#how did del Toro make PINOCCHIO

[kristipetersenschoonover]

A look at MoMA’s CRAFTING DEL TORO’S PINOCCHIO exhibit

[ultrainfinitepit]

Saw your recent post about questions and thought I’d ask; Why angels? Specifically how did you find yourself peering into the biblically accurate/inspired angel content and then making it yourself? Was it a certain show or game? Cool art?

Also! If you’re up to answering a second question- is there any type of angel (or angelic esk creature) found in another religion or work (comic, show ect) that you’d like to draw more of/attempt drawing?

Here’s my previous answer with pictures, as well as a post on why I like drawing them, but I’ll summarize here!

I’ve always been interested in cool creatures, but the eldritch angels specifically started after I played Diablo III and watched Evangelion. Those things opened my eyes to how angels could look different from “guy with wings.” Around the same time I also started seeing a lot of fanart and videos for Bloodborne, and those designs inspired me too. And I just happened to see art by other angel artists at the time, so it all combined into the perfect storm of inspiration. I also have a lot of angel OCs that are my muses.

I've been meaning to draw my take on Death and the Wood Sprite from Del Toro's Pinocchio for a while now! I love their designs. Just need a spare minute between pin designing and Art Fight and everything else. I've also seen people do character redesigns for popular shows/media and I think it would be fun to try that myself one day.

[ernmark]

I watched Del Toro's Pinnochio this weekend, and I'm thinking about its approach to rules and rule breaking.

Because it's not a clean cut, 'obedience bad/independent thinking good' thing you often see with USAmerican projects.

One of the first sequences in the film is of Pinocchio throwing around knives because he simply doesn't know better, and almost seriously hurts Gepetto (who is understandably freaking out about this whole situation). He is a danger to himself and everyone around him, and he needs guidance and instruction to keep safe.

The first time he skips school to go to the carnival, it's the same: he should have done what he was told because it was meant to protect him from people who wanted to exploit him.

The second time he went to the carnival, though, he did it knowingly. He did it with the understanding that he was going to disappoint and upset his father, but that doing so would save his father from financial ruin.

I don't count making fun of Mussolini as an effective act of rebellion, because he didn't understand what he was actually getting into with that act. It was as lightheartedly ignorant and deadly as juggling knives, and it had repercussions for the rest of the movie. (Absolutely do criticize and call out fascists and dictators, but for the love of all that is holy, know what you're getting into before you do.)

When he disobeyed effectively, it was always done out of kindness and love. And very rarely to people who 'deserved' it-- by which I mean, people who were kind to him or loved him back.

It was standing up to protect the jealous little monkey that bullied him. It was comforting (and fostering 'softness') in the boy who had tricked him into burning his feet off. It was smashing the hourglass for a man who had once called him a burden.

Those acts came with repercussions of their own, each one with a heavy price to pay. But each time that kindness was rewarded with other people reaching back to save him, too.

And there's something to be said about the way it portrayed obedience: how often people obeyed cruel orders out of fear of pain or death, how often they obeyed awful orders in a desperate bid to earn some of the love and acceptance that they've been starved for (the monkey and Candlewick especially here).

And how there's a difference between Candlewick and his father, between the monkey and Volpe. And that difference matters. Just like the difference between juggling knives and smashing the hourglass.

It's that understanding that there are differences between these situations and people, and you have to examine each of them carefully before you can make any kind of sweeping proclamations.

It's nuance.

[nikibogwater]

Niki Blethers: Guillermo del Toro’s Pinocchio LET’S FREAKIN’ GOOOOOOOOO--

In case it was not already obvious, this was my most anticipated movie of the year. Heck, it was my only anticipated movie of the year. Having learned the hard way just how deeply disappointment stings, I don’t usually get my hopes up this high. But darn it, everything I heard about this movie prior to its release just filled me with too much excitement to ignore, and now that it is finally available to the wider public, it is my great pleasure to say--

HOLY MOTHER OF MARMALADE, DID THIS MOVIE LIVE UP TO MY HYPE AND THEN SOME

(Mild spoilers below the cut, GO WATCH THIS MOVIE IF YOU HAVEN’T ALREADY I FIRMLY BELIEVE THAT IT’S A MASTERPIECE)

First up: stop motion animation. We love to see it. And this movie doesn’t cut any corners with the stop motion. Even the fire is stop motion. The backgrounds are paintings (gorgeous ones at that), not just CG landscapes. The sets are so incredibly detailed I could’ve spent several minutes just staring at any given wide shot. There were very few instances where I could clearly see any effects that were obviously done in a computer. The animators and set builders went hard on this movie, and they have 1000% of my respect for it. 

Despite being a whimsical fairy tale, there is a pretty heavy sense of realism with this movie. Like, one scene, you have an overeager Pinocchio singing a cute little song about how excited he is to be alive, and then in the next one, he and Geppetto are walking past buildings plastered with posters promoting Mussolini’s Fascist regime. The way the film balances these two tonal opposites is absolutely genius, and I can’t remember a single instance of a jarring shift in tone. The light and whimsical always eases into the dark and realistic in a way that makes me feel like the two sides couldn’t exist without each other. 

Also speaking of realism, CAN I GET A HALLELUJIA FOR SOME HONEST-TO-GOODNESS CATHOLIC REP IN A CURRENT-YEAR CHILDREN’S MOVIE?!

This is obviously a personal thing for me, but I pretty much never see any accurate, respectful portrayals of my religion outside of films that are specifically made for Catholics. And I’ma be real with you, more often than not, the films made specifically for us turn out to be unbearably preachy or saccharine (and they’re never animated--another major point against them). To see a character who simply IS a Catholic (because this is Italy during the 1910s, so it’d be a little out-of-the-ordinary for him not to be), doing his little Catholic things, without it being a huge focus of the story or directly influencing the plot--ie, Catholicism being portrayed as just another normal part of every-day life--GAH. IT WAS JUST REALLY SPECIAL TO ME, OKAY? 

Also Geppetto locking Pinocchio in a closet because he doesn’t have time to deal with this, it’s time to go to Mass is a big fat Catholic mood. 

Okay, I’ll shut up about the Catholic stuff. Back to the movie.

If I had a nickel for every time David Bradly made me cry with his performance as a struggling father-figure overcoming the estrangement between him and his adopted son, I’d have two nickels. Which isn’t very many, but it’s great that it happened twice. 

Ewan McGregor practically carries this movie as Sebastian J. Cricket. I knew he was going to be good, but somehow I failed to foresee just how good he truly is in the role. This interpretation of Jiminy Cricket as a mildly self-absorbed novelist who sees Pinocchio as little more than his house for most of the film is just *chef’s kiss.*

Ron Perlman as the Podestà was incredible. I actually didn’t realize it was him until three-fourths of the way through the movie, he just vanishes into the role so smoothly. And gotdang, is that character scary. 

Christoph Waltz clearly went all out with Count Volpe and I bet recording sessions with him were very fun. 

Gregory Mann did so great for such a little guy! It’s hard to find child actors, and even harder to find child voice actors, but he was fantastic, and really sold the character. 

Speaking of characters, OH MY GOSH I LOVE THEM SO MUCH WHERE DO I BEGIN

Geppetto is a very sentimental old guy whose only joy in life was his son Carlo. After Carlo is killed in a bombing raid, Geppetto completely collapses under the weight of his grief. Carving Pinocchio isn’t something he does out of creativity or joy, but rather the result of drunken and despairing rage. The scene is played out as a grotesque and heartbreaking moment, and I LOVE it. 

Pinocchio himself is a Very Real Boy from the start--by which I mean, he never shuts up, he gets into everything, he’s kind of a brat, and he brings unbridled chaos to Geppetto’s life in the way that only a young child can. I like it when movies portray children as, y’know, actual children, not just tiny adults. Yeah, kids are loud, they break stuff, they annoy the heck out of you, and they are also so, so precious, they’re worth every second of it. 

I’ve already talked about Sebastian J. Cricket so all I’m gonna say here is I felt the line “Oh, the pain! Life is such hideous pain” right down to my core.

This movie covers a lot of heavy themes, such as the difficulties of fatherhood, abuse, war, death, and grief. But it does so in a way that left me with a sense of hope. It doesn’t shy away from the reality of these things, but it assures you that you can endure them, that you can find immense joy even in the midst of great suffering. 

To get a little personal for the second time, the way this movie goes about presenting the reality of death and the grief of those left behind resonated with me very deeply. I’m the youngest child in my immediate family, and deep down, there’s a part of me that dreads the day when they will pass on and leave me behind. Barring any unforeseen accidents, I will likely outlive most of my siblings, and I’m lowkey terrified of that inevitablilty. So there was something oddly comforting about a film that speaks directly to my fear like that. A film that doesn’t sugar coat or try to persuade me that it won’t be so bad. A film that tells me my time with my family is so much more precious because it is so fleeting. 

So yeah, tears were shed, I’m not ashamed to admit it. 

I could probably say a bajillion things more about this movie, but it’s getting late now and I’ve prattled long enough. In conclusion, 10/10, easily the best movie of my year, and I truly think I can forgive Del Toro for Trollhunters: Rise of the Titans now. 

[haich-slash-cee]

Murderbot TV show thoughts

Looking over the casting choice and also who is making the murderbot TV show and I'm just not excited :/

Rambling post with lots of opinions follows....

"Alexander Skarsgård will lead the series and will serve as executive producer." (source)

:(

All the queer, PoC, ace, aro, agender, non binary actors out there.... All the fascinating choices... who the hell is this. Did the people making this show even read the books, like all the characters in there are PoC. Also, executive producer? To be clear I do not know this actor at all. I am seeing posts that he does deadpan well, and speculation that exec producer roles means he's excited to do the books, which is prob good news.... but as if there's not PoC actors who are also deadpan etc etc?? Also, again repeating other tumblr posts, the effect this will have on fanart, too.

"Martha Wells will serve as consulting producer." Well I'm glad she's getting moneys, but how much influence is she going to have??

although - THIS is why you have to specify if a book character is PoC instead of being vague about it (as white authors seem want to do)! Because otherwise people (esp white people) just assume the character is white! this is just how system racism works, it's not interesting or novel, I'm just parroting what so many PoC authors have pointed out. It means that a character who describes itself in the book as a mishmash of generic human while surrounded by a lot of brown skinned humans somehow gets a casting of Alexander Skarsgård. (even if secunit was explicitly described as having brown skin or being not white in appearance, Paramount might just whitewash the character anyway, but still)

Going on..... "The Weitz brothers will write, direct, and produce under their Depth of Field banner. "

The Pinocchio movie here is a live action disney remake, not the Guillermo del Toro stop motion one. If you're like me and perked up a little, on seeing the title, because you got the Pinocchio wrong.

I guess "Rogue One" was a little interesting if depressing, idk.

The company is also linked to the movie "Prospect" (gorgeous scenery and scifi immersion and really nice soundtrack, but I found the movie rather racist and the characters lacking and I personally didn't vibe with it) and "The Farewell" which I mean to watch because people have told me they liked it.

Well, not much of this combination feels like the Murderbot books, to me, tho. I'm kind of puzzled. Like what are they getting from the books. What am I supposed to expect with "Murderbot diaries" being part of the filmography above.

Well how about the execute producers. " David S. Goyer executive produces alongside Keith Levine for Phantom Four. "

What in the hell?? Noooo! This is like the direct opposite of the core of murderbot! It's like these people skimmed the skin of space dystopian gun pew pew elements and were "yeah this is what the books are about".

Earlier, I was jokingly telling someone "I feel like these people are trying to make James Bond or the Bourne Trilogy in space or something with Murderbot, sheesh" and I fear that is in fact what is happening.

(deep breath)

Murderbot stars an autistic agender aro ace icon character who in the 2nd book hides away in a transport watching TV shows for weeks on end or whatever and then gets called out for that by Pin-Lee in the 4th book. Murderbot and a university space ship bond over the space ship being afraid to watch its fav blorbo die in a fictional show and also the two do their best impression of trying to act like a human.

Also there's fighting and stuff.

Like, that juxtaposition is the fun of the books - like finally, the awkward get-your-gender-stuff-away-from-me a-spec neurodivergent characters have their day in bringing humanity into space dystopia pew pew gun theater. We want to play in this setting, too.

Oh and the books and SecUnit hate corporations and everyone is genderqueer with neo pronouns and polyamory abounds, and there's PoC everywhere.

"the fact that we're getting the corporation rim version of Murderbot and that everyone is kinda bummed about it" is a pretty good summary.

From a specific hurt/comfort whump blog POV -

How are any of these main producer etc people, above, going to grasp the emotional hurt comfort and humor and warm heart of these books? The Tenderness??

Like listen, I need to be clear, I had a blast watching "Blade" with some people a few years ago. It was great. Really fun late night party movie with the right people, A+ experience. However, do I trust Call of Duty Batman vs Superman any of these people to Grasp The Murderbot Books and Handle the Tenderness. No, I Do No, not especially.

. . . . .

Okay fine haich slash cee, who would you cast and hire as directors producers etc. Well first of all a bunch of queer people and PoC and queer PoC. Do you know how many of us want to play in space opera dystopian explosion gunfight theater too. Also I saw someone suggest Tig Notaro play SecUnit - and honestly, that's a fun idea, I would maybe hire a bunch of comedians and also activist types to grab the dry humor and and absolute abhorrance of corporations that permeates the books.

And I'd get a more indie studio production if possible. I know there's the action sequences and special effects and all that IS important in a genre way. Like we are here for all that. We are here for death agriculture robots attacking people and violent robot fights and space kaboom moments. I personally don't immediately know how or which producers studios etc to hire for all that to be included, while keeping slightly smaller studio vibes. Yes SFX action money, but like, more in the spectrum of doctor who budget money and special effects, if that makes sense.

The gunfights and special effects are still more of a secondary feature in my mind. I want to watch the awkwardness of SecUnit and a room full of caring compassionate researchers fully hit the mark but in the most subtle way. I'm here for Ratthi once again saying "what?" in the middle of like the 5th melee situation he's been a part of and Ratthi still is confused as anything. And also, there's some explosions and space travel happening.

As for actors, I'm not really up on actors much, but these tumblr posts have suggestions.

Actually.... Ok, so I like explosions as much as anyone, but what if some small but acclaimed indie character drama creators made Murderbot. Like what if that was one specific flavor of an adaptation. What if the murderbot books were shot primarily as a quirky indie character study tv show set in space. The filmography of the people making it are like: Indie drama - Indie comedy - Murderbot - quirky indie drama - (implying they made murderbot and then went right back to indie movies I guess) I'd be like, "huh, what version of space gunfight drama are we watching here?". Idk, I think it'd be fun.

thanks for reading along in my murderbot ramblings!

[rockybloo]

What’s your favorite fairytale(s) reimagined piece of media? I’ll start first, beanstalked. It already looks so cool and reading about the characters makes me so excited to see more. The character design are amazing, your style is so damn nice to look at and seeing just how much these characters mean to you is so nice to see. MORE UNAPOLOGETIC LOVE FOR YOUR OWN STORIES! Everyone should I their own little fandoms in their heads! Draw those badass monsters! Make your silly little guys kiss! Your brain should be mush from your love of your own works! Also thanks for indirectly bring back my love for my oc’s from middle school, I missed those guys. Your stories have feel so nostalgic, so familiar and comforting but new and refreshing.

T thank yo ou u. I get so happy when people like Beanstalked, I KNOW I SAY THIS EVERYTIME SOMEONE SAYS THEY LIKE IT BUT I'MMA KEEP ON SAYING IT, because it is my baby 😭

AND YES-THE SELF INDULGENCE SPREADS

As for fav fairytale reimaginings-OH BOY here we go because do I have a LIST

Hammerstein's Cinderella (1997): One of my earliest memories of a fairy tale retellings that I actually enjoyed as a kid. There are so many things in it that just hit along with the songs. Honestly, every other live action Cinderella falls flat in comparison for me.

Happily Ever After: Fairy Tales for Every Child: I grew up watching reruns on HBO and it was a big motivation for me to say "fuck it" and make a vast majority of the characters in Beanstalked people of color. Plus, I love the design choices they make for a lot of the characters. And the 90s vibes are just sooo good.

American McGee's Grim: I love this demented little game and its style. The execution makes it worth it to play for me even if you aren't into fairy tales. Plus, how can I turn down technically having the ability to run around inside an ACTUAL level based on fairy tales. I have Jack and the Beanstalk, Little Red Riding Hood, Pinocchio, Beauty and the Beast, and Cinderella and I like to play them occasionally just for the fun of it. And yes, that Jack and the Beanstalk is 100%ed

Shrek 1 and 2: I love both these films and they are very nostalgic to me but I especially love the second. It really goes all in on that "living in a fairy tale" aspect with Fairy Godmother, Prince Charming, the Frog Prince, Puss in Boots, etc. Plus, that "I Need a Hero" montage just goes so hard. It's honestly one of my fav animated scenes in a film.

Guillermo Del Toro's Pinocchio: I love stop motion. And I love retellings that know their source material while also adding their own flavor. This film is such a work of art from head to toe and I balled so many times watching. Plus the way it touches on the aspect of life and death makes me so happy.

Puss in Boots: The Last Wish: I could gush on and on about how much I love the animations and characters but like…everyone has already done that for me so I will focus on what specifically made me love the film. And that's how it handles fairy tales. It takes a much more earnest approach than Shrek, which while I love, you have to admit it can be a bit mean spirited at times. So I enjoy how this movie was more of a "these tales are people living their lives". I love the found family aspect of Goldilocks and the Three Bears, Puss in Boots being a legend and a bad ass and cocky like the OG tale. I even liked Jack Horner and how he was just that good classic "I am a dick and I own it" character. Personally, I view him as a sort of commentary on how companies will IP dump things to seem cooler and more successful. In this case, it's Fairy Tale dumping which is DEF something I've seen SO MANY TIMES because companies will thing having a bunch of tales in one thing automatically makes them cool since "DISNEY DID IT SO IT'LL WORK" and they just land flat on their face. I genuinely hope that more films in the Shrekverse have this sort of down to earthness to them…and if no the Shrekverse then maybe some more animated films that genuinely reimagine fairy tales.

Relating to the previous point but I do not care what anyone says that little boy with the cow and the giant covered in greenery was def a fuckin Jack and the Beanstalk reference and I will fight everyone tooth and nail about it I SEE A REF TO MY FAV TALE WHEN I SEE IT DAMMIT

Alice and the Nightmare: A webcomic that's based off Alice in Wonderland. Currently, it's one of the only Alice based reimaginings that I like and the art is just so GOOD??? I am always hyped to read the next update.

I'm sure there is like...a crumb of more but these are the ones that really resonate with me and motivate me to work on Beanstalked when I see them. I keep thinking the list is gonna be longer but honestly...it's the list of fairy tale retellings that I'm NOT into that is the long one. It doesn't help that I occasionally watch the off brand animated fairy tale based movie on Netflix for funzies and come out mildly disturbed.

[sirfrogsworth]

As long as I am posting hot takes...

Guillermo del Toro's Pinocchio was beautifully done, but I could not stand the child voice actor and it pretty much ruined the movie for me. He just enthusiastically overacted every single line and the pitch & timbre of his voice was just grating to me.

I also wish they would just hire actual singers to do the singing. Almost all the singing was heavily pitch corrected.

It's animation, you can dub the characters!

They did it with Aladdin, Lion King, Pocahontas, Hunchback, and Mulan. No one gave a hoot.

Also, pitch correction is much more noticeable with novice singers. Melodyne (Autotune is T-Pain, not pitch correction) is actually a great tool and can help artists save near perfect takes that were spoiled by one or two sour notes. Imagine singing your heart out and everything is perfect and the passion is on point and you are just a few cents off on one note and it just sticks out like a sore thumb. Now imagine you can just nudge that one note and save that amazing take. That's a good thing, right?

Most of the time even the best ears can't detect well done pitch correction. But if your entire performance needs pitch correction, it becomes very apparent and then old farts start complaining about how "everything is 'autotuned' these days" even though they've listened to hundreds of songs they have loved with pitch correction and didn't notice.

Tools are not bad.

Poor decision making with those tools is bad.

I am a hot take machine today.

[dweemeister]

2023 Movie Odyssey Award for Best Original Song Final

TAGGING (interested observers, non-participating observers, and participants): @addaellis, @birdsongvelvet; @cinemaocd, @cokwong, @doglvr, @emilylime5, @exlibrisneh, @halfwaythruthedark, @idontknowmuchaboutmovies, @machpowervisions, @maximiliani, @memetoilet, @metamatar, @monkeysmadeofcheese, @myluckyerror, @phendranaedge, @plus-low-overthrow, @rawberry101, @rosymeraki-blog, @shootingstarvenator, @stephdgray, @theybecomestories, @umgeschrieben, @underblackwings, and @yellanimal.

OPEN INVITES go out to (longtime followers and former participants who have not accepted/declined): @dog-of-ulthar, @introspectivemeltdown, @mehetibel, @noelevangilinecarson, @qteeclown, @shadesofhappy, @the-lilac-grove

Hello everybody,

A good day to you wherever you are reading this. Following the most dramatic preliminary round in Movie Odyssey Award for Best Original Song (MOABOS) history, it is now time for the final.

Might the final also have some surprises and razor-thin close calls in store? As many of you know, this is the eleventh edition of MOABOS (MOABOS XI) and the tenth with participation from family, friends, and tumblr followers. At the beginning of every year, I never know whether or not this admittedly strange competition will return for another year. That it has persisted all this time – and grown – has been a personal joy. And it is not possible without all of you.

I began record-keeping for MOABOS XI when I saw Guillermo del Toro's Pinocchio (2022) on New Year's Day this year. From there, I kept a running shortlist until the preliminary began on American Thanksgiving weekend. That one song from GdT's Pinocchio has survived the entire year to get to the final. Over the rest of 2023, numerous songs from various movies filtered in and out on my master shortlist, culminating into this final round.

INTRODUCTION

For those who have never participated in this before, my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time that calendar year (the "Movie Odyssey", in which any rewatches do not count) with an Oscar-like ceremony. I choose all the nominees and winners from each category except for this, Best Original Song. Original Song is the only category which does not require you to watch the movies in their entirety. As always, MOABOS is considered a sort of cinematic-musical thank-you for your moral support in various ways over how long I've known you for. In addition, I think it's a fun, novel way to introduce to all of you films and music you may not have otherwise encountered or sought and to give everyone a little bit of film and music history.

However, MOABOS is but a foot-deep glimpse into my much larger Movie Odyssey for this last year. There are many films I saw this calendar year that I consider much better than the ones that appear here. But did they have any original songs? They did not!

WHAT'S IN THE FINAL

This final will be contested by fifteen songs.

In a preliminary round filled will thrills and spills, some popular titles have failed to make it this far. That includes Lady Gaga's "Hold My Hand" from Top Gun: Maverick (2022) and "Take My Breath Away" by Berlin in Top Gun (1986). But there's a Top Gun song in here, even more widely recognizable than both of these songs, that will be looking to assert its frontrunner status.

Snapping back from what was the first-ever monolingual MOABOS last year, the 2023 final sets the record for the most multilingual field ever with six languages represented – English, French, Hindi, Japanese, Portuguese, and Vietnamese. This breaks the previous record held by MOABOS VI (2018), which featured five different languages. After three-year absences, both Hindi-language and Japanese-language songs have progressed to the final. A Portuguese-language song marks the language's (and Brazilian cinema's) first appearance in a MOABOS final.

Two films from 20th Century Fox's Golden Age will also be contending. The first film, Sun Valley Serenade (1941), has two entries by Glenn Miller and His Orchestra. In addition to the appearance of Orchestra Wives (1941) in MOABOS IX (2021), this ensures that each song featuring Miller that has qualified for MOABOS has made the final. In addition, some big news as Shirley Temple – so often on the wrong end of the points totals in the preliminary round – finally sees a final round with Curly Top (1935).

Finally, in a round usually riddled with multiple entries for certain films, there's a distinct lack of films with two or more contenders for MOABOS this year. The only exceptions to that are, surprisingly, Sun Valley Serenade and Good Morning and Good Night (which I encountered for Viet Film Fest this year).

2023's winner will join this company (winners' playlist):

2012 (Special): To be contested

2013 (I): “The Gold Diggers’ Song (We’re In the Money)”,Gold Diggers of 1933 (1933)

2014 (II): “Rainbow Connection”, The Muppet Movie (1979)

2015 (III): “Amhrán Na Farraige (Song of the Sea)”, Song of the Sea (2014)

2016 (IV): “Stayin’ Alive”, Saturday Night Fever (1977)

2017 (V): “Remember Me (Recuérdame)”, Coco (2017)

2018 (VI): “Love Is a Many-Splendored Thing”, Love Is a Many-Splendored Thing (1955)

2019 (VII): “I Wish I Didn't Love You So”, The Perils of Pauline (1947)

2020 (VIII): “Can't Help Falling in Love” , Blue Hawaii (1961)

2021 (IX): “Lullaby in Ragtime”, The Five Pennies (1959)

2022 (X): “9 to 5”, Nine to Five (1980)

INSTRUCTIONS

Please rank (#1-15) your choices in order. The top ten songs will receive nominations; all others get "Honorable Mentions". There is no minimum or maximum amount of songs you can rank, but because of the nature of single transferable vote (the tabulation method described in the "read more"), it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded in the later rounds of tabulation. Since this rule change (first implemented in MOABOS VI in 2018), no participant who has only ranked one song has seen their choice win MOABOS. Again, this is all described in the "read more".

The tabulation method used in the preliminary round (10 points for 1st place, 9 points for 2nd, etc.) is being used for this round. However, it is used for the final only as the second tiebreaker (the tabulation method that will be used principally for the final – aka "single transferable vote" – is described in the "read more").

Please consider, to the best of your ability (these are only suggestions, not strict guidelines):

How musically interesting the song is (incl. and not limited to musical phrasing and orchestration);

Its lyrics (incl. and not limited to lyrical invention and flow); 

Contextual use within the film (contextual blurbs provided for every entry for those who haven't seen the films);

Choreography/dance direction (if applicable; I know that almost none of us have a dancing background, but please do not dismiss this aspect entirely);

The song's cultural/sociopolitical impact and legacy/listenability outside the film's context (if applicable, and, in my opinion, least important factor)

Remember: you are not judging music videos.

A notice on audio/video quality and colorization of black-and-white film: Because it is sometimes difficult to find clean recordings of much of this music, imperfections in audio and video quality may not be used against any song while you are drawing up your rankings – you're on the honor system on this one. In addition, in respect to personal and blog policy, I will not provide colorized videos of films that were originally in black-and-white. You can call this snobby all you want. But to yours truly, film colorization of B&W is disrespectful to the artisans who plied their craft and made decisions based on the fact the film was shot in black-and-white. It is essentially redirecting a movie without consent.

You are encouraged to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself!

The deadline for submission is Wednesday, January 10 at 9 PM Pacific Time. That is7 PM Hawaii/Aleutian Time and 11 PM Central Time. That deadline is also Thursday, January 11 at Midnight Eastern Time / 5 AM GMT / 6 AM CET / 7 AM EET / 2 PM Korea Standard Time. This deadline – as it always seems to happen – will be pushed back if there are a large number of people who have not submitted in time. The deadline is later this year due to Christmas and New Year's being on Mondays this year.

All of the below songs can also be found in this YouTube playlist (but please note you may not judge the music video, but instead judge the song and how it is used in context).

Enjoy the music! Feel free to listen as many times as you need, and I hope you discover music and movies you may have never otherwise heard of that you find fascinating. The following is formatted... ("Song title", composer and lyricist, film title) and presented in alphabetical order (so feel free to shuffle the order!):

2023 Movie Odyssey Award for Best Original Song Final (playlist)

“Animal Crackers in My Soup”, music by Ray Henderson, lyrics by Ted Koehler and Irving Caesar, Curly Top (1935)

Performed by Shirley Temple

6th in Group B

Young Elizabeth Blair (Temple) and her elder sister, Mary (Rochelle Hudson) are living in an orphanage and are the primary entertainers for their fellow orphan girls. This number occurs early in the film and is quoted multiple times in the film's score. For those of you who despised this song's placement in those Shirley Temple DVD infomercials, I have no apologies to offer you.

For those familiar with Over the Garden Wall, this number inspired "Potatoes and Molasses" and its respective episode.

Where Alice Faye (MOABOS X's "A Journey to a Star" from 1943's The Gang's All Here)   and Betty Grable may have been the two primary musical adult actresses at 20th Century Fox, Shirley Temple eclipsed both. Her modestly-budgeted movies showcased her childhood innocence and spunk, endearing her to a moviegoing public faced with the Great Depression. She was the highest-grossing actor in Hollywood from 1934-1938, and moviegoers of the Lost, Greatest, and early Silent Generations credit Temple's movies as needed morale boosters.

“Barsaat mein hamse mile tum sajan (In the Rainy Season, We Met One Another)”, music by Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, lyrics by Shailendra, Barsaat (1949, India)

(initial version) / (end-of-film reprise)

Performed by Nimmi (singing voice dubbed by Lata Mangeshkar)

Lyrics in Hindi (translations in the CC's in provided videos)

5th in Group A

Raj Kapoor was a major director/actor in the early decades of Bollywood. In one of his first directed movies, shortly after the Partition of India, we find Barsaat. This romance tells of two love stories of vacationing city men meeting women who live in Kashmir (a disputed region between India, Pakistan, and China). Later in the films, we will find Pran (Raj Kapoor) and Reshma (Nargis) quickly falling in love. But this song surrounds the womanizing Gopal (Prem Nath) and Neela (Nimmi), whose faithful love for Gopal goes largely unrequited. After much convincing from Neela, Gopal attends a local festival – and doesn't pay much attention to this Neela-led song-and-dance number.

In the reprise, Neela has died near the end of the film. Reformed, realizing too late how horrible he has been to Neela, Gopal carries her body to her funeral pyre as the monsoon rains – as hinted in this film's very title – finally arrive.

“Chattanooga Choo Choo”, music by Harry Warren, lyrics by Mack Gordon, Sun Valley Serenade (1941)

Performed by Glenn Miller and His Orchestra, Tex Beneke, Paula Kelly, and The Modernaires; danced and sung by the Nicholas Brothers and Dorothy Dandridge

Nominated for the Academy Award for Best Original Song

Advanced directly to the final

Midway through this musical, the Phil Corey Orchestra (Glenn Miller and His Orchestra) are anxiously awaiting for their pianist (John Payne) before rehearsal for a Christmas concert in the ski resort town of Sun Valley, Idaho. He's been delayed by an unexpected detour while skiing down the slopes in pursuit of a young woman (Sonja Henie) who has been flirt-trolling him on the slopes. Phil is asked to "stall for time" by the band's manager (Milton Berle). But, quietly, Phil essentially says "screw it" and starts the rehearsal. As one of my tumblr followers put it, classic Hollywood's legacy of weird shenanigans at ski resorts continues.

