#howard brodie

[multifandom-lesbian09]

Love when my favorite actors are unproblematic. Makes me feel superior in a way

[moviemosaics]

The Village

directed by M. Night Shyamalan, 2004

[badmovieihave]

Bad movie I have Bell Book and Candle 1958

[gokaiju]

The Village (M. Night Shyamalan, 2004) Alternative Poster by Gokaiju

[thebutcher-5]

Lo squalo

Benvenuti o bentornati sul nostro blog. Nello scorso articolo siamo tornati a parlare di animazione con un film creato dalla Sony Picture Animations e dalla Aardman, un film molto tranquillo e leggero ma con delle belle idee, Il figlio di Babbo Natale. Arthur è il figlio minore di Babbo Natale ma per via della sua goffaggine è relegato alla posta mentre suo fratello maggiore Steve, attraverso…

[adamwatchesmovies]

The Village (2004)

It’s been seventeen years since I saw The Village. As I pressed “play” on my DVD player, I wondered how knowing the ending would affect my experience. The good news is the film is memorable, well-acted and well-shot, with an excellent score by James Newton Howard. Unfortunately, none of it feels like it matters. This movie completely falls apart under any kind of scrutiny, almost like it was built backward to support its own shocking ending - an ending that essentially gives the film zero re-watch value.

In the small, isolated Pennsylvania village of Covington, everyone fears “Those We Don’t Speak Of”: creatures in red cloaks who live outside the perimeter of torches surrounding the village. These monsters are drawn to the colour red and fiercely guard their territory.

Though the premise would lead you to think The Village is a horror film, it isn’t. Not really. Most of the picture deals with the villagers living typical 19th-century lives. The only abnormal thing is the prevalent fear of real monsters at night. Ivy Elizabeth Walker (Bryce Dallas Howard) pines for the meek and gentle Lucius Hunt (Joaquin Phoenix). He shows his affection by avoiding her as much as possible. This makes Ivy’s sister Tabitha (Jayne Atkinson) think he might accept her advances. So far, nothing scary. The young men have fun daring each other to taunt “Those We Don’t Speak Of”, except Noah Percy (Adrien Brody), whose developmental disability means he still acts like a child. None of it seems like anything more than superstition, even with (or perhaps because) Noah Percy can enter the surrounding woods without any apparent fear of reprisal from the monsters. Meanwhile, the village elders all appear to harbor secrets about the past, all hidden inside large black boxes. Now we're talking about something a little creepy, but still not terrifying.

The plot begins when the balance between the village and the woods is disturbed. This is where writer/director M. Night Shyamalan shows off his filmmaking skills. There’s a scene where Lucius steps into the surrounding woods and sees one of “Those We Don’t Speak Of”. The camera doesn’t quite follow his field of vision - it moves a fraction of a second slower than it should. We get a fleeting glimpse of the red-cloaked creature. In that moment, Shymalan transports us into that forest. The terror we feel seeps deep inside our bones - all without really showing you anything. Still, it doesn’t quite turn into a horror film. It’s difficult to pinpoint what sort of mood this picture is going for, and I mean that in a good way. It makes you wonder what’s coming next.

It’s impossible to discuss a second viewing of “The Village” without examining the multiple twists in the second half. First, we learn “Those We Don’t Speak Of” are fabrications by the elders, that the one that’s to be feared is actually Noah - he discovered one of the elder’s costumes - and, most shocking of all, that the whole film takes place in modern day. The village was founded as a way for the elders to start their lives over, away from the evils of the present. There is a nugget of an idea there. There's something to be said about the extremes grief will push us towards (all of the elders suffered hideous tragedies in their past lives) but it’s tainted by a cheap twist. If none of the elder’s children know the outside world, why mark the tombstones with old-timey dates except to fool the audience? It gets extra contrived when Ivy - who is blind - is sent into the woods to fetch medicine. It's so she can travel outside without learning the village's secret. Come on. I know the elders have sworn never to venture outside (I guess no one misses toilet paper) but if they’re making up their own world, why not make one up that includes modern medicine and other comforts? Oh wait, I know. It’s so the movie can have a twist ending, so it can fool those watching.

I can understand someone focusing on the themes of grief in The Village and calling it a good film. There is something here about how determined people can be to run away from their lives and prevent themselves from moving on in the process. I just don't know if you can call a film successful when your positive review requires you to ignore its preposterous ending and all of the contrivances inserted only to trick the audience. It’s a well-made film; moody & tense, with good performances, a terrific score and excellent camerawork. Unfortunately, they all sit upon a foundation of saltine crackers. (On DVD, August 7, 2021)

[everyfilmisaw]

The Village by M. Night Shyamalan, 2004

[hellocanticle]

Howard Hersh in Isolation

The COVID epidemic imposed unanticipated stresses on pretty much everyone. These stresses resulted in much pain and suffering but also prompted a variety of creative responses. This one, by the composer/producer/broadcaster Howard Hersh, consists of four pieces for solo instruments (flute, marimba, piccolo, and violin). The first piece, “Solo” (2006) for flute (Tod Brody) and the second,…

[gigglecock-sexcanons-official]

Oh YEAH??

Well I think Howard the Lion RAW DOGS IT with Nightbane The Gentleman Wolf while Brody, Girlboss AND Cory jack it off to thr side, Jeff is NOT allowed

‎

[v7n5]

Ráo

Listened to Summer Walker and sketched The Guy first thing in the morning today because these photos of Adrien Brody gave me the urge. He looks so happy and they emit so much childlike whimsy inspite of him wearing a full suit and they bring me so much joy. Howard being rid of worries and barefoot, such and such...

[dandelionjack]

being a doctor who fan in the uk is an unfair disadvantage because everyone here watches it or used to watch it as a child. you can’t wheedle your way out of being cringe-shamed by using the excuse of nobody around you having seen it. everyone’s seen it. everyone associates it with the fucking cassandra pancake and farting politicians. if they’re a little younger, they will say “oh i was so scared of weeping angels when i was! seven” you can’t escape. you can’t lie and say it’s good. everybody knows how embarrassing you are. you immediately get peer-diagnosed with autism even if everything else about you wasn’t giving that away (your music taste, microbangs, 2007 emo eyeshadow, 5 layers of clothing to make you look homeless mori kei, lack of eye contact and oddly posh accent out of nowhere)

basically i need to change my lockscreen to something normal. not another actorman or musician either sure having adrien brody or robert smith or rowland s howard on there is slightly more socially acceptable but it should be something like a floral pattern or a preraphaelite painting maybe. i have 3 months to make myself #cool again before i return to uni. and inevitably join who soc anyway

[cantsayidont]

Some bad teevee:

FIGHT NIGHT: THE MILLION-DOLLAR HEIST (2024): Tasteless, embarrassingly bad eight-part Peacock miniseries wastes a high-profile Black cast (including Samuel L. Jackson, Don Cheadle, Taraji P. Henson, Chloe Bailey, and Terrence Howard) in a clumsy attempt to turn a true crime podcast, about the armed robbery of an afterparty for the October 1970 Muhammad Ali–Jerry Quarry fight, into a self-consciously retro blaxploitation pastiche. Starring comedian Kevin Hart as Gordon "Chicken Man" Williams, the Atlanta hustler who organized the party for an array of top Black mob figures and then found himself on the hook after the robbery, the show is a tonally uneasy mix of grim drama and leaden shtick, which smothers some flailing stabs at social commentary while giving the more serious scenes (which are often quite brutal) an inappropriