course, “Moon River” makes me cry whenever I hear it. But then I cringe and am practically nauseous every time Mickey Rooney pops up on screen with his disgusting stereotypical performance as Holly’s Japanese landlord Mr. Yunioshi. What was director Blake Edwards thinking casting him in this part? Perhaps because he’s such a caricature no Japanese actor wanted to play him, so he cast Rooney with whom he had worked within the 1950s. 

CC: I cannot necessarily state that I am in "love," but, a film that comes to mind would be Anna and the King of Siam (1946). It is an absolutely beautiful visual film. However, Rex Harrison as King Mongkut requires some explanation. 

Holiday Inn (1942), and the Abraham number...why??? Might I also add, there were many jaw-dropping, racist cartoons.

How did you learn to deal with the negative images of the past? 

KL: I often look at it as a learning experience. Negative images can provoke much-needed conversation (internally or with others) and for me, they often prompt my education in an area that I wasn’t well versed in. For instance, blackface is featured in some classic films, and its history is something I never knew much about. That said, seeing its use in movies prompted me to do some research, which led me first to TCM’s short documentary about blackface and Hollywood. I love how TCM strives to provide context and seeks to educate viewers on uncomfortable, contentious subjects so we can appreciate classic films while still acknowledging and understanding the history and the harmful stereotypes some perpetuated.

SK: It’s also been a learning experience for me. Though I started watching movies as a little girl in the late 1950s, thanks to TCM and Warner Archive I realized that a lot of films were taken out of circulation because of racist elements. TCM has not only screened a lot of these films but they have accompanied the movies with conversations exploring the stereotypes in the films.  

CC: As a Black woman, negative images of the past continue to be a lesson on how Blacks, as well as other minorities, were seen (and in some cases still are seen) through an accepted mainstream American lens. On one hand, it's true, during the depiction of these films the majority of Black Americans were truly relegated to servant roles, so it stands to reason that depictions of Black America would be within the same vein. What is triggering to me, are demeaning roles, and the constant exaggeration of the slow-minded stereotype, blackface. When you look at the glass ceiling that minority performers faced from those in power, the need for suppression and domination is transparent because art can be a powerful agent of change. I dealt with the negative images of the past by knowing and understanding that the depiction being given to me was someone else's narrative, of who they thought I was, not who I actually am.

TB: I’m not sure HOW I learned to deal with negative images. Again, I think it might go back to me compartmentalizing.

I don’t know if this is right or wrong…but I’ve always found myself identifying with the leads and their struggles. As a human being, I can certainly identify with losing a romantic partner, money troubles, losing a job…no matter the ethnicity.

In what ways have we evolved from the movies of the classic era?

KL: I think we are more socially and culturally conscious now when it comes to stories, diversity and representation on screen and behind the scenes, which is a step forward. That said, while there's been growth, there's still much work to be done.

SK: I think this year’s crop of awards contenders show how things have evolved with Da 5 Bloods, Soul, One Night in Miami, Minari, Ma Rainey’s Black Bottom, The United States Vs. Billie Holiday, Judas and the Black Messiah and MLK/FBI. 

But we still have a long way to go. I’d love to see more Native American representation in feature films; more Asian-American and Latino stories. 

CC: There are minority artists, writers, producers, directors, actors with the increasing capacity to create through their own authentic voice, thereby affecting the world, and a measurable amount of them are women! Generally speaking, filmmakers (usually male) have held the voice of the minority narrative as well as the female narrative. I agree with both writers above in the thought that it is progress, and I also agree, more stories of diversified races are needed. 

TB: One important way we've evolved from the movies made in the classic era by being more inclusive in casting. 

Are there any deal-breakers for you when watching a movie, regardless of the era, that make it hard to watch? 

KL: Physical violence in romantic relationships that's played as comedy is pretty much a dealbreaker for me. I mentioned above that I don't recommend Smarty (1934) to people, because when I finally watched it recently, it. was. tough. The way their abuse was painted as part of their relationship just didn’t sit well with me.

SK: Extreme racist elements and just as KL states physical violence. 

Regarding extreme racist elements, D.W. Griffith’s Birth of a Nation (1915) is just too horrific to watch. I was sickened when I saw it when I was in grad school at USC 44 years ago and it’s only gotten worse. And then there’s also Wonder Bar (1934), the pre-code Al Jolson movie that features the Busby Berkeley black minstrel number “Goin’ to Heaven on a Mule.” Disgusting.

I also agree with KL about physical violence in comedies and even dramas. I recently revisited Private Lives (1931) with Norma Shearer and Robert Montgomery based on Noel Coward’s hit play. I have fond memories of seeing Maggie Smith in person in the play when I was 20 in the play and less than fond memories of watching Joan Collins destroying Coward’s bon mots.  

But watching the movie again, you realized just how physically violent Amanda and Elyot’s relationship is-they are always talking about committing physical violence-”we were like two violent acids bubbling about in a nasty little matrimonial battle”; “certain women should be struck regularly, like gongs”-or constantly screaming and throwing things.  

There is nothing funny or romantic about this.

KL: I try to put Birth of a Nation out of my mind, but S.K. did remind me of it again, and movies featuring extreme racism at their core like that are also dealbreakers; I totally agree with her assessment. I understand the technological achievements, but I think in the long run, especially in how it helped revive the KKK, the social harm that film brought about outdoes its cinematic innovations.

CC: Like S.K., Wonder Bar immediately came to mind. Excessive acts of violence, such as in the film Natural Born Killers (1994). I walked out of the theatre while the film was still playing. I expected violence, but the gratuitousness was just too much for me. I also have an issue with physical abuse, towards women and children. This is not to say I would not feel the same way about a man. However, when males are involved, it tends to be a fight, an exchange of physical energy, generally speaking, when we see physical abuse it is perpetuated towards women and children.

TB: I have a couple of moments that pinch my heart when I watch a movie. It doesn’t mean I won’t watch the movie. It just means I roll my eyes…verrrrry hard.

-Blackface…that’s a little rough; especially when the time period OF the movie is the ‘30s or ‘40s film.

-Not giving the Black actors a real name to be called by in the film (Snowflake…Belvedere…Lightnin’). I mean, can’t they have a regular name like Debbie or Bob?

-When the actor can’t do the simplest of tasks, i.e. Butterfly McQueen answering the phone in Mildred Pierce (1945) and not knowing which end to speak into. What up with that?

Are there elements they got right that we still haven’t caught up to? 

KL: I don't know if the pre-Code era got sex right (and sensationalism was definitely something studios were going for) but in some ways, I feel that subject was treated as somewhat more accepted and natural back then. Of course, what was shown onscreen in the classic era was nowhere near the extent it is today, but the way the Production Code put a lid on sex (in addition to many other factors) once again made it into more of a taboo topic than it is or should be.

One thing I particularly hate in modern movies is gratuitous violence, and it perplexes and angers me how America weighs violence vs. sex in general through the modern ratings system: films are more likely to get a pass with violence, mostly landing in PG-13 territory and thus making them more socially acceptable, while sex, something natural, is shunned with strictly R ratings. Obviously, there are limits for both, but I think the general thinking there is backwards today.

CC: The elegance, the sophistication, the precision, the dialogue, the intelligence, the wit. The fashion! The layering of craftsmanship. We aren't fans of these films for fleeting reasons, we are fans because of their timeless qualities.

I'm going to sound like a sentimental sap here, ladies get ready. I think they got the institution of family right. Yes, I do lean towards MGM films, so I am coloring my opinion from that perspective. Even if a person hasn't experienced what would have been considered a "traditional family" there is something to be said about witnessing that example. Perhaps not so much of a father and a mother, but to witness a balanced, functioning, loving relationship. What it "looks like" when a father/mother/brother/sister etc. genuinely loves another family member.

I was part of the latch-key generation, and although my parents remained together, many of my friends' parents were divorced. Most won't admit it, but by the reaction to the documentary [Won't You Be My Neighbor?, 2018], the bulk of them went home, sat in front of the TV and watched Mr. Rogers tell them how special they were because their parents certainly were not. We don't know what can "be" unless we see it.

[agentnico]

Top 10 BEST Movies 2021

*UPDATED 17/01/22 with the addition of The Tragedy of Macbeth

Let’s not kid ourselves, the pandemic has had a massive impact on many a thing, including the movie industry. Yeah, I know there’s a lot worse that COVID has caused, but this is a film blog, so naturally I’m going to complain about its impact on the movie biz. From release dates being endlessly postponed and many movies simply going straight to streaming, 2020 was quite lacklustre in terms of decent movie content, however 2021 has seen a smidge of normality returning, even though Omicron now is acting like a diva that wants to take everything down which I think is really selfish of it and not at all festive. Like, Mr Omicron (or Mrs, depending on how gender neutral you are), listen, we’ve only just had Christmas and New Year’s, and today is Russian Orthodox Christmas and soon we also have Chinese New Year and Valentine’s Day around the corner, so like give us a break, okay?? Can you simply pick a different time of the year to annoy us, ideally on none of the 365 days. Cool? We’re good, alright, sorted! Anyway, here are my favourite films of 2021. As always, goes without saying, my list may vary a lot from yours and vice versa, so don’t go all Gangs of New York on me if you disagree with me. Simply give me a quiet stern disappointed look and then go about your day and we’ll act like this never ever happened. Also, there’s a few films of 2021 I haven’t had a chance to see yet, including Power of the Dog and Spencer so naturally they won’t be on this list, however who knows? Maybe all of them are crap anyway and I’m not missing out, but anyway, without much further ado, here’s my Top 10 Best Movies of 2021...

HONOURABLE MENTIONS: Judas & the Black Messiah, Godzilla VS Kong, Zack Snyder’s Justice League, Belfast and The Last Duel

SPECIAL HONOURABLE MENTION: NO TIME TO DIE - The final swan song of Daniel Craig as James Bond was a long time coming. As in really a long time coming, thanks to COVID this thing got delayed endlessly. But we finally saw it and this was one hell of a shaken martini! Definitely not stirred. And thankfully Craig didn’t slit his wrists as he once promised, so all is good in the hood.

Original review: https://agentnico.tumblr.com/post/663954189051904000/no-time-to-die-2021-review

10) CODA - This movie puts Vin Diesel’s obsession with family to shame. For CODA is exactly that - a sweet coming of age tale about family, but against the typical tropes of the genre the central family are all deaf, which results in a unique spin on the familiar formula. Basically just like go and watch it, okay??

Original review: https://agentnico.tumblr.com/post/659580386869968897/coda-2021-review

9) HOUSE OF GUCCI - Cheesy one liners, epic performances, questionable Italian accents and a super interesting narrative. Featuring one hella peculiar sex scene between Lady Gaga and Adam Driver. I mean, phew! That’s all I’m gonna say! Look, that’s not the reason this movie was really good, I was simply pointing out...whatever I was pointing out. 

Original review: https://agentnico.tumblr.com/post/670557527220633600/house-of-gucci-2021-review

8) THE MITCHELLS VS THE MACHINES - This animated film warns of the dangers of tech consumption yet it appears on a streaming service that’s entire business model is based upon screen addiction with their endless binge worthy content. As they say the irony is most definitely present! But with that irony also comes one great family adventure from the folks that brought you The Lego Movie and Into the Spider-Verse!

Original review: https://agentnico.tumblr.com/post/650251702621159424/the-mitchells-vs-the-machines-2021-review

7) SPIDER-MAN: NO WAY HOME - So the reason this film is so much fun is because *SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER*. And that’s why it’s on the list!

Original review: https://agentnico.tumblr.com/post/671904849427841024/spider-man-no-way-home-2021-review

6) THE SUICIDE SQUAD - A superhero movie that simply doesn’t give a f***! The type of wham-bam-thank-you-mam batshit entertainment which exists for the pure reasons of fun. It doesn’t set out to be the best superhero film ever, nor does it need to be.

Original review: https://agentnico.tumblr.com/post/658401873396629504/the-suicide-squad-2021-review

5) FREE GUY - An absolute cuddly crowd-pleaser full of casual mayhem, crazy ideas and a hyper-active Ryan Reynolds, that will get Mariah Carey’s ‘Fantasy’ stuck in your head for days on end. 

Original review: https://agentnico.tumblr.com/post/659673760933330944/free-guy-2021-review

4) LICORICE PIZZA - Equal parts strange, sentimental and screwball, yet also absolutely 100% hilarious, this Paul Thomas Anderson directed feature is downright delightful with a capital D! Although I still have no idea why all the characters in this movie are constantly running. Like just have a break, have a Kit-Kat already!

Original review: https://agentnico.tumblr.com/post/672371437179486208/licorice-pizza-2021-review

3) BARB & STAR GO TO VISTA DEL MAR - I have no idea how, but somehow the fast chatting culottes-wearing couple Barb and Star made it to the 3rd highest spot on my Top 10 of the year. I’m as baffled and ashamed as you are. But also screw you, I can listen to Jamie Dornan singing ballads to seagulls on tires any day of the week! 

Original review: https://agentnico.tumblr.com/post/643655612925870080/barb-and-star-go-to-vista-del-mar-2021-review

2) THE ELECTRICAL LIFE OF LOUIS WAIN - Most of the movies this year I watched together with my lovely fiancée (a not so casual shout-out to the woman I love and will marry one day!!), and none of them affected us as emotionally as a film about eccentric cat paintings. It’s a movie that plays out like the first ten minutes of Up (yep, THOSE ten minutes), and at parts its funny, at parts sad, and at times strangely surrealist, The Electrical Life of Louis Wain dare I say ELECTRIFIED us!!

Original review: https://agentnico.tumblr.com/post/670370064751558656/the-electrical-life-of-louis-wain-2021-review

1) THE TRAGEDY OF MACBETH - The Bard. Black and white. 1/2 the Coen brothers. German expressionism. Denzel Washington. Frances McDormand. Feeling like its literally filmed on stage, this minimalist take on Shakespeare’s famous play is arguably the based film adaptation of Macbeth that I’ve ever seen. My eyes were literally glued to the screen from beginning to end, from the gorgeous yet simple set pieces to the one of a kind physical act of Kathryn Hunter, who plays all three witches in a literal shapeshifting performance. Shakespeare is obviously not for everyone, but for me it’s my top film of 2021!

Original review: https://agentnico.tumblr.com/post/673372444479913984/the-tragedy-of-macbeth-2021-review

With that, 2021 has come to an end, and here’s to a happy new year that is 2022! Fingers crossed we’ll get many more great films, but also on a more serious note, I wish everyone the best of health and success, and let us hope that this new year will give us more signs of normality coming back. And as normality comes kicking in, take a chance and pop over to the local cinema with your loved ones, your friends or by yourself, as when you’re in need of some escapism from the craziness of the world out there, the magic of cinema is one of the most genuinely amazing ways to relieve your mind. That is unless you’re stuck watching a crappy flick like The Emoji Movie, however if you’re watching that then let’s face it, that is entirely your fault. In any regard though, stay safe everyone, and thank you for reading. Here’s to talking more about film in 2022!

[letterboxd]

Halfway—2021.

Two Filipino indies lead the Letterboxd Top 25 at the 2021 halfway point, as the coronavirus pandemic continues to shake—and reshape—the film industry. Jack Moulton and Gemma Gracewood take stock.

Cleaners, Glenn Barit’s photocopied, hand-colored, stop-motion feature about high schoolers in the northern Philippines city of Tuguegarao, is the highest-rated 2021 film on Letterboxd at the halfway point of the year, with a weighted average of 4.3 out of 5 stars. Ode to Nothing, by Barit’s fellow countrywoman Dwein Baltazar, is in second place, and Shaka King’s two-time Oscar-winner Judas and the Black Messiah rounds out the top three.

Last year was a transition year in many ways: for the world, a pandemic-led move away from cinema screenings to at-home virtual theaters and streaming-first releases; for Letterboxd, a move away from US-led release dates in our annual calculations. This has opened the way for notable films from around the world to be included on our lists far sooner than their oft-delayed American releases (which had resulted in, for example, Brazil’s Bacurau not making the 2019 Letterboxd Year in Review).

Both of these factors help to explain why we have two Filipino independent features leading our midway Top 25. “Cleaners and Ode to Nothing are exactly the kind of small Filipino films that would have struggled to get national distribution in theaters in the before times, despite the buzz that they garnered,” writes Manila-based film critic Philbert Dy in his companion essay to the Top 25, in which he explains how the Philippines’ particularly long and harsh Covid lockdown has “led to smaller, quirkier films being made accessible to more Filipinos, whose consumption of cinema were once beholden to the whims of conglomerate cinema owners”.

‘Cleaners’, written and directed by Glenn Barit.

When we shared the good news with him, a delighted Cleaners director Glenn Barit specifically shouted out his nation’s film lovers: “It is a testament to a vibrant Filipino film community still actively watching and supporting films of our own. Especially with a film like ours set in a small city far from the capital, it is amazing to read in reviews that it resonates with a lot of people (sometimes even outside our country).”

From this year forward, our mid-year rankings include films that have been released in any country, with at least a limited theatrical, streaming or video-on-demand run, and a minimum of 1,000 views on Letterboxd. These new rules allow us to celebrate the love for Katie Found’s lesbian romance My First Summer—released in Australia in March—without having to wait for the US to catch up. It joins indie highlight Shiva Baby, Michael Rianda’s animated hit The Mitchells vs The Machines and Heidi Ewing’s swooning romance, I Carry You With Me, on the Top 25 in putting young, queer characters on the screen.

‘My First Summer’, written and directed by Katie Found.

As expected, many films on the list have suffered pandemic delays. We use premiere dates to mark the year of record for each film, so A Quiet Place Part II will always be attached to its March 2020 red-carpet screening, despite the fourteen-month hibernation that followed. This is Not a Burial, It’s a Resurrection by Mosotho director Lemohang Jeremiah Mosese screened at 2019’s Venice Film Festival and had a very long festival run until Mubi picked it up for streaming in the UK this year. The film’s lead, Mary Twala, passed away a year ago, July 4, 2020 (see her also in Beyoncé’s Black is King). Gabriela Cowperthwaite’s Our Friend—one of the eight women-directed films on the list—went to TIFF, London, and AFI before being released this January without screening once in 2020.

More than half of our Top 25 films are directed by BIPOC directors, nearly a dozen of whom are of Asian descent, illuminating a key benefit of the new eligibility system. Challenging the US for the most represented country is India with five films in the list, taking advantage of Amazon’s distribution deal and creating greater accessibility for Hindi, Tamil and Malayalam-language films at home and abroad.

‘Red Post Post on Escher Street’, written and directed by Sion Sono.

Also among the Asian directors making the list are legends Tsai Ming-liang and Sion Sono. Tsai’s Days recently received a limited run in Spain (it will be brought to the US by Grasshopper Films this August), while Sono’s Red Post Post on Escher Street had a quick VOD run in February courtesy of Japan Society Film.

Produced in the US and directed by Japanese-Brazilian Edson Oda, Nine Days qualifies due to an exclusive run at the Singapore arthouse theater The Projector in May—it’ll be released in the US later this month. Finally, Asian American director Jon M. Chu makes the list with his adaptation of Quiara Alegría Hudes and Lin-Manuel Miranda’s In the Heights. We are also happy to see a couple of Letterboxd members in the halfway 25: Cleaners’ Barit and Chad Hartigan (Little Fish). If you’d like to discover more 2021 releases by our member-filmmakers, we have a list for that.

The Top 25 is, of course, solely made up of narrative feature-length films. On the documentary front, Flee is currently the highest-rated non-fiction feature of 2021. Neon is expected to release the film in the US for an awards run later this year, but it’s eligible now due to a release earlier this month in director Jonas Poher Rasmussen’s homeland of Denmark.

‘Flee’, directed by Jonas Poher Rasmussen.

Fellow Sundance Film Festival winner Summer of Soul (or… When the Revolution Could Not Be Televised) is currently the year’s highest-rated documentary in general, but was 48 hours shy of eligibility for the halfway list, releasing in theaters and on Hulu on July 2. The runners-up are: Sir Alex Ferguson: Never Give In, directed by the notorious football manager’s son; David Attenborough’s The Year Earth Changed, directed by Tom Beard; and rock-docs TINA and (in his doc-directing debut) Edgar Wright’s The Sparks Brothers.

In other categories, It’s a Sin is the highest-rated narrative miniseries at the midway point, Can’t Get You Out of Our Head by Adam Curtis is the highest-rated documentary miniseries, Bo Burnham: Inside is the highest-rated comedy special, Blackpink: The Show is the highest-rated music film, Save Ralph is the highest-rated animated short film, and Four Roads, by Alice Rohrwacher, is the highest-rated live-action short film.

With Cannes underway and more festivals to come, it is still a long road to the 2021 Year in Review for these films—but given the journey most of them have already travelled, it is pleasing to celebrate the filmmakers’ success. Ang galing ninyong lahat!

On top of its meticulously bonkers production process, our highest-ranked film, Cleaners, had a long journey to its first theatrical distribution, and it’s far from over. The film premiered at the QCinema International Film Festival in October 2019, to raves from Filipino Letterboxd members, and it still holds a firm grasp on its high rating nearly two years later. Ultimately, the first non-fest release for Cleaners occurred when Singapore’s Asian Film Archive screened it for a week in April, thus qualifying the film for our 2021 lists.

‘Ode to Nothing’, written, directed and edited by Dwein Baltazar.

Ode to Nothing has been on an even longer journey. The film also debuted at the QCinema Festival, but in 2018, and finally arrived on local streaming services iWantTFC and KTX.PH earlier this year.

Being celebrated by their countryfolk on Letterboxd is one thing, but how can those of us outside the Philippines see these top two films? Perhaps we need to give our local distributors a nudge. As Cleaners director Barit explains: “We are a team of three first-time filmmakers and producers. We are still learning the ropes of film distribution and marketing—and it’s been very hard. I just want to shamelessly say that our doors are wide open for distribution and acquisition; we are not yet available on any streaming platforms locally or internationally [winks nervously].”

See the Halfway 2021 list on Letterboxd and watch the Top 10 countdown on YouTube

Follow Jack and Gemma on Letterboxd

[hostilepoet17]

#9

thank you @antique-symbolism-main✨

9. Recommend something that you really enjoyed in 2021.

oof I loved a lot of things this year!!

TV Shows

What We Do in the Shadows (2019)

I had always had this on my to-watch list and then Disney+ suddenly added it, and reader, I have not stopped watching it in a loop since. It's excellent. I love love love it.

Wandavision

Insanely creative, absolutely stunning. Heartbreaking, and the behind the scenes featurette is an absolute treat if you like seeing how things work behind the curtain.

Ted Lasso (season 2)

We've been big Ted Lasso fans in our house for years after the initial ads, we got OBSESSED with the first season and nobody would listen to us last year when we kept telling everyone to watch it, so you can imagine how delighted we were this year when it finally got the attention it deserves. It's absolutely WONDERFUL

Shout out to Loki (2021), Sex Education (s3), Made For Love, Hawkeye (2021), Kevin Can F**k Himself, and This Way Up (s2) as well.

[I also got into Veep which was AMAZING, did two rewatches of Buffy the Vampire Slayer, and another of Arrested Development. These are the things keeping me sane in 2021.]

Films

I really really loved Spider-Man: No Way Home, Promising Young Woman, Last Night in Soho, Judas and the Black Messiah, Shang-Chi, Luca, The Father, Black Widow (2021), and The Suicide Squad (2021) in terms of new releases.

This has been our big Owen Wilson year, rewatching his movies so shout out to Zoolander (I have watched it multiple times in a week tbh), Wes Anderson's entire filmography, and Shanghai Noon. We're obsessed and I'm not sure if it's keeping me sane or making me more unhinged tbh.

I know that's a lot of stuff but what else has there been to do this year except watch films and tv shows?? I highly recommend anything listed above!

End of 2021 Asks

[smeemyselfandi]

Every movie of 2021 I've seen till  2/20/2022 ranked best to worst

 1. Judas and The Black Messiah- I was on the edge of my seat since I didn't know the story that well. It's a shame it's a true story.

2. The Green Knight- The most beautiful movie of the year.

3. Spider-Man: No Way Home- Not the best Spider-Man movie but pretty close

4. Raya and the Last Dragon- I liked all the characters and was a very good adventure to watch.

5. Encanto- The songs are just too good.

6. Nightmare Alley- The first half really got my attention. 2nd half is not as good but still solid.

7. Last Night in Soho- It wasn't as scary as I hoped but still pretty creepy and entertaining

8. Candy Man- Better than the original in my opinion.

9. The Suicide Squad- Still not perfect but a much better improvement then the other one.

10. Red Rocket- Simon Rex giving one of the best performances of the year. Never thought I say that.

11. In The Heights- Just a fun musical. The songs weren't as good as hamilton but still good.

12. French Dispatch- One of the stories is great but the others are either okay or kinda bad.

13. Shang Chi and the Legend of the Ten Rings- Has some of the best action scenes in the MCU.

14. Bad Trip- Better verison of Bad Grandpa.

15. Belfast- Beautifully shot but drags in some places.

16. The Mitchells vs The Machines- One of the best family films of the year.

17. Dune- Beautiful movie but felt too long.

18. Spencer- The performance is better than the actual movie.

19. The Tragedy of Macbeth- It's just another Macbeth movie.

20. Black Widow- Fun for the most part but dumb in some places.

21. Batman: The Long Halloween, Part Two- Best Two-Face movie

22. Godzilla vs Kong- Dumb but fun.

23. Zack Synder's Justice League- Long but better than the original.

24. Batman: Soul of the Dragon- Better Mortal Kombat movie.

25. Mortal Kombat- The action was good but lacked the charm and character from the first one.

26. Patrice O'neal: Killing is Easy- The doc was good but should've been much better for a great comedian.

27. Licorice Pizza- Most overrated movie of the year?

28. Luca- The story is bland but the animation is good.

29. Venom: Let there be Carnage- I'm just happy to see Carnage.

30. Together Together- Cute movie nothing special.

31. The Matrix Resurrections- Meta stuff is good but everything else is meh.

32. Oxygen- Takes from other movies but it's okay I guess.

33. Eternals- Too long but I liked some of the characters.

34. Batman: The Long Halloween, Part One- Should've been one movie cause this felt incompleted.

35. Justice Society: World War 2- I like seeing some of the characters but the story was bland.

36. Halloween Kills- Pretty dumb. Didn't expect it to be worse than the other one.

37. Trollhunters: Rise of the Titans- Let down of a finale of a good series.

38. Chaos Walking- Interesting idea done poorly.

39. Old- Another interesting idea done poorly but this was worse.

40. Injustice- A boring and stupid story to be done.

41. Spiral- Don't expect SAW movies to be smart but at least let them be entertaining.

42. Space Jam- That Porky Pig rap scene is one of the worst scenes I've ever seen.

43. Willy's Wonderland- Could've been decent if they tried harder on making the villians more intimidating.

[actuallylorelaigilmore]

2022 movie of the week: masterlist

if you’ve known me for any time at all, you should know by now that i will not watch very many movies this year. i’ll aspire to, i’ll think it’s a good idea, but it’s just not that likely to happen. however, that shouldn’t stop me from the fun of trying! and this year i’m aiming for a slightly different type of goal. 

my plan is to watch one movie a week. if i happen to watch more than that, great, but it’'ll be a bonus and won’t count for a following week. i’ll review my weekly movie same as i review all the movies i watch, and check them off my watchlist as i go. (my watchlist just gets longer every year. maybe 2022 is the year i finally make a dent!)

4th man out (2015)

892 (TBD)

12 years a slave (2013)

a family man (2016)

a man called otto (2023)

a room with a view (1985)

a simple favor (2018)

a single man (2009)

a wrinkle in time (2018)

about time (2013)

admission (2013)

after yang (TBD)

all the bright places (2020)

always be my maybe (2019)

ammonite (2020)

amsterdam (2022)

an education (2009)

ant man (2015)

ant man and the wasp (2018)

anything's possible (2022)

aquaman (2018)

arrival (2016)

atonement (2007)

august: osage county (2013)

babylon (2023)

bad education (2019)

be kind rewind (2008)

bedazzled (2000)

begin again (2013)

big eyes (2014)

billy elliot (2000)

black panther: wakanda forever (2022)

blockers (2018)

bohemian rhapsody (2018)

bowfinger (1999)

boy erased (2018)

brideshead revisited (2008)

bright young things (2003)

burn burn burn (2015)

cairo time (2009)

can you ever forgive me? (2018)

catherine called birdy (2022)

chef (2014)

clemency (2019)

coco (2017)

colette (2018)

crazy rich asians (2018)

crouching tiger, hidden dragon (2000)

crush (2022)

cyrano (2021)

demolition man (1993)

devil’s knot (2013)

die hard (1988)

disclosure (2020)

disenchanted (2022)

do revenge (2022)

dog day afternoon (1975)

downton abbey (2019)

downton abbey: a new era (2022)

dreamgirls (2006)

dual (TBD)

earth girls are easy (1988)

effie gray (2014)

eighty for brady (?)

encanto (2021)

enola holmes (2020)

enola holmes 2 (2022)

eurovision song contest: the story of fire saga (2020)

fantastic beasts: the crimes of grindelwald

fantastic beasts: the secrets of dumbledore

fast color (2018)

fighting with my family (2019)

fright night (2011)

galaxy quest (1999)

girls trip (2017)

glass onion: a knives out mystery (2022)

gone girl (2014)

good luck to you, leo grande (2022)

goodbye christopher robin (2017)

gosford park (2001)

gunpowder milkshake (2021)

happy death day (2017)

happy death day 2u (2019)

happy texas (1999)

her smell (2018)

hidden figures (2016)

high school musical (2006)

high school musical 2 (2007)

high school musical 3 (2008)

holes (2003)

honk for jesus. save your soul. (2022)

honor society (2022)

how to talk to girls at parties (2017)

how to train your dragon (2010)

hysteria (2011)

i am not your negro (2017)

i don’t feel at home in this world anymore (2017)

i, tonya (2017)

i wanna dance with somebody (2022)

if beale street could talk (2018)

inception (2010)

infinitely polar bear (2014)

jackie (2016)

jane got a gun (2015)

joyful noise (2012)

judas and the black messiah (2021)

junebug (2005)

jupiter ascending (2015)

jurassic world: dominion (2022)

just mercy (2019)

kajillionaire (2020)

keeping mum (2005)

knife fight (2012)

kubo and the two strings (2016)

laggies (2014)

last christmas (2019)

last holiday (2006)

late night (2019)

legally blonde (2001)

lemonade mouth (2011)

little (2019)

logan lucky (2017)

love guaranteed (2020)

love, simon (2018)

ma rainey’s black bottom (2020)

magic mike (2012)

magic mike xxl (2015)

mansfield park (1999)

marry me (2022)

mars attacks! (1996)

mary queen of scots (2018)

master (2022)

me and earl and the dying girl (2015)

meet the robinsons (2007)

megamind (2010)

men in black international (2019)

mermaids (1990)

miss peregrine’s home for peculiar children (2016)

miss pettigrew lives for a day (2008)

miss sloane (2016)

mixtape (2021)

monkey business (1952)

monuments men (2014)

moonlight (2016)

moonrise kingdom (2012)

moonshot (2022)

mr. magorium’s wonder emporium (2007)

mr. mom (1983)

much ado about nothing (2011)

nancy drew and the hidden staircase (2019)

nanny mcphee (2005)

nanny mcphee returns (2010)

never let me go (2010)

newsies (1992)

no time to die (2021)

nope (2022)

northanger abbey (2007)

not okay (2022)

obvious child (2014)

on the come up (2022)

other people (2016)

pacific rim (2013)

paddington (2014)

paddington 2 (2017)

palm springs (2020)

parasite (2019)

paris is burning (1990)

passing (2021)

penelope (2007)

pete’s dragon (2016)

phoenix rising (2022)

pirate radio (2009)

please stand by (2017)

pride (2014)

pride and prejudice and zombies (2016)

professor marston and the wonder women (2016)

return to oz (1985)

rise of the guardians (2012)

rita moreno: just a girl who decided to go for it (2021)

rocketman (2019)

roll bounce (2005)

rosaline (2022)

saving face (2004)

say anything (1989)

scream (2022)

see how they run (2022)

seeking a friend for the end of the world (2012)

shoplifters (2018)

short term 12 (2013)

sing street (2016)

sleeping with other people (2015)

someone great (2019)

soul (2020)

spiderman: far from home (2019)

spiderman: homecoming (2017)

spiderman: into the spiderverse (2018)

spiderman: no way home (2021)

spin me round (2022)

spotlight (2015)

spring awakening: those you’ve known (2022)

spy kids (2001)

stage fright (2014)

step up (2006)

suicide squad (2016)

teeth (2007)

the 355 (2022)

the anniversary party (2001)

the batman (2022)

the beguiled (2017)

the best exotic marigold hotel (2012)

the breadwinner (2017)

the children act (2017)

the craft: legacy (2020)

the disaster artist (2017)

the divine order (2017)

the emperor’s new groove (2000)

the eyes of tammy faye (2021)

the fall (2006)  

the favourite (2018)

the fight (2020)

the fighting temptations (2003)

the five year engagement (2012)

the gentlemen (2020)

the godfather (1972)

the godfather part 2 (1974)

the godfather part 3 (1990)

the great gatsby (2013)

the guernsey literary and potato peel pie society (2018)

the hate u give (2018)

the hunchback of notre dame (1996)

the hunt (2020)

the iron lady (2011)

the legend of tarzan (2016)

the master (2012)

the matrix resurrections (2021)

the notebook (2004)

the old guard (2020)

the outfit (2022) 

the photograph (2020)

the prince of egypt (1998)

the prom (2020)

the queen (2006)

the second best exotic marigold hotel (2016)

the secret garden (2020)

the skeleton twins (2014)

the spy who dumped me (2018)

the suicide squad (2021)

the trial of the chicago 7 (2020)

the truman show (1998)

the unbearable weight of massive talent (2022)

the united states vs. billie holiday (2021)

the velocipastor (2018)

the way he looks (2014)

the woman king (2022)

their finest (2016)

this means war (2012)

tootsie (1982)

treasure planet (2002)

troop zero (2019)

turning red (2022)

two lovers and a bear (2016)

us (2019)

valley girl (2020)

velvet goldmine (1998)

venom (2018)

venom: let there be carnage (2021)

victoria & abdul (2017)

walk the line (2005)

west side story (2021)

wet hot american summer (2001)

what we do in the shadows (2014)

where’d you go, bernadette (2019)

widows (2018)

wild target (2010)

wonder woman 1984 (2020)

yesterday (2019)

young adult (2011)

zombieland: double tap (2019)

[popculturebuffet]

Amphibia: Night Drivers/Return to Wartwood Review “Many Happy Returns”

Hello you happy people. And Amphibia is back and that means my reviews are back! As for why this reviews a bit late despite it leaking, I wanted to wait for today, and long story short both focused on finishing a review that WASN’T time senstive, instead of finishing it Sunday, and overestimated how much time i’d have to do two reviews on a day that included my first covid shot, grocery shopping, helping mom clean the car, and my friend coming over to watch Judas and the Black Messiah. Excellent film by hte way, as was the Sound of Metal which we watched after. Point is I done goofed and I will try to at the very least actually get the reviews of the episodes out on the same day they come out. 

But slip up or not i’m happy to be back in the saddle, and back to Wartwood. I’m pumped for the heavier second half, with more secrets to uncover, some zelda style temple action, and some heavy drama with just a whiff of keith david, as well as to see the supporting cast from Wartwood again after far too long. So how’d the mid-season premire pair fair? Join me under the cut to find out. 

Night Drivers: I was really excited by the Road Trip idea when first announced for season 2. A chance to expand the world and get the plantars out of their comfort zone was an amazing concept and it did lead to some really great stories and interesting locales.. mixed with episodes that had interesting locations but no interesting plot or character stuff. It was a mixed bag, and disappointing after close to a year’s wait to continue the plot that it really didn’t outside of “Toadcatcher”. Anne never really dealt with her trauma and the show never dealt with hop pop’s poularity or anything else. Again there were GOOD episodes and ideas but it felt like the show stalled for a good chunk of the season till we got to Netwopia which while still having tons of slice of life stuff felt a lot fresher with it, and had a lot more fun playing with stock plots and gave us a fresh new setting to dig into. 

So I was a bit hesitant to go back to the road for an episode.. even if it was just one episode. Thankfully I was very wrong there as Night Drivers was a pretty good episode and would fit well among the best of the road trip arc like “Truck Stop Polly” “Fort in the Road” “Anne Hunter” “Toadcatcher” and “Wax Museum”.

The plot is straightforward: Sprig and Polly are excited that their almost home to wartwood and if Anne and Hop Pop drive all night they’ll be there by morning. Polly will get pillbug pancakes and Sprig will see Ivy again. This is part of a long tradtion of “skiping over the journey home because we’re tired and we wanna go home” in fiction. Jokes aside it’s a resonable device used to prevent ending fatigue and in this case to free up episodes for the second half. We already saw the journey once, we usually don’t need to see it again. To Amphibia’s credit they have valid reasons for it: The journey is LITERALLY sped up, as Hop Pop and Anne have been driving for 20 hours straight.. and their on a timer. As was established last time.. well the last time that wasn’t a spooky halloween episode, The Plantars have to get back for the harvest and really don’t have time to sightsee, while they all have to be there for whenever Marcy comes back to take Anne to the first temple. They’ve also traveled these roads before so while their going a whole other directoin, they know what perils to avoid. 

But as anyone whose taken a long cartrip can tell you, you can’t shotgun it forever and the two eventually tap out with Hop Pop telling Sprig and Polly not to night drive as it’s dangerous and blah blah blah standard parental warning that will be swiftly ignored. So once Hop Pop and Anne are conked out they swiftly ignore it after we get their dreams.. which are the best gags of the episode: Hop Pop has a dream with weird, really cool looking monsters that represent his faults, only for it to turn Lucid and him to start flying and take his shirt off and whip it around Muscle Man style. 

While Anne’s is about a yogurt world where there’s only one flavor... BLACK LICORICE. Yeah it quickly turns from Shopkins to the Lich From Adventure Time really fucking quick. 

So while Anne has a nightmare and Hop Pop becomes unto a god, Sprig and Polly drive all night, repreadtly running into a creepy hitchiker and realizing it is as dangerous as they said with bolders, even worse creatures than usual because of course theye’d be a lot of nasty things lurk in the dark why wouldn’t they on froggy death world, a nightmarish fog and nearly dying on said foggy road they took to evade the hitchiker. Naturally the scary hook handed hitchiker.. is a friendly one, simply trying to help them and saving them from going over a cliff. They do make it three miles from Wartwood and Hop Pop wakes up angry to find they disobeyed him.. but Anne gets him to back off as they clearly learned their lesson from the sleep deprviation and nearly dying, and our heroes head for home. 

Night Drivers isn’t an exceptional episode, but it is decent and still does belong with the other good road trip episodes, with some good dream sequences and a nice dynamic between Sprig and Polly. It was nice to have an episode with the two that was good unlike Quarallers Pass which made me want to run full speed into my nearest wall until I was given the sweet gift of unconciousness. While the Hook Handed man thing was a bit obvious it lead to some great gags. It’s a nice breather after the tearjerking mid-season finale and while we’ve obviously had months and a haloween episode between that, the creators rightfully realized a lot of people will be binging the series in the future. The issue I had with the first quarter of the season was it was ALL break and only a little plot progression. Here we’ve had a lot of plot progression in the last episode chronlogically, and are going to have a lot in the coming episodes with ‘After the Rain” coming next week. It’s nice to take a break and see the forest for the hook handed ghosts.

Return to Wartwood: I was excited and terrified of this one. I was excited because I missed the supporting cast from season one, mostly Ivy and Maddie, and was delighted to see them again in full. But I was also worried the show might pull out a melancholy breakup plot and having gotten attached to Ivy/Sprig and Hop Pop/Sylvia I was worried. And I was delightfully wrong as instead it’s another breather episode and an utterly fantastic one after the simply decent one above. 

Our heroes return, without being drawn by rob liefield or replaced by the Squadron Supreme first, and are happily greeted by the town. Aformentoined fears died a happy death as Sylvia squeezes Hop Pop and as for Sprig, Ivy unsuprisingly ambushes him. Everyone’s back and the Mayor, who I also badly missed is back using Toadie as a gong to get everyone back to buisness, with Swampy inviting them for a big dinner at his diner that night to celebrate and welcome them back.. and to give out their gifts. 

Sprig and Anne are equally confused while Polly and Hop Pop are sweating bullets. Turns out when they got the Fwagon they agreed to get a bunch of stuff for the town and forgot and now everyone’s on the hook for it and want to lie their butts off to solve it. In a nice show of character development, Anne has learned that the lying never solves anything “I think we’ve learned that lesson by now”. After SO many plots of the characters lying and it going terribly, it’s nice to have someone speak up. Sprig also wants to lie but only becuase he’s deeply afraid Ivy will break up with him as she wanted a Red Sun shell to go with the blue moon shell she gave him. Awwww. And oh crap. 

So our heroes head home to plan and kick Chuck out (“I grew tulips”). So they do the natural thing... and decide to summon an edltich beast from the necronomicon... which of course Maddie gave Sprig as a present (”Aww that’s nice”. Agreed Polly, agreed.). I also can’t help but love the line “We’re all cull with practicing the dark arts to solve our problem right?” So our heroes get the proper summoning horn, thing to go with the horn and some candles.. i’ts not part of the ritual but Anne says it helps with ambience and it’s right. 

So our heroes summon the Chikalisk, an edltich god that’s naturally basalisk in all but name, which dosen’t attack unless attacked and goes after gold. So they fake some golden presents, and the beast attacks at the party.. but the town naturally fights back, and our heroes are forced to help fight the monster as it stonifies people. So we get a truly glorious battle sequences as the whole town shows off how badass they are, with Maddie curing people, Sylvia showing she can keep up with Hop Pop and Ivy showing her already established badass bonafieds. It’s just awesome. Also the Mayor uses Toadie as a shield not realizing he’s turned to stone which can only remind me of this. 

Once the townsfolk are freed they get into Chickalisk formation (”We have a formation for that?” “We have a formation for everything!”) And it’s offended enough to just nope out. The townsfolk are depressed though the presents got destroyed and Anne glares the family into coming clean. And while the mayor seems mad at first... he just laughs with everyone taking it in stride: It was boring without them getting into trouble and learning lessons every week, and they missed them.  Ivy likewise dosen’t care about a gift she just missed her boyfriend.. and asks Sprig to take her on a proper date and smooches him on the cheek leaving both him and Anne catatonic, with Polly dragging Anne away and sprig just falling over before Maddie hits him with the potion. It dosen’t work that way, end episode. 

Return To Wartwood was a standout episode, with tons of great jokes, pacing and a nice plot that showed growth in anne. While Night Drivers was decent, this was the show at it’s : Sweet, deranged and adventurous all in one episode. While Night Drivers was a good appitizer this was one hell of an entree. Or an appetizer sampler which I often use as an entree. Great episode and a nice high note to start on. 

Next Time: We get an Ivy focused episode!

And Hop Pop is finally forced to own up to his lies!

As the twin kermits sooth you if you liked this review, follow me for more, check the amphibia tag for more reviews from this season and join me on patreon. If I get another patreon, i’ll add reviewing season 1 to my 25 dollar stretch goal so look out for that and my next one at 20 dollars, only 5 dollars away, nets a monthly review of a darkwing duck episode. Check it out and i’ll see you at the next rainbow. 

[nclkafilms]

Politically impotent, but highly entertaining courtroom drama

(Review of ‘Trial of the Chicago 7’)

*Warning: contains minor spoilers*

To say that the autumn release of Aaron Sorkin’s ‘The Trial of the Chicago 7’ felt timely following a summer of numerous instances of police brutality against peaceful #BlackLivesMatter protesters would be an understatement. To say that Sorkin’s high speed courtroom drama is revolutionary in any way whether as a film or a contribution to a political debate would - on the other hand - be a serious overstatement. From the sharply constructed and fast paced opening sequence where all our main characters are introduced with fast editing, upbeat music and brilliantly written shifting dialogue, Sorkin’s main mission (or ultimate fate) is clear: ‘Trial’ should above all be entertaining filmmaking.

Its story does not seem as the obvious fit for an entertaining story, however. In the shadows of the Vietnam War’s growing number of fatalities, various protest groups plan to come to Chicago in 1968 for the Democratic Party Convention to voice their contempt towards the US’ involvement in the war and the military service procedures. The protests, however, end in violent confrontations with the Chicago police. In the aftermath of these confrontations the leaders of the different protest groups are prosecuted for inciting riot and breaking various other laws. It is the battle between the Nixon administration and their oppositions represented by Students for a Democratic Society, the Yippies, several smaller figures and for some reason Bobby Seale and the Black Panthers (actually making it the Chicago 8), although they did not take part in the protests. The film follows their trial at the hands of eccentric and controversial Judge Hoffman combined with flashbacks to the events of the protest.

The film won the SAG ensemble award and that stands perhaps as one of the single least surprising awards of this awards season. ‘Trial’ is - as hinted at by the title - an ensemble piece if there ever was one. The film has no real lead, although Eddie Redmayne as Tom Hayden (SDS), Sacha Baron Cohen as Abbie Hoffman (Yippies) and Joseph Gordon-Levitt as Richard Shultz (Prosecutor) might be at the centre of attention. All involved actors have clearly had a good time with their roles portraying them with great enthusiasm, but for most parts also some degree of limitations.

Redmayne’s Hayden is the typical “good guy” who forgets to stay seated when the group protests the judge and continues to argue with Abbie about their political opinions and especially the manner in which they want them implemented. Redmayne does a decent job, but Hayden never really unfolds as a fully fleshed character to me. I do not feel that Redmayne ever really becomes his character and that is main reason why I never fully connected with him. Baron Cohen has run away with most attention for his portrayal of Abbie Hoffman, which I think partially is down to the fact that he is a somewhat unusually dramatic role for the Borat-actor. Cohen is without a doubt a better actor than he might be acknowledged as, and Abbie allows him a chance to show that. It is, however, still in combination with his classical sarcasm and wit that Cohen fully succeeds with his character. Through a returning stand-up routine throughout the film, Cohen’s Hoffman functions in some ways as a narrator and might be the closest we get to a leading role. He also gets to deliver the most touching lines of dialogue in my opinion as he takes the chair towards the end. Finally Gordon-Levitt tries his best to convey the mixed emotions and increasing doubt as Schultz faces the choice between blind loyalty and his devotion to the law. While I always love to see Gordon-Levitt on the screen, I cannot help but feel that Schultz as a character feels highly constructed and I had a hard time believing him to be that sympathetic towards the Chicago 7.

In many ways, I found Mark Strong as Jerry Rubin, John Carroll Lynch as Dave Dellinger and Mark Rylance as the defendants’ attorney, William Kunstler, to be more fascinating characters than both Hayden and Schultz in particular. Mark Strong continues to be more and more interesting and his Jerry Rubin is easily the most enjoyable character along with Cohen’s Hoffman. Strong, too, manages to balance the vulnerability of the sometimes blue-eyed Yippies with their sarcastic distancing and humour-driven protests in the courtroom. I actually believed in his character, when both the protests and the juridical proceedings become too overwhelming for him and he snaps in various ways. Carroll Lynch is an almost criminally underused actor and here I, too, would have liked to explore his character more as he feels so different from the remaining defendants. With the limited material he gets, he manages to create a sympathetic character. The same can be said about Rylance, who uses all of his theatricality as be battles with Frank Langella’s overdone Judge Hoffman. Langella gives it everything and then some to make Hoffman as unscrupulous, derailed and amoral as possible, which ultimately cooled my resentment towards him. He ended up feeling like a caricature more than an actual character and for that, way less scarier.

How come - despite all the characters’ flaws and limitations - that the film is still entertaining, then? Well, the main answer is Aaron Sorkin. While he is still to fully proof himself as a director (Molly’s Game also had some issues), he still is one hell of a writer. You can accuse him (rightly so) of over-writing his stuff, taking to many freedoms with his source material and balancing on the edge of using too much pathos, but it is hard to resist his razor sharp dialogues and tongue-in-cheek one-liners. He is no stranger to courtroom dramas and it is clear that he is on home-turf with all of these juridical and political exchanges of beliefs. For this reason, alone, ‘Trial’ never feels dull or slow. Additionally, this is aided by an often fast-paced editing and the fact, that it never dwells to long on one point before moving on to the next.

This, however, also stands as the main reason as to why the film never feels anything other than impotent as a political work. It never gets too dangerous or too controversial. It gets most dangerous, when it comes to the inclusion and portrayal of Bobby Seale and the Black Panthers. As Seale, extremely talented Yahya Abdul-Mateen II, is highly forgettable mainly down to the fact that Seale is reduced to a prop in the overall story. During the film, the court is accused of including Seale in the trial in order to scare the jury with a black man; adding a layer of racial injustice to the story. But in reality, it also feels as if Seale’s story line has been added to the film to “tick off” the race box; Fred Hampton is also thrown in there as Seale’s legal counsellor with his untimely death just briefly touched upon. The story of Seale, Hampton and the Panthers deserve more time, more attention and more gravity than given here; an initial opinion of mine that was only made clearer after watching ‘Judas and the Black Messiah’.

Ultimately, ‘The Trial of the Chicago 7’ is a highly flawed film and as a political work it stands as oddly harmless and undaring considering its timing and topic. However, thanks to another fast paced and sharp script by Aaron Sorkin, inspired performances from its all-star ensemble lead by Baron Cohen and Jeremy Strong and interesting plot it ends up as a highly entertaining courtroom film. A well-looking, satisfying meal, although it does not last for too long and leaves a somewhat questionable taste in the very back of my mouth.

4/5

[allthefilmsiveseenforfree]

Judas and the Black Messiah

I’m trying something new with what I call mini-reviews. Basically a quicker, more Cliff’s Notesy get-to-the-point version of my normal reviews. Alright, so the name isn’t the most original, but look, words mean things and I want everyone to be on the same page. Basically I want to get some thoughts out on paper without it having to follow the same structure every time - which brings me to Judas and the Black Messiah, the first of this year’s Best Picture nominees that I saw in theaters. And I’m so very glad I saw it in theaters, because the story of Fred Hampton and his assassination needs to be seen without distractions or opportunity to tune out or walk away. 

The film focuses on Bill O’Neil (Lakeith Stanfield), a low level crook who gets in trouble with the feds for impersonating an officer. They use him to infiltrate the Chicago chapter of the Black Panther Party in 1968 and get close to its chairman, the electrifying and charismatic Fred Hampton (Daniel Kaluuya). Based on the title of the film, you can probably guess Hampton’s importance to Chicago and the cause for Black liberation, and you can probably guess what happened to him. The film feels a little Wikipedia-ish, but when it gives its actors room to breathe, the results are revelatory - Kaluuya especially is a revelation. His dynamic, bombastic speeches are reminiscent of a revival preacher, raising crowds to their feet with talk of deliverance. Stanfield holds his own with a role that could be pretty one-note - who doesn’t know what it looks like when a character is undercover and in over their head? What Stanfield does is let every decision he makes haunt him and break him down in such a visceral, visible way. The way he walks, the way his hands shake during his final act of betrayal - he’s turning into a ghost before our very eyes. 

If you’re unfamiliar with Fred Hampton and this chapter of history, you should watch this for an introduction to the subject and stay for two captivating performances by some of the greatest actors of this generation. Hampton was 21 years old when he was assassinated. Did I Cry? Yeah. Yeah I did. 

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