Nicholas Brothers' and Dorothy Dandridge's segment feels separate from the rest of this number by design. White-owned theaters in the American South would refuse to show films with prominent roles with black actors, so 20th Century Fox structured Nicholas Brothers numbers in a way so that their dances could be easily cut for those theaters. MOABOS IX (2021) participants will recall that "I've Got a Gal (in Kalamazoo)" from Orchestra Wives (1942) and the reprise to the title song for Down Argentine Way (1940) were impacted similarly.

It's a brief, but memorable role for Dandridge in her early career. She would become one of the best African American actresses ever, thirteen years removed for her Best Actress nomination for Carmen Jones (1954).

This was the first of only two films made by Glenn Miller and His Orchestra while contracted to 20th Century Fox (RIP "Fox"). They were to make more, but then Miller decided to join the U.S. Army Air Forces (the predecessor of the Air Force) to lead its official band. Miller, an enormous musical figure of the swing jazz era, disappeared over the English Channel in December 1944. This was the first song ever to receive a gold record, and it was musically referenced across numerous Fox movies during the 1940s and '50s, becoming an unofficial studio anthem.

The city of Chattanooga and railways have and still embrace the song; localized Dutch, Finnish, German, and Italian versions of this song exist.

“Ciao Papa”, music by Alexandre Desplat, lyrics by Roeban Katz and Guillermo del Toro, Guillermo del Toro’s Pinocchio (2022)

Performed by Gregory Mann

3rd in Group A

In this adaptation of Carlo Collodi's Pinocchio, director Guillermo del Toro injects the tale with his signature gothic touch – moving the narrative up in time to Fascist Italy and not shying away from the original book's grotesqueness and the title character's sociopathy. This song appears as part of a montage where Geppetto (David Bradley) goes in search of Pinocchio (Mann) after Count Volpe (Christoph Waltz) abducts the wooden son. Pinocchio is performing for Volpe in part to avoid conscription into Fascist Italy's military.

“Danger Zone”, music and lyrics by Giorgio Moroder and Tom Whitlock, Top Gun (1986)

Performed by Kenny Loggins

Advanced directly to the final

This song first appears in the film's opening credits, as a number of U.S. Navy F-14 Tomcats are about to lift off from the aircraft carrier USS Enterprise in the middle of the Indian Ocean. The Tomcats are being scrambled to address an incursion of what is heavily implied to be Soviet aircraft (and results in an exchange that should've immediately started WWIII, but the always-jingoistic Top Gun movies do not care about geopolitical consequences). The song is briefly played again for a similar scene later in the film.

“Esse Mundo é Meu (This World is Mine)”, music by Sérgio Ricardo, lyrics by Sérgio Ricardo and Ruy Guerra, Esse Mundo é Meu (1964, Brazil)

Originally performed a cappella by Antônio Pitanga; provided version performed by Marina Lutfi and Adriana Lutfi (lead vocals), Sérgio Ricardo (vocals), João Gurgel (vocal/guitar), Alexandre Caldi (winds), Marcelo Caldi (piano/accordion), Lui Coimbra (cello), Giordano Gasperin (bass), and Diego Zangado (percussion)

Lyrics in Portuguese (extremely rough translation... "Saravá ogum" is an Afro-Brazilian exclamation; I'm not sure what "Mandinga" means in the song's context, but it's an Afro-Brazilian word that either refers to an ethnic group or "magic")

2nd in Group A

In this film almost never screened outside Brazil, two separate romantic storylines – a white couple and a black couple – play out in a Rio de Janeiro favela. In the latter storyline, Antônio Pitanga plays a shoeshiner. One day, while setting up his shoeshining equipment along the beach, he sings this song – an optimistic number in hopes for a better tomorrow. Black Brazilian romance was and is rare in Brazilian cinema, and the inclusion of such a romance so prominently featured in this film makes it a landmark of the nation's film history, alongside the likes of Black Orpheus (1959; although Esse Mundo é Meu came from a filmmaking movement – Cinema Novo – that rejected the likes of Black Orpheus).

From the song's humble origins and use in the film, Sérgio Ricardo turned it into bossa nova. That's the late composer/film director himself in the provided video (the older man furthest to the left). The lead singers are his daughters.

“Hooked On Your Love”, music and lyrics by Curtis Mayfield, Sparkle (1976)

Performed by Lonette McKee, Irene Cara, and Dwan Smith

(use in film) / (soundtrack version with Aretha Franklin)

Advanced directly to the final

Loosely based on the history of the Supremes, the musical Sparkle is the story of the three Williams sisters (the late Cara as lead singer Sparkle, McKee as Sister, and Smith as Dolores). They decide to take their church singing experience to become a semi-professional group called the Hearts.

This song appears midway through the film, as the boys have dropped out to become managers and the girls have renamed the group Sister and the Sisters (I would've kept the original name). This is the debut performance of Sister and the Sisters. If you're wondering what's going on with the lighting here, that's because the cinematographer of Sparkle didn't know how to light non-white actors.

The film's original soundtrack does not contain any of the original performances. Instead, Aretha Franklin sings all the songs from the film in the soundtrack.

“I Know Why (And So Do You)”, music by Mack Gordon, lyrics by Harry Warren, Sun Valley Serenade (1941)

(initial version) / (reprise)

Performed by Glenn Miller and His Orchestra, Lynn Bari (dubbed by Pat Friday), The Modernaires, and John Payne; reprise by Payne and Sonja Henie

6th in Group A

This song's melody forms the backbone of the film's score throughout. In the opening minutes of this musical, we find the Phil Corey Orchestra (Glenn Miller and His Orchestra) rehearsing in preparation for a Christmas concert they will be headlining in the mountainous resort town of Sun Valley, Idaho. The first 48 seconds of the first video are an instrumental version of Glenn Miller's "Moonlight Serenade".

The reprise occurs near the end of the film as Norwegian refugee/figure skating extraordinaire Karen Benson (Sonja Henie, a 3x Olympic gold medalist in figure skating) and pianist Ted Scott (John Payne) find themselves stuck in a mountainside cabin. Karen, who has fled Norway due to the Nazi takeover there, has been pursuing Ted for almost all of the film, and Ted finally succumbs to her charms here – to the outrage of his girlfriend (Lynn Bari). Suffice it to say nobody should watch 20th Century Fox musicals for the plot (but refreshingly, they're not pretending to be any more than what they are).

What the heck is an Olympic figure skater doing and singing in a movie? Well, Henie was used in a handful of Fox musicals in musical numbers set to an elaborate figure skating sequence. These days, Henie's movies are largely out of print and hard to find. Her popularity was such that Metro-Goldwyn-Mayer (MGM) hired aspiring swimmer Esther Williams (unable to compete at the canceled 1940 Summer Olympics) as response to Fox's Sonja Henie movies. 

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrew Wyatt, Barbie (2023)

Performed by Ryan Gosling and company

3rd in Group B

The Kens of Barbieland have taken over power from the Barbies after Ken (Ryan Gosling) learns about patriarchy in our real world. In response, the Barbies, Allan, and Mattel employee Gloria and her daughter Sasha have manipulated the Kens into fighting each other (or, in the Kens' parlance, "beaching off") while they attempt to reestablish control. According to director Greta Gerwig, the dance segment seen here was influenced by "Lullaby of Broadway" from Gold Diggers of 1935 (1935; see the warm-up playlist I sent to many of you) and "The Broadway Melody" from Singin' in the Rain (1952).

The production design and overall look of Barbie was meant to have a sort of plastic toy aesthetic. Gerwig wanted to achieve an "authentic artificiality", injecting a sense of child's play into the filmmaking, and spiritually inspired by the production design of The Red Shoes (1948) – especially its 15-minute ballet sequence.

“Miss Celie’s Blues (Sister)”, music by Quincy Jones and Rod Temperton, lyrics by Quincy Jones, Rod Temperton, and Lionel Richie, The Color Purple (1985)

Performed by Margaret Avery (singing voice dubbed by Táta Vega)

Nominated for the Academy Award for Best Original Song

1st in Group A

Based on the book of the same name by Alice Walker, The Color Purple stars Whoopi Goldberg as Celie Harris in her breakthrough role. Celie, forcibly married off to Albert "Mister" Johnson (Danny Glover) as a teenager, has grown resigned after a lifetime of parental and spousal abuse. Mister has a mistress named Shug Avery (Margaret Avery), who works as a showgirl in Memphis. After one stormy evening, a sickly Shug appears at Mister's homestead for the first time and, over a few weeks, Celie nurses her back to health. The two grow attached and, as tribute, Shug performs this song at the local riverside juke joint.

In the book, the romantic relationship between Celie and Shug after this moment is more explicit. Director Steven Spielberg's greatest regret over this film was not making more of this romantic relationship. Given that the movie was released at the height of the HIV/AIDS crisis and in an environment where LGBTQ+ themes were verboten to the major movie studios, I don't believe much more could've been done in 1985.

“Qu'est-ce qu'on fait de l'amour? (What Do We Do with Love?)”, music and lyrics by Vincent Courtois, Ernest and Celestine: A Trip to Gibberitia (2022, France)

Performed by Pomme

Lyrics in French (rough translation)

1st in Group B

This song appears at the top of the end credits of this sequel to 2012's Ernest & Celestine, which was nominated (against the odds) for the Academy Award for Best Animated Feature. The original was, as I wrote back in 2014, "cinematic friendship at its most rewarding and profoundly beautiful." In this sequel for our dynamic mouse and bear duo, Celestine (the mouse) accidentally breaks Ernest's (the bear) precious Stradibearius violin. It leads the unlikely friends to search for an old violin maker acquaintance of Ernest's back in his homeland of Gibberitia ("Charabïe" in the original title, a name derived from "charabia", the French word for "gibberish").

A further shameless plug for all of you reading this to seek out animation that is not from the major American and Japanese studios.

“Return to Sender”, music and lyrics by Winfield Scott and Otis Blackwell, Girls! Girls! Girls! (1962)

Performed by Elvis Presley

5th in Group B

The eleventh of Elvis' 31 movies (if MOABOS returns for future editions, let's just say there's a lot more Elvis to come) and the second shot in Hawai'i after 1961's Blue Hawaii, Girls! Girls! Girls! is a misnomer as there are only two girls vying for Elvis' affections (it would be an appropriate title for many other Elvis movies). My sister thinks this film should've been titled Girls? Girls. Girls!

Here, Ross Carpenter (Elvis) is a fisherman who spends his evenings as a nightclub singer. Fellow nightclub singer Robin Gantner (Stella Stevens) and the secretly wealthy Laurel Dodge (Laurel Goodwin) are very much attracted to him. This number occurs after Ross starts seeing Laurel, inflaming Robin's suspicions, and resulting in a spat at the bar that immediately preceded the song.

“Suzume”, music and lyrics by RADWIMPS, Suzume (2022, Japan)

Performed by RADWIMPS and Toaka

Lyrics in Japanese (extremely rough translation)

2nd in Group B

This song's melody (especially the eighteen-note vocalized motif) appears throughout the film. But this version, with lyrics, only appears as the second song in the end credits. In this film, 17-year-old Suzume and a young man named Souta must journey across Japan to close a series of mystical doors. Mysterious phenomena are passing through these once-locked into our world, and are causing natural disasters.

Makoto Shinkai's latest, unadjusted for inflation, is the fourth-highest grossing Japanese film of all time. MOABOS regulars will recall previous entries from Your Name (2016) and Weathering with You (2019) – all RADWIMPS compositions. Suzume directly addresses a trauma that Your Name and Weathering with You danced around: the 3/11/11 earthquake, tsunami, and Fukushima Daiichi nuclear disaster.

“Tiền”, music and lyrics by Trần Khắc Trí, Good Morning and Good Night (2019, Vietnam)

Performed by Trần Lê Thúy Vy, Hà Quốc Hoàng, and company

Lyrics in Vietnamese (translation in provided video)

4th in Group B

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears about a third of the way through, after a conversation about money ("tiền" means "money" in Vietnamese). Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

“Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night)”, music by Phạm Hải Âu, lyrics by Phạm Hải Âu and Chung Chí Công, Good Morning and Good Night (2019, Vietnam)

Performed by Hà Quốc Hoàng and Trần Lê Thúy Vy

Lyrics in Vietnamese (translation in provided video)

4th in Group A

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears at the top of the end credits. Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

Have a question or comment about MOABOS's processes? Maybe you would like to know something more about a song or a movie featured in this year's competition? I'm the one to ask! If you are having difficulty accessing any of the songs (especially if region-locked) or if there are any errors in the links above or the playlist, please let me know as soon as possible.

Once more to all, my thanks all for your support for the Movie Odyssey, the blog, and for me personally over this last calendar year and beyond. However long you've known me – it has been and is a distinct privilege and a pleasure to share all this music and (at least excerpts of) these movies with you. It's my hope you find this entertaining and enlightening about cinema and the music that goes along with it. Do not worry too much about this if you cannot participate, although I will be checking in as the deadlines get close. Happy listening, and I hope you have fun!

A happy holiday season to you and yours!

PS: TABULATION

The winner is determined by a process distinct from the preliminary round. For the final, the winner is chosen by the process known as single transferable vote (the Academy Awards uses this method to choose a Best Picture winner, visually explained here):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one… i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Placement will be determined by the tiebreakers described below. Then, we look at the ballots of those who voted for the most recently-eliminated song(s). Their votes then go to the highest remaining non-eliminated song on their ballot.

The process described in step #2 repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. A song is declared the winner when it reaches more than fifty percent of all #1 and re-distributed votes.

NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner. No one who has ranked only one or two songs on their rankings and nothing more has succeeded since this tabulation method was implemented. I highly discourage, but do not forbid, these practices.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned (the preliminary round's primary tabulation method); 3) total #1 votes; 4) average placement on my ballot and my sister’s ballot; 5) tie declared

For reference: 2013 final 2014 final (input from family and friends began this year) 2015 final 2016 prelim / final 2017 prelim / final 2018 prelim / final 2019 prelim / final 2020 prelim / final 2021 prelim/ final 2022 prelim / final

[softlytowardthesun]

just for the record, Guillermo del Toro’s Pinocchio is my favorite movie of the year. and this is the same year we had Entergalactic, Wendell & Wild, Marcel the Shell with Shoes On, Prey, 3000 Years of Longing, and Everything Everywhere All at Once. 

Seriously, it’s brilliant. The Fascist Italy setting with the old children’s story seems strange when you first hear it, but it connects so smoothly I’m surprised this hasn’t been the go-to choice for every adaptation. Fascism demands blind obedience, so who better as a hero than a living embodiment of independent thought and free will -- a puppet with no performer?

No one literally turns into donkeys in this version, but the transformation into fascists is just as chilling if not more so. For the first time in my life, I pitied the Candlewick character and held back tears when it was clear there was no saving him from his fate. (Seriously, Collodi’s novel just treats it as a punchline that donkey Candlewick is literally worked to death; the original story is basically a black comedy and how it got transmuted into a coming of age fable is fascinating and befuddling.)

At the same time, it also takes a much more elegant approach to well-worn Pinocchio ground. Once again, Geppetto constructs the wooden boy out of grief for his dead child, but that’s not glossed over or used for pointless angst: Carlo is a real character who’s in real relationship with Geppetto and later his “younger brother” Pinocchio. The Cricket and Pinocchio have a more developed relationship, and Ewan McGregor is clearly having the time of his life in this role. 

The production design is next level. Like every Jim Henson Company project, you start off thinking “How in the world did they do that?” but soon enough the magic washes over you and you forget to be impressed by the astonishing amount of work that went into every frame. I’m so happy that the Creature Shop is still continuing Jim’s legacy, and I got a little teary eyed imagining what Jim Henson himself would have made of this.

Is there a weak link? Of course; no movie’s perfect. This movie’s a musical, and there’s no competing with the 1940 score from the cartoon. I doubt that many of the songs will make a lasting connection, but one in particular more than justifies the whole affair: I won’t spoil it, but it’s the best scatological joke of all time.

Guillermo del Toro, Lisa Henson, Patrick McHale, and Mark Gustavson have made something to be very proud of. I can’t wait for this to come to Netflix next month; I’m sure there’s dozens more details for me to find and further geek out about. If it’s in your area, please try to find time to check it out. 

[leporellian]

I'd love to hear some more of your thoughts on what people get wrong about "Into the Woods." I'm sure you have some smart things to say on the subject that most of us never would have thought of. :)

the thing is i kind of resent into the woods and not because of anything it actually did but because of what it did to the art of theatrical adaptation.

into the woods is able to make a very sincere story out of fairy tales. however it does this, of course, by subverting said fairy tales (everyone and their dog knows this sorry.) what people took away from it isn’t the sincerity but the like… “haha! they did the fairy tales but ironic and dark! because clearly fairy tales are dumb!”

so now it seems every time a folktale or something is adapted for the stage it’s gotta come with some ironic twist or satirical curl or something and not just “we added some things and changed some things to make this iteration interesting”. and these twists are so often… well they’re stupid and subversive for the sake of it. jack and the beanstalk… WITH A TWIST!!! persephone and hades but THE MOM IS THE BAD GUY???? look at how DUMB romeo and juliet is why didn’t the two families just TALK??? like genuinely it is so annoying.

you can turn a story on its head without disrespecting it or attacking the audience’s suspension of disbelief (see guillermo del toro’s pinocchio for a good recent example). and you can bring personal flavor to a story without making it ‘topical’. you have to bring respect and childlike wonder to these old stories if you’re going to want to make them tick- after all, really, that’s what into the woods actually does but everyone gets lost in the “not so happily ever after AFTER ALL” thing.

and it’s so tiring and it makes me want to throw things off bridges!

[erictmason]

Alright, time to wrap things up with THE GREAT HOLIDAY GIFT PIC BANANZA, PART 3!

Our final set goes out to @amousemusing, @jammerlee, @werewolf-t33th, and @riftclaw!

@amousemusing‘s pic: This is maybe the most Out Of The Blue pic I did for this whole thing in terms of inspiration; I recalled a convo I had with @amousemusing about how their OC, Fabi, “doesn’t judge the kids around her", and that in turn led me to remember how much we’d been talking about our mutual love of Guillermo Del Toro’s “Pinocchio”, so I figgered, hey!  Why not put The Kid and The Parent together?  And voila!

@jammerlee‘s pic: So OK this wound up being a sort of follow-up to a Crimmis pic I did for Jammer a couple years earlier but never posted, depicting Metal Sonic with a Gift Bow and a note saying they were For Jammer.  So I thought this year I’d see just what Jammer would DO with a Metal Sonic for a present; I can’t say for CERTAIN this is what they’d do?  But I feel decently confident. X3

@werewolf-t33th: I admit, ANY excuse for me to draw SonSal is a good one, but I do especially enjoy working with good ol’ Ohcee’s particular takes on the characters (not only a very distinctive fawn-like design for Sal, but a “kitty” mutant form for Sonic); I didn’t 100% plan it that way, but it actually wound up being a kind of Holiday-themed remake of a pic Werewolf themselves did a little while back.  It was, in any case, VERY fun to make.

@riftclaw: Yin Yang worms <3  This is another bit of serendipity, really; my starting thought was to do something with their OC Sona, but I wasn’t 100% sure what it would be until I realized they had another noodle OC in the form of Zenith.  And once I realized Sona was primarily defined by light/color while Zenith was inky Black?  Well, the pic practically drew itself from there.

[girlfriendsofthegalaxy]

tuesday again 1/10/2023

the more injuries and minor surgeries i pick up throughout my life i get more convinced i do actually play first person shooters as a power fantasy but not in the normal way. recovering ok, this was prescheduled and premeditated, just extremely tired

listening

are you havin any fun? this tony bennet version is good enough. the SINGULAR line "and nervous indigestion" has been stuck in my head since thursday.

-

reading

another pitch for Molly White's Web3 Is Going Just Great, bc HOO boy did a lot of shit happen last weekend. every crypto gaming project that folds feels like a personal gift to me. i did feel slightly insane last year bc the hype was so intense, everyone at my old job was fully bought in, and i got cited on two "performance reviews" for not being "excited enough" about crypto. anyway i hope my boss' two teslas explode.

-

watching

watched a ton of shit this week, including the entire run of the vampiric interview tv show, which i WILL have more coherent thoughts about later. what a horrible, messy, incredibly satisfying bit of television.

guillermo del toro's pinocchio made me fucking bawl my eyes out and i'm a little resentful of that. stupidly, stupidly beautiful film.

i'm here to talk about s/tar wars the bad b/atch, or at least the second season's first two episodes.

the whitewashing and general racism around the clones has been a problem since attack of the clones but has really only gotten worse with time and is especially bad in this outing of the franchise. i'm not super qualified to talk about this, but i think @unwhitewashthebadbatch is a good starting point.

my biggest storytelling beef is that it feels very much like a DnD campaign that is trying to be a blades in the dark campaign. the format and tone aren't quite right. this show neither focuses on the immediacies of survival right after the republic's collapse, nor where the Bad Batch are trying to fit themselves into a new world, and it really suffers for it. there's almost nothing about parenthood (bc Omega is still tagging along on missions, and she is still twelve). i still don't really know the story this show is trying to tell, but am forced to conclude that a weekly show for children about guys who can do some sick flips is not the correct medium since i still don't fucking know what story this show is trying to tell.

there are eight products on shopDisney for this show and two of them are on clearance. i do not anticipate this series will be renewed past s3. apparently according to some advance reviewers this picks the fuck up after the midpoint of the season but i'm not holding my breath.

production wise, the backgrounds and lighting have gotten way better, they've really leaned into a luminous sort of matte painting that doesn't always pretend to have depth. i like how the rocky set in the second episode feels very much like a live-action limited-budget set. looks very much like a soundstage but animated, and i think that's oddly charming. i do like the location we visited in e2, wish we got to see more of it or talk really at all about the significance of the location. like. we have a literal castle chase and we don't talk about the castle At All. come ON.

one of the few canon trans characters in star wars deserves a better show with more coherent storytelling. love star wars! wish it was good.

-

playing

largely fallow week. shouts out to the app Flick Solitaire bc i played through a hundred and fifty levels in the past few days

-

making

some knitting problems i have to mull over before i post, bc i created an entire kerchief thing in a percocet haze but am unhappy with the finish. we shall see! might frog it but i'll post about it before i do

[dellinah]

I was going to name this “angel of darkness” after the song I listened to on repeat while drawing this, but then I remembered it’s Loona and she probably wouldn’t appreciate anything that could relate her to Cherubs of any kind. So now it’s just LoonaDeath.png

Anyway Puss in Boots 2 hum. It’s all everyone is talking about rn. And it makes me hella happy.

I went in without any expectations since I had avoided most trailers and wow. I came out with one of my new favorite movies of all time, animated or otherwise. I genuinely think it’s among DreamWorks’ best. I did not expect such an accurate and respectful depiction of mental health and PTSD; or a valid discussion about mortality x what makes like worth it, or what counts as a family, or healing broken trust.

But it delivered that and much more.

I just love it a lot, everything about it. Animation, story, character, themes. Between Puss in Boots 2, The bad guys and Del Toro’s Pinocchio I think 2022 was a great year for animation and none of it was Disney so hummm. Let’s see if that changes.

Either way it was a great movie.

So. El Lobo hum.

Yeah shoot me he’s pretty hot I’ll just embrace it. I love him. All my furry friends do, one way or another. Whether you think he’s really cool or you want him inside y-

Probably one of the most memorable and menacing villains in recent animated movies and damn it I love him. In a lot of ways. For a lot of reasons. But they went all out on his animation and his scenes are so great.

Long story short a very random and weird roleplay between a friend and I ended up with us figuring out that Loona is Death’s biological daughter. Which explains their similar eyes and color pallet, and also why Loona is such a natural killer. So I made this.

It makes perfect sense and that’s CANON NOW

Or, you know, it’s just Loona dressed up as Death for Howl-o-ween. Whichever you prefer.

I like how this turned out so far. I WANT to try shading and maybe a bg but who knows so I’ll post this anyway. I hope you like it too.

also watch the movie if you haven’t !!

[adarkrainbow]

Masterpost 4: The end of a year

2022 was actually the opening year of my blog! And you’ll find here most of the posts I made at the end of 2022, as well as some from the beginning of 2023. 

Fairytale study tips: How to date a critical work about French fairytales ; jokes in madame d’Aulnoy fairytales ; madame d’Aulnoy’s expansive tales ; thesis about the devil in fairytales ; d’Aulnoy VS Grimm ; Fairytales were not meant for kids ; Folklorist VS literary studies ; more about folklorist vs literary 

Perrault’s jokes: part 1 and part 2 and part 3 

Some French things: Guillermo del Toro wasn’t the first one to make a fascist Pinocchio ; a reblog about a work of Pierre Dubois ; Did Cinderella drop the shoe? ; A theory about Perrault’s writing 

Some illustrations: Puss in Boots ; Sleeping Beauty’s ogress queen ; witch or ogress ; flirty Puss in Boots 

Various asks: If I was a fairytale character ; Christmas and fairytales ; an ask about Petit Prince and Tistou ; folklore and fairy tales ask game 

The world of the fées (a rushed and incomplete transcription:translation of a book): Part 1, part 2, part 3, part 4

A manual’s take on fairytales (transcription of a French school manual): part 1, part 2, part 3  

Various considerations: Fairytales 0%,  fairytales and nursery rhymes ; “Fairytale Fantasy” ; wondering about mixed fairytales ; What OUaT did ; comparing two books 

Self-reblogs from my main blog: About the Norse god Tyr (turns out there’s fairytales in there) ; Frau Holle ; The Snow Queen 

[outeremissary]

Top 5 angel or angel-adjacent characters?

OKAY so this was delayed by my computer restarting against my will and destroying the draft. It's okay :') I feel like my list is probably going to be lamer than expected anyway, haha. I suspect this will be a very lame list as well... the shameful fact is for all the time I spend looking at illustrations with angelic motifs, I don't spend much time with angelic characters in stories.

Tristian (Pathfinder: Kingmaker)

This game has some kind of malign influence on my life.

2. Gabriel (Constantine)

I don't think Constantine is a good movie and I did not enjoy rewatching it as an adult. It turns out the reason I remembered it as being a bit befuddling when watched as a child (I think I caught the back half on tv once?) is because it's just not very good. But do you know what was even better than the pristine memory burned into my mind? Gabriel. Gabriel. Gabriel is so unspeakably perfect on screen. So soft and imposing. So lethal and forceful. Beautiful when in that prim and proper suit, and a vision as a white clad warrior! That twisted philosophy of making humanity "worthy" of love... this had some kind of profound impact on my developing brain, I fear. As a side note, I think there aren't a whole lot of feathery wings that look good in live action stuff, but Gabriel's are actually pretty solid! It probably helps that they're not onscreen much, and not generally static when they are.

3. Angel of Death (Hellboy II: The Golden Army)

I'll be real with you, I remember borderline nothing about Hellboy II, which I last watched when I was 9. But do you know what I remember? The Angel of Death. I remember the Angel of Death so vividly that when my ex had proposed we watch Hellboy I got Really Excited about seeing the Angel of Death and finally getting some context on that vague memory. And do you know what happened? The Angel of Death isn't in the first movie! Betrayed! Bamboozled! And for the rest of the night my ex kept calling me an angelfucker because I was so vocally disappointed.

4. Satan (Devilman)

I'll be real with you, I absolutely saw Crybaby before any other Devilman related thing and this is ummm. Not insignificantly influenced by my feelings about long haired Satan. Anyway. I love a good Satan. Everyone loves a good Satan. I love the deep commitment Satan has to his/their chosen people (the demons) and how desperately he/they works to preserve them. I'm also a huge sucker for a good pyrrhic victory, so what I'm really hooked on is the sincere, pure affection that Satan then develops for one special human who refuses to be taken in and sheltered and protected and saved from the annihilation of humanity. The ultimate symbol of Satan's victory is the destruction of that precious connection, and that's all it takes to make it all feel like it was for nothing. What a pure heart! And then there's all the time loop stuff as well, which is Spicy

Anyway, all Satans are valid but I'm only including one pic, so enjoy long haired Satan.

5. The Wood Sprite (Guillermo del Toro's Pinocchio)

This is mostly an aesthetic pick... the truth is that as a character I liked Death better. But like. What an aesthetic. Is it cheating to pick two del Toro designs? I resisted the temptation to add Death as well!

Still, it feels a more substantial choice is needed. Thus, I cheat:

5. 82 White Chain Born in Emptiness Returns to Subdue Evil (Kill Six Billion Demons)

White Chain is a fantastic character with a substantial character arc dripping with ye olde trans allegory (we love a good trans angel in this house). She struggles throughout the series with the conflict between what she understands to be her duty as an angel upholding cosmic law and her compassion for mortals and desire to protect them. Already an outcast among her peers, she fears further alienation. Her form has also been becoming steadily more human-like: messy, complicated proof of connection she's desperate to deny and her superiors wish to stamp out. Her struggle to grow into her own identity is one of my favorite side character arcs in the comic.

4. Satan (Devilman)

I'll be real with you, I absolutely saw Crybaby before any other Devilman related thing and this is ummm. Not insignificantly influenced by my feelings about long haired Satan. Anyway. I love a good Satan. Everyone loves a good Satan. I love the deep commitment Satan has to his/their chosen people (the demons) and how desperately he/they works to preserve them. I'm also a huge sucker for a good pyrrhic victory, so what I'm really hooked on is the sincere, pure affection that Satan then develops for one special human who refuses to be taken in and sheltered and protected and saved from the annihilation of humanity. The ultimate symbol of Satan's victory is the destruction of that precious connection, and that's all it takes to make it all feel like it was for nothing. What a pure heart! And then there's all the time loop stuff as well. Who doesn't love being eternally trapped in a purgatory of realizing one's mistakes just a little too late to avert them.

Anyway, all Satans are valid but I'm only including one pic, so enjoy long haired Satan.

Honorary mention purely so I can add pictures of her: Eniale

Comedy isn't really my favorite genre, so I didn't expect much of Eniale & Dewiela. But the characters certainly have a lot of charm, and Kamome Shirahama's breathtaking art does a lot to make every moment feel special in a very light hearted series. I have a very strong fondness for Eniale. She's just a little goofball. She's a terrible angel and doesn't work even half as hard as her demonic counterpart (and self-consciously notes that she's far less powerful). She means so well, but she's shallow, airheaded, and selfish, and just tends to cause as many problems as she solves. Despite that, she's incredibly sincere and passionate when it counts. I really love that. She's just a goofy lil scamp! She's a goofy lil scamp and she makes me smile. Also here are some pictures of her.

[excusethequality]

My 2024 in Film: March, part. 1

It would seem that I watched too many movies in March for Tumblr to handle!

By which I mean that it turns out there's a limit on the number of images you can attach to a single post and I watched more than that.

But I've been liking having a picture to go with each entry, so I'm gonna have to just split this one into two posts. Which means that you get two big posts instead of one monstrous post.

So really this is probably for the best?

Anyways, it was a month of extremes. Some soaring highs and some rage inducing lows.

So join me as I ramble about such things as: classic documentaries, experiments in gender, why the Academy can die in a fire, the difference between bad movies that are interesting and bad movies that make you wonder why you did this to yourself, and more!

* = rewatched

37.

Scream VI

(2023)

— Meta Horror Directed by: Matt Bettinelli-Olpin & Tyler Gillett

The people who were still alive after Scream 5 are back, weirdly not harboring any sort of PTSD from what they lived through, and living in NYC. That's right: Scream is lost in New York.

Both these new Screams want to create a new franchise with a new cast of characters. Cool. I always appreciate when someone tries to move the timeline forward instead of just remixing the original.

But it's hard for me to care about these new characters, because there's shockingly little character development. I'd swear the last movie never happened, because the new crew seem utterly unfazed from having narrowly survived being brutally slaughtered and having witnessed the deaths of close friends and family.

And the two main characters are the most boring of them all!

I know a lot of people would disagree with me and love this one. So clearly there's a difference of opinions out there.

I will say that I liked this a LOT more than 5. Moving the location from Woodsboro was a great move and was a lot more fun than I was expecting.

And, I know this isn't what I should have been focusing on, but the Halloween costumes in this movie?! They are fantastic. There are so many great ones lurking in the backgrounds of shots. Far and away my favorite part of the movie was trying to identify all the Halloween costumes.

38.

An American Pickle

(2020)

—Comedy Fantasy Drama Directed by: Brandon Trost Based on: “Sell Out” by Simon Rich

An immigrant to America falls into a pickle vat in 1919 and is preserved until it is opened 100 years later. Now lost in the strange new world of the present he tracks down his last living descendant and the two try to find common ground.

There's actually a really interesting idea at work in this movie. But more often than not the whole thing was just played as a bit instead of really developing the metaphor.

I'm not really the target audience for this one though, so I'm open to the idea that parts of it were just going over my head.

39.

Guillermo del Toro's Pinocchio

(2022)

—Animated Fantasy Adventure Directed by: Guillermo del Toro Based on: Le avventure di Pinocchio. Storia di un burattino by. Carlo Collodi

A woodcarver's drunken wish is granted when a godly being brings one of his creations to life.

Eagle-eyed readers might be thinking, "Hey! Didn't you previously say that you had beef with Netflix and would never give them money? Then how, pray tell, did you watch this Netflix original?"

Well, dear readers, it's because my local library had it due to it being released in a physical format from the Criterion collection. So there!

I'm going to be upfront and let you know that I am biased against this, because I have never liked the story of Pinocchio. In fact, that's why I never went to see it in theaters even though it was playing at the theater I worked at and thus could have watched it for free.

[In a particularly memorable day at the theater I made a man cry when I had to tell him he couldn't bring his dog to this movie. Then he went around telling everyone in the lobby that I broke his heart and ruined his day. So...yeah, that was a weird day.]

But I digress! [surprising no one]

I still don't love Pinocchio, but I will say that this is far and away my favorite adaptation. del Toro adds a lot of depth to the story by setting it in Mussolini-era Italy. Plus I love when people attempt stop-motion animation.

That being said, I have some issues on the animation in this though. I really love the animation of the non-human characters, but the human characters faces didn't match the level of emotions the voice actors were giving and the result was a discrepancy that had me convinced I was watching a dub.

I looked into it and it seems to be because the non-human characters were generally done by swapping the model's face plates between frames [a style of animation you might recall from films like The Nightmare Before Christmas and Coraline]. Meanwhile the human characters had models with faces that were built to be physically manipulated to change their expression [like in Fantastic Mr. Fox].

There's pros and cons to both methods, but I can't say I'm a fan of them both being used simultaneously. It was really breaking my immersion when different characters had completely different limits on their ability to emote. And there were so many times a voice was giving tons of emotion and the character's face was giving like 20% of it.

Okay, I'll stop ranting now...

Ewan McGregor was miscast in this and they had Tom Kenny in the movie and gave him like a line or two? What's the story there?!

Okay, okay, I'll be done for real now.

40.

Dick Johnson is Dead

(2020)

—Documentary Directed by: Kirsten Johnson

Having already lost her mother to Alzheimer's and with her father now beginning to succumb as well, filmmaker Kirsten Johnson seeks to create a record of who he is while also trying to document what it's like dealing with the inevitable death of a loved one.

"Netflix again!" you say to yourself. "Truly he is lying to us and doesn't want people to know that he actually has Netflix!" Wrong! Once again I got this from the library, because once again it had a physical release from the Criterion collection.

Suck it, Netflix!

Libraries for the win!

In more relevant news, Kirsten Johnson is ruling the top of the my movie rankings for the year. First there was Cameraperson and now this! She is out here doing fascinating things with the medium of documentaries.

I wish it was easier to say why you loved something than it was to say why you disliked something. Because this is such a hard movie to convey the tone of.

It's funny and heartbreaking, morbid and sweet, reverent and irreverent all at the same time.

Johnson is like a magician who tells you exactly what's up her sleeves. She'll show you what the trick is and how she's gonna do it. Then somehow she still manages to surprise you when she does it.

And it's not a true documentary in the sense that she's basically going in the exact opposite direction of cinema verite style. But she's also always documenting her process of breaking the rules.

In someone else's hands this could be a mess, but she's just such a master of the form that she knows exactly what rules she can't break, which ones she can bend the shit out of, and which ones she can ignore altogether.

41.

Dioses de México

[English title: “Gods of Mexico”]

(2022)

—Documentary Directed by: Helmut Dosantos

An unspeaking look at the resistance to modernization in Mexico as we witness the people still versed in the old ways.

This was one of my roommate's picks for our theme of: "Oh!...So That's a Thing".

The fact that there was no narration or really any dialogue made the whole thing rather fascinating. There were times I was dying for someone to tell me exactly what people were doing in a scene, but then again that's kind of the point, isn't it?

It's so easy to take modern machines for granted, that when you see someone making something the old fashioned way it almost makes the steps seem like a kind of magical alchemy.

42.

Oklahoma!

(1955)

—Musical Rom-Com Directed by: Fred Zinnemann

A woman gets mad that her pseudo boyfriend assumed she was going to the local dance with him instead of asking her and tries to make him jealous.

Although I watched a lot of musicals growing up, this was one that I was aware of, but never saw.

I know that this is true of many older musicals, but there's a lot of crazy shit going on in this. And yet there is practically no story or character development at all...and the movie is over 2 hours long?

How does almost nothing happen in nearly 2.5 hours?

And then against the grain of everything else in the movie, you've got this girl [woman? how old are they supposed to be?] having a whole subplot about how she just wants to sleep around?

Probably a good one to watch with a friend, because you can talk to each other and not have to worry about missing anything.

43.

Grey Gardens

(1975)

— Documentary Directed by: Ellen Hovde & Albert Maysles & David Maysles & Muffie Meyer

A look into the lives of a reclusive mother and daughter, who once belonged to high society, but now live by themselves in a dilapidated house of questionable safety.

Since documentaries have been dominating the top of my best of the year list, I've been making an effort to watch some of the famous documentaries that I've never bothered checking out before.

I never bothered with this one because it sounded a little bit cringe.

One of the inherent questions of journalism and documentary filmmaking is what is the ethical line for documenting something as it is instead of trying to change it? For instance is documenting someone dealing with mental illness encouraging their delusions? Or is it bringing to light the ways a detachment from society can have on a person's life?

I don't have the answers. But you can find some very interesting arguments as to whether or not this documentary crossed an ethical line.

But I do now understand why this has had such an impact on people. I don't even know what to say about it. It is one of things you have to see to truly understand.

44.

Dating the Enemy

(1996)

— Sex Shift Rom-Com Directed by: Megan Simpson Huberman

A former couple wakes to discover they have swapped bodies and are forced to try and navigate lives in the other person's shoes.

So on a whim a started making a list of movies I've been calling "Experiments in Gender." Because an esoteric subgenre of movies I love is movies that play around with ideas of gender. Things like Dr. Jekyll and Sister Hyde, She's the Man, Titane, etc.

And so sex shift fantasy movies are likely candidates for the category. HOWEVER, a lot of them are Freaky Friday style movies that aren't about learning about life in a different gender, but specifically learning about life in someone else's shoes. Which interests me considerably less.

The trouble is that the specific nuance of how this is tackled is usually not apparent from just a trailer or a synopsis. So the only way to find out where they land is to watch them.

"Why are you telling me this?" some of you might be wondering. Well, if you plan to keep up to date on these movie lists o' mine this is relevant information, because there's more of them coming.

Anyways, it turned out that this is not an experiment in gender, it is just a Freak Friday body swap scenario.

And there was no point in a Freaky Friday scenario because their relationship failed, not because of mutual misunderstanding, but because the dude was TERRIBLE and treated her like shit.

Also I think it made me realize that I don't like Guy Pearce.

Post swap, Claudia Karvan is acting like Guy Pearce's character is in her body. But Guy Pearce is just acting like his generic idea of a woman is in his body. He's not even trying to act like her character at all! And this made me start to question everything I've ever seen him in.

I will give it bonus points because they do have sex with other people while in their swapped bodies. But minus the bonus points again for the film moving right past this and ignoring the fact they both technically just had gay sex.

Things like this are why you aren't on the list. You gotta deal with the nuance of the situation!

Further proof that it doesn't count is that he didn't even get a period while in that body. Because, as previously discussed, the movie is a coward.

