#good filmmaking

[lesser-mook]

Dune: Part Two - Some of the best pieces of Anti-Christ Propaganda I've ever seen. And by itself? A well produced, well made film. Though it is heavy-handed aka long as shit (Movie Recommendation )

Holy Wars, Chosen One rising from the Desert, Third Eye's and shit, Free people/"Fremen" fighting for their desert land, Fall of The House of Atreidas/Collapse of Empires *cough America cough cough*, seeing timelines, Nukes n shit.

The powers that be really, REALLY want nuclear war. If it ain’t a Civil War, us killing each other, they want nukes flying. 

The Eternal's had good cinematography, so did The Ritual but those can't even touch this.

This movie, in IMAX? Was/IS a must see experience, religious experience even. If you haven't seen it in IMAX, Do it. Please. Don’t miss out.

But outside the realm of conspiracy, they're just well made movies on their own. The sequel had way better pacing, Part 1 was just 2 hour setup and it was worth it. So so worth it.

This movie is 2 films in one package, if you paid to see this? You're not wasting your money if you went to see this experience.

My biggest complaint besides the hefty runtime, expansive lore being somewhat crammed & rapid fired at the audience (hence a LOT of exposition), would be the fact that we never get to see exactly how the worm riders dismount or how a caravan riding the worms back- then get OFF the worm in the first place.

Jessica was pregnant, how did she get on the worm?! And how did they get her off the worm? 

See we’re shown how dangerous it is to get on a worm, every step involves mounting it while it’s in motion, it doesn’t stop to let you onboard. So how they transport crowds looks cool, but it in the movie specifically (fuck the books) the movie didn’t show that detail. 

Now, let’s put credit where it’s due: These two movies by themselves are a serious feat, especially in this nauseating cinematic universe era of film-making.

This isn’t Star Wars, this isn’t Marvel or DC. 

This is custom lore from a lesser known title, and a sequel with the magnitude of Avengers Infinity War in just 2 movies, coming off of one film with 2 hours of setup (which is basically what Part One was). All in just 4 years, not enough people are addressing how impressive that these two movies exist & executed in the way they were.

This isn’t DUNE II, but “Part Two”. The same narrative, same story, effortless momentum. Way better filmmaking than Endgame, better story, and better music (Hans Zimmer annihilated this OST, as usual).

This easily could’ve been a storytelling disaster, a contrived, over-ambitious mess with yet another messy Messiah overtone that falls on it's face, but it did well.

And while Paul isn't the most engaging main character (he has some gary stu-ish traits, which was ironically written to be part of the narrative) but he is no boyscout.

He cries, he will train, he is taught, he outbursts, he gets emotional, and when he's serious, it's serious. Not perfect, and is a man of vengeance, not Talk no Jutsu, not punching away the darkness of someone's heart to free their inner child or some bullshit:

Paul is here to handle business. Period. And you slowly see him developing emotional calluses to the point where you see him becoming something else entirely.

And that's ALL imma say, for now. Go watch the movie.

It could've been mess, but it works.

It ain’t no masterpiece, don’t mistake my compliments for hype, the movies are not perfect- but I didn’t expect this to impress, at all.

The music is just the movie's voice. The DNA.

Hans Zimmer's vision for music, coding the DNA for all the films he composes for is: Otherwordly.

Especially post- 2010, it’s like composing Interstellar was a period of transcendence for him.

Ever since that movie, his style entered a whole new realm, it’s almost intimidating how good he is.

Woke culture be damned, Films like this (while propaganda) still demonstrates in a good way, exactly what Hollywood's true potential is capable of.

[scan-junior]

watch my film: A video about red balloons

[that-butch-archivist]

"June as the champ, West Oak Lane, Philadelphia, 1962" from The Watermelon Woman: The Fae Richards Photo Archive

source: The Wild Good: Lesbian Photographs & Writings on Love, edited by Beatrix Gates

[travelinglikethelight]

Blink Twice (2024) | Directed by Zoë Kravitz

[gael-garcia]

Mami Wata (2023)

Directed by C.J. Obasi Cinematography by Lílis Soares

[bloodashre]

Sorry to ruin the movie magic for some of you, but it's extremely unlikely that the shots of The Kiss are edited to be longer. Like, a million to one.

How do I know? I'm in school for filmmaking, so I'll share a bit with you.

1. The first reason is the most important. It is very difficult to edit a shot to be longer (and almost never done, especially by professionals) and not have it be obvious. It is painfully obvious, particularly to other filmmakers, when someone does actually do this. I can almost guarantee that if this had happened, other filmmakers in the industry most certainly would have called them out for it. I've personally watched the scene literally thousands of times (I'm not exaggerating) and in my semi-professional opinion (yes, I've already made my own films, though I haven't been paid for any of my work yet), it's not edited to be longer.

2. Nearly as important and launching off the above, it's much more likely - and more easily and actually often done - that it's edited to be shorter.

Additionally, there's no reason to think it would be edited to be longer when it comes to the story. It's unnecessary. The reason it looks so awkward to solve of you is because - newsflash - it IS awkward! It's meant to be awkward!

Aziraphale is caught off guard, during a moment of being about to break down, crying, in the midst of an argument. He was just rejected. He's potentially thought about this moment so many times. It is possible he thought The Metatron was threatening Crowley, which just happened only a few minutes ago! And lastly, there's literally thousands of years of feelings that haven't been spoken aloud - at least not properly, depending which theory you follow.

And there's even more depending which theories you subscribe to that support this even further.

And then, there's the fact that, at least for a moment, he kisses him back. He goes from being surprised, to resistance, to acceptance, to reciprocation, to rejection in a matter of less than 30 freaking seconds - while also portraying all the unspokenness, uncertainty, and fear of 6000 years, as well as a possible threat AND rejection of Crowley refusing to come with him ALL AT THE SAME TIME.

