#funniest part is the section of the test I feel the worst about is literally a backroll

[chainymail]

not been super active bc i’m testing into a new rank at my hema school next month so i’m at the studio like 4 hours a day training and am not cooking up a ton of horny knight content. when i’m on the other side it’ll be back in full force.

for now just imagine me half armored and sweating and panting with a sword in my hand ok. cause that’s all that’s going on

[42inchtv]

Some Thoughts On The Best Movies Of 2018

Honorable Mentions: “Aquaman” (dir. James Wan), “Avengers: Infinity War” (dirs. Anthony and Joe Russo), “BlacKkKlansman” (dir. Spike Lee), “Blockers” (dir. Kay Cannon), “Eighth Grade” (dir. Bo Burnham), “First Reformed” (dir. Paul Schrader), “Isle of Dogs” (dir. Wes Anderson), “Mary Poppins Returns” (dir. Rob Marshall), “mid90s” (dir. Jonah Hill), “Ocean’s Eight” (dir. Gary Ross), “On the Basis of Sex” (dir. Mimi Leder), “A Quiet Place” (dir. John Krasinski), “Roma” (dir. Alfonso Cuarón), “A Simple Favor” (dir. Paul Feig), “Venom” (dir. Ruben Fleischer)

10. “Vice” (dir. Adam McKay) A thing about “Vice” is Shea Whigham (49) plays Amy Adams’ (44) dad and Christian Bale’s (44) father-in-law — and the movie makes no attempt to hide the fact that they all look the same. It's a weird and imperfect film, but I'm oddly drawn to it -- despite the fact that many of the negative things people have said about this movie are very true. Perhaps that's why I keep coming back to Boots Riley's tweet-review: "Adam McKay makes movies that get me mad because he does several things that I wish I did first. In 'Vice,' he doesn't just break the 4th wall -- he breaks it and comes and sits in the seat next to you with popcorn and hot sauce. I don't think he makes film, he makes theater." There is something transfixing about "Vice." It's a trainwreck, a complete blank-check movie, the work of an auteur who was not told "no" once during the process. So this thing rattles off the rails early and often and features performances and tones so wildly divergent that it feels like something entirely different than regular movies. But put it this way: I'd rather watch a movie like “Vice” than “good” movies like “First Man.” McKay goes for it here in a way that seems reckless and irresponsible -- as if he'll never get the chance to make another movie so why not throw every idea he's ever had at the screen. There's something laudable to that kind of ego and arrogance. “Vice” condemns everyone, including the audience. After what we’ve done, it’s the movie we deserve.

9. “To All The Boys I’ve Loved Before” (dir. Susan Johnson) Did everyone who bought high on “Set It Up” watch “To All the Boys I’ve Loved Before” and feel slightly awkward? A winning coming-of-age romcom that should stand proudly next to “10 Things I Hate About You” on the list of awesome teen movies that people watch forever.

8. “If Beale Street Could Talk” (dir. Barry Jenkins) If there was a better scene this year than Brian Tyree Henry’s section of Barry Jenkins’ lush, wondrous, absolutely stunning “Moonlight” follow-up, "If Beale Street Could Talk,” I didn’t get around to seeing it.

7. “The Ballad of Buster Scruggs” (dirs. Ethan and Joel Coen) The James Franco section feels incomplete and hurried — why wasn’t it axed completely after Franco’s sexual misconduct allegations? — and the Liam Neeson section is dark and slow. But the other four parts? Instant, rewatchable classics, some of the best things the Coen brothers have ever done. My fave at the moment is the Tom Waits one, but the Zoe Kazan segment is also not without its pleasures. For a movie exclusively about death and dying and the relative fleeting nature of life, “Buster Scruggs” is a delight. It’s an exception to the premise of the film: how could life be meaningless when this exists?