45.*

Waiting for Guffman

(1996)

—Mocukmentary Directed by: Christopher Guest

Cameras follow a small town's attempts to create a play about the history of their founding.

Rewatching Best in Show last month gave me a nostalgic taste for mockumentaries, so here I am.

I think I've only seen it once before so my memory on it wasn't the best. But when I heard the stool song I specifically remember watching that with my best friend's family back in the day.

It's definitely not the best of Christopher Guest's movies, but it's also not the worst. Although I will say that I've noticed that a bad habit of Guest's is making native american jokes. And I know he's not specifically making jokes at their expense per se, but through them he is still perpetuating the racist stereotypes from old westerns and they haven't aged well at all.

On the brighter side Parker Posey is in it and every scene with her is a delight.

If you love mockumentaries I think it's definitely worth watching. But if you only watch one Christpher Guest movie this isn't his strongest outing.

46.

The Aggressives

(2005)

— Documentary Directed by: Daniel Peddle

A look at the subculture of masculine presenting people of color in New York City.

I combined my documentary kick with a @gayverlyearp recommendation, because I am a master of efficiency!

Anyway it was a quality recommendation and a really interesting movie. It's especially interesting when you see the ways that gender expression has changed over the years. I hear the director made a follow up movie somewhat recently and I'm really curious to see if I can find that somewhere.

47.

Pachyderme

[English title: “Pachyderm”]

(2022)

—Animated Drama Short Directed by: Stéphanie Clément

A woman looks back at her childhood through memories muddled by time and trauma.

I attempted to go down the rabbit hole of watching the Oscar nominations for Best Animated Short. I couldn't find them all, but I did find the majority.

And I started off strong, because this one was my favorite of the lot. It's just beautiful and heart breaking and sticks in the crannies of your brain after you're done watching it.

And can we talk about the way it uses a picturebook illustration art style? That was such a brilliant choice. The way they use it portray childhood memories that have faded with time and become these stories we tell ourselves? The subtle way they use the composition to give scenes nuance?

It's so friggin' good. Highly recommend giving it a watch.

48.

Ninety-Five Senses

(2022)

—Animated Drama Short Directed by: Jared Hess & Jerusha Hess

A man on death row reflects on his life through each of his senses.

Another best animated short nominee.

It didn't hit with the weight that Pachyderme did, but I like how they both use really creative ways of talking about memories.

Specifically looking at a life through the lens of memories you associate with a particular sense is such an interesting prompt. I have some issues with this one that I can't go into without entering spoiler territory, so I didn't l love it, but I do respect it.

[I do get chatty about the films on these lists, and one can't talk about a movie with "spoiling" something. But I do purposefully steer away from just telling you the entire plot.]

49.

WAR IS OVER! Inspired by the Music of John & Yoko

(2023)

—Animated Short Directed by: Dave Mullins

Two soldiers discover that war is bad by playing a game of chess via carrier pigeon.

Don't even talk to me about how the Oscars handles the category of Animated Shorts unless you want to hear me rant at length. I'm still not over the fact that they give the tritest, most Hallmark Card-iest, cliche Inspirational Poster-iest entry the Oscar last year.

And they did it to me again!

Is this some sick joke on me? Is this personal, Academy? Did you hear me talking tons of shit about you and decide to get some revenge using a smaller category that the average viewer doesn't care as much about, but that I love?

Please keep in mind that I hold nothing against the animators who had to work on this project, because the animation is not on trial here. But this short SUCKS.

Some nepo baby pulled the sentiment "War is bad, okay? Don't do war" out of their ass...and they gave it an Oscar?

It is LITERALLY the worst entry in the category!

50.

Our Uniform

(2023)

—Animated Short Memoir Directed by: Yegane Moghaddam

The filmmaker reflects on the ways her uniform shaped her past.

Using the uniform as the animation medium to talk about uniforms is a truly brilliant move. It lacked the real emotional depth that Pachyderme and Ninety-Five Senses had, so I didn't think it would win. But I really liked it. And for a directorial debut? For a filmmaker that wrote, directed, and animated it herself? Fantastic work. Really curious to see what she makes next.

51.

Poor Things

(2023)

— Fantasy Drama Adventure Directed by: Yorgos Lanthimos

The result of a bizarre experiment goes on a grand adventure of self discovery.

I have a love-hate relationship with Lanthimos' films and I never know if I'm going to love them or just be utterly baffled by them. But with all the Oscar noms and wins I figured I had to check it out.

I actually don't have anything of note to say about this. As an asexual I felt thoroughly out of my depth here. The film has such a strong focus on sexuality that I can't really relate to most of it. I asked a couple ace friends what they thought of it and they had similar takes of enjoying elements of it, but feeling disconnected from it on the whole.

So yeah. I dunno! Go ask an allosexual if you want an in depth take on this.

52.*

Anchorman: The Legend of Ron Burgundy

(2004)

—Comedy Directed by: Adam McKay

A local anchorman in the 70s has his world flipped upside down when the station hires a woman to be his co-anchor.

I loved this movie back in the day. But it doesn't make me laugh nearly as much these days. There's still some parts I love, but it just doesn't hold the same magic for me that it once did.

53.

The Sex Trip

(2016)

— Sex Shift Comedy Directed by: Anthony G. Cohen

A womanizing pickup artist is cursed with a new body by witch until he can learn to respect women.

Ohhhhh, what to say about this one...

I kind of want to force someone to watch this with me, because it is just so wild and I want someone else to stare into the abyss and witness the madness that I have seen.

One nice thing about sex shift movies is that in most of them if you don't like the person playing the main character, you can wait a little while and they'll get a new actor in there.

And that's something you can't say about most movies.

There's this weird thing that can happen when bros accidentally wander into queer territory, because sometimes their extremely "no-homo" way of thinking can lead them into accidentally nuanced territory. And other times it will just be dumb and offensive.

But you know what? I'm counting it as an experiment in gender. Our protagonist gets a period, he realizes how annoying breasts can be at times, he experiments with his new set of genitals. He's got a best friend who is either secretly bi, or possible straight but specifically gay for his friend? I certainly don't think the writer/director was aiming for the best friend to be queer, but no straight man would be so eager to accept a threesome with his best friend. You can't convince me otherwise.

Would I recommend this to the average movie fan? Uh, no. It is not a great film. It is a weirdly interesting film, but I wouldn't say it's by any means a film of quality. In spite of it accidentally wandering into interesting territory, it's still very clear that some bros wrote this movie. There's plenty transphobia and misogyny and just plain cringe.

But I've learnt that while most people watch movies to enjoy them, I watch movies like a field researcher. I'm like a biologist in the field, looking under rocks and climbing trees to see what kind of weird stuff I can find. So if you're like me, well, this a fascinatingly fucked up little specimen for sure! You can see such odd little features such as: Tom Hanks' brother, Sylvester Stallone's brother, a man getting cursed for having the gall to not want to kiss a stranger he just met, a man try desperately to sleep with his best friend in a way that won't be gay, the worst blooper real I have ever seen, and more!

54.

Rubber

(2010)

— Meta Horror Directed by: Quentin Dupieux

An audience gathers in the desert to watch the live performance of a story about a tire coming to life and killing people with its psychokinetic powers.

While I love movies that are so bad they're fun, I hate movies that purposefully try to be bad movies. I assumed that that is what this was, and thus I never bothered with it.

However, it turns out that this is not really a movie trying to be a bad movie...it's...

I don't really know what this is actually. And I'm not entirely sure what it was trying to say....

But I do know that I didn't like it and don't plan to ever watch it again.

55.

Grizzly Man

(2005)

— Documentary Directed by: Werner Herzog

After Timothy Treadwell was killed by a bear while creating videos to help protect bears, Werner Herzog used his footage to create a documentary about Treadwell himself.

Another classic documentary that I had never bothered watching. I was slightly uncomfortable with the concept potentially being a little too close to a snuff film.

But I get it now. I get why it's acclaimed. This was not what I was expecting.

I was especially certainly not expecting Herzog to just periodically drag this dude? I was also not expecting that this dude clearly has issues.

56.

Victor/Victoria

(1982)

— Musical Rom-com Directed by: Blake Edwards

A female singer creates a hit act by pretending to be a male female impersonator, but along the way learns to love the lifestyle.

Oh ho ho, dear reader, this one came close to glory. If I liked the songs in this more, and if they didn't force a weird romance angle in there? This would truly be top tier.

That being said I still love it. Definitely an experiment in gender. It goes so much harder on the subject than I was ever expecting.

And the cast? The cast is exquisite!

Do I wish it was just sliiightly different? Yes.

Did I have a great time regardless? Yes!

57.

Tootsie

(1982)

— Monstrosity Directed by: Sydney Pollack

After burning every bridge he ever came across, a pretentious actor finds that he can no longer find work. Instead of bettering himself in order to repair his image and professional relationships, he decides to pretend to be a woman and steal some jobs from them.

Now do you see why I spent that time all those movies back explaining my quest to create an experiments in gender list? Has it not given you a peek into the process and important context for multiple films on this post?

Anyway, this is not an experiment in gender. This is just a fucked up movie.

I've heard about this movie a fair bit over the years, but all I've heard was that, A) it was really funny, and B) that Dustin Hoffman is amazing in it.

I was surprised to learn neither of those things is true. I was too busy being horrified to laugh at the terrible jokes. And Dustin Hoffman is either terrible in it, or doing an amazing job portraying a terrible, terrible person. You be the judge!

I hate this movie so much, y'all don't even know.

It's so fucking reductive, yet it acts like it's progressive. The whole movie is based on the premise that of course he's able to get the role, because he's a man while everyone else auditioning for the role were mere women.

Oh! And don't even get me started on the bizarre headgames and manipulations this dude pulls on the women in his life.

Ugh...I could rant about this movie forever. Truly terrible. I feel personally offended for having sat through it. And look at some of the weird shit I've watched so far this year! I watched a movie where a pack of people ravenously consume a rotisserie chicken with their hands while watching a tire kill people in the desert!

And the fact that I seem to be the minority in thinking it's terrible drives me even crazier.

We are 57 movies into the year and you better believe I threw this into dead last so fast.

And the very bottom of the list is the stuff that I wouldn't even watch with a friend. I would have to be bribed extensively to even consider seeing this again. You better be bringing plenty of booze and food or some cash and even then I'd have to really think hard about wanting to do that to myself again.

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