It's so awkward and complicated and terrible - and yet also wonderful - and Michael Sheen is honestly a fucking MASTER for the amount of emotions he's able to portray in such an insanely small amount of time. Please please PLEASE don't reduce his abilities and the beauty of the story to editing some bullshit that any filmmaker with any actual integrity would never do.

[bm96-tf2]

Can you do some medic and engineer Science party goodness ?

Oh sure, Anon :D

Here...

(These can be either be two different versions or a set)

.....

I hope these are good, and I hope you like them despite these being simple ones ^^'

[soodoonimin]

I tried to screen record this scene so I could talk about BUT god help me, does Apple hate me. Anyway.

I just really wanted to point how much I love the way that Logan’s face goes from blind anger while he’s ranting at Wade (right before the Honda fight) to this sudden drop and even little eyebrow crease, and slight look away (like he’s ashamed) after he says “ You got nothing to say, Mouth?” Because he realized he might have actually gone too far 😭 but the second Wade answered with “I’m going to fight you now” Logan laughs.

And like after watching this movie (this was the 5th time) again I don’t think it was a condescending laugh I think it was a laugh of relief. Like he might have thought Wade was joking sure but he was also just so damn relieved that Wade was talking to him and I bet that fight was less him getting out his anger and more him also expressing that relief. Like yeah I’m sure he was pissed he got punched in the nose but somewhere in the middle of that fight he’s just having so much fun and you can tell just by the way the look on his face changes.

[joons]

godzilla minus one did my heart so, so good. the theme of we can make a difference this time set against the japanese war machine and geopolitics out of your control, the prototype plane that looks like it's flying in reverse as a visual symbol of valuing life over pointless death, the idea of sacrifice only being valuable if it saves someone, and how saving yourself can be the thing that redeems you......... y'all...

[ao-xingyume1987]

I imagine Nick together with Ellis in the rain, both kissing, like those scenes where the couple finally proposes and the weather changes or something like that jssjsj.Hope it's understandable (I put it again because the greeting was not placed, a big apology, greetings and have a great day!💖)

"Glad to see you alright, killer"

[bracoeth]

hey wait a minute that's not right

[mayasaura]

For some reason, the dnd:hat movie has been living rent-free in my head for over a week. Xenk is just rattling around in there right now, having a long talk with Kira about morality, mortality, personal sacrifice, and being a child who saw the Beckoning Death unleashed on their home.

I feel like Xenk would have a lot to say that Kira needs to hear, and be a good listener for the things Kira needs to talk about that she can't tell her dad or Holga. He'd probably benefit from talking to her, too. Kira almost experienced the same tragedy he did when he was her age. It would be cathartic for him to help her through that, knowing he helped save her from ever experiencing what he went through

[lycoris-artcorner]

There was total 4 instances of using Zolly (shifting depth of background for dramatic effect) in Transformers One

2 technical in first half, and 2 storytelling in second half

> One when D-16 witness Sentiel beheading Megatronus in revelation of his false nature in betrayal of Primes

> Another when Orion saw D-16's fusion canon came out for first time during fight with Starscream in High Guard base

Both are character realization and moments of shock about something important, for D-16 shatter of his worldview and beliefs letting his build up rage spill out & for Orion is recognition and growing concerns for his close friend's destructive tendencies

> 2 others are used for direct depth sense (Orion falling from the building in opening chase scene and as squad watches energon train being pressed with shifting rocks of Cybertron's landscape)

There's nothing more cinematic as great zolly shot and this camera technique was put in great use here

[kutekitty-43]

nightly freemance sfm poster

this one took super long because progressive refinement was making sfm freak tf out for no reason so i had to turn it off.... god i love this program

[ashintheairlikesnow]

Also, I am a HUGE fan of how they did the texting/phone calls in the film. Showing the text alone, then voices, then showing Alex and Henry visually getting closer and closer to one another, until they end up lying next to each other in bed emotionally, eye to eye, damn near touching despite being thousands of miles apart.

It's so good! It was such an incredible choice.

You can see that Henry is already infatuated, too, by the facial expressions from Galitzine. And I think Alex, too, just not obviously so because Alex himself hasn't figured it out yet.

[aduckwithears]

Good Omens: A Matter of Life and Death

Easter eggs and references! We know from the obvious placement of the movie poster in the title sequence and Maggie's shop (and even from Neil's asks) that inspiration was drawn from this movie.

I'm not going to dive deep into a lot of meta connections, but I wanted to share some of the parallels. For a great summary of the movie (A Matter of Life and Death aka Stairway to Heaven by Powell and Pressburger) and some general info relating it to Good Omens pop over to this article. This will contain some spoilers for the movie - now on with the show!

This one is before the movie even starts - The Archers is the production company of Powell and Pressburger - their target logo looks a lot like the one in the magic show portion of the title sequence.

We open in space - looking at stars and supernova, talking about the big, expansive universe. Fascinating how our view of the cosmos has been changed by modern telescopes (Crowley is so proud).

June (our heroine) is an American radio operator and picks up British squadron leader Peter's plane as he is crashing into the channel. They form an instant connection. Her hair was the inspiration for the Starmaker's amazing do.

Peter's fellow airman dies and ends up in Heaven, waiting for him. The angel administrators are very serious, very organized, very well dressed, and Heaven as a whole is colorless.

But Peter doesn't die - in fact he washes up on the beach near June, where they meet and immediately fall in love. Conductor 71 (the heavenly employee who was meant to collect Peter but lost him in the fog) is sent to convince him to come to Heaven, stopping time and freezing June to have a conversation with Peter.

I'll stop here to keep this from getting too long... More to come?