6. “Spider-Man: Into the Spider-Verse” (dirs. Peter Ramsey, Robert Persichetti Jr., Rodney Rothman) As we've gotten further away from 2018, it feels like few movies from that calendar year will stand the cultural test of time. In five years, will people still talk about even the year's best gems, "The Favourite" and "Widows"? Maybe? At this rate, "A Star Is Born" will live in infamy, an Oscar front-runner that was basically shut out in the final calculus; even a film like "Roma," a wonderful movie that deserves its many awards, feels somewhat diffuse. Alfonso Cuarón's intimate epic has barely made a dent now, at a time when even the worst Netflix movie becomes meme fodder for weeks on end. All of which is to say, if one movie from last year winds up being *the* movie from last year, allow me to submit for consideration "Spider-Man: Into the Spider-Verse." Its message is more powerful than the pablum of "Green Book" and it just seems so damn modern? Transformative? There's a reason "Spider-Verse" caught the attention of the zeitgeist. It's a now movie -- a dazzling, scattered, boisterous affair that's super funny and legitimately sweet. I slept on a lot of this the first time I saw "Spider-Verse" (literally, being a parent is tough sometimes!), but with clear eyes and full hearts, I watched it again and fell super in love. Time to re-do the 2018 top-10 list.

5. “Widows” (dir. Steve McQueen) How would “Heat” look if it were all about systemic white supremacy? A lot like “Widows,” apparently. What a blast of pulp fiction, with a stacked cast just knocking the crackling dialogue out of the park at every turn. Viola Davis was the headline story here, putting in a complex turn that feels comparable to Robert De Niro in “Ronin.” But the real star is Daniel Kaluuya, who delivers the best villain performance since Javier Bardem’s Anton Chigurh. Build a statue for him in lieu of his guaranteed Oscar snub.

4. Black Panther (dir. Ryan Coogler) Marvel's own version of “The Dark Knight,” “Black Panther” is the best MCU movie yet, a legitimate epic in league Christopher Nolan’s superhero classic but with a central conflict that feels like an extension of “Do the Right Thing.” Months later, Michael B. Jordan’s towering performance still rules: he’s every bit as impressive as Heath Ledger was as the Joker.

3. “A Star Is Born” (dir. Bradley Cooper) The closest thing to "Hamilton" released this year, Bradley Cooper's meme factory focuses on who lives, who dies, who tells their story. There’s a lot of Lin-Manuel Miranda's musical in “A Star Is Born" and the film is structured as such, up to a literal heart-clutch final moment that makes me cry just thinking about it (and rivals Eliza’s last gasp in “Hamilton”). Enough has been written about "A Star Is Born" that more isn't necessary, but let's just pause here to praise Cooper, the Actor, for a performance so great that it's easy to take him for granted.

2. “Mission: Impossible - Fallout” (dir. Christopher McQuarrie) What if “The Dark Knight” but Tom Cruise? What if “Skyfall” but “Mission Impossible”? That’s “Fallout,” the best action movie since “Mad Max: Fury Road” and the best blockbuster in a great year for blockbusters. To use overdone online parlance, this movie fucks. From the jump too, with a prologue that combines elements of the first “Mission: Impossible” with a hilarious cameo and the Wikipedia entry to “Rogue Nation” to set the tone for what’s to come. “Fallout” is a masterpiece of action cinema – to wit: the second act is basically one giant action sequence segmented into separate movements – and a tightly wound spy game that does just enough with Tom Cruise’s Ethan Hunt and his IMF team (Rebecca Ferguson remains a highlight) to make the characters worth caring about. A relentless, special movie – the best Cruise has done since “Edge of Tomorrow” – “Fallout” feels like the end of this beloved franchise. And why not? How do you top perfection? Why would you even bother to try?

1. “The Favourite” (dir. Yorgos Lanthimos) The funniest movie of the year, “Mean Girls” in corsets with Rachel Weisz absolutely effing owning in the Regina George role, “The Favourite” is maybe the only perfect movie of 2018. Weisz, Emma Stone, and Olivia Colman are all incredible, a trio of co-leads in the tradition of “Goodfellas,” “Zodiac,” or “The Social Network.” Yorgos Lanthimos’ film belongs in the same zip code as those classics from a quality standpoint as well, with a sharp-edged script that powers the proceedings to its downbeat, darkly comic conclusion. And while this is a movie all about those aforementioned women, don’t sleep on at least one man: Nicholas Hoult, who hams it up with an abandon reserved for Ryan Phillippe in “Cruel Intentions.” A true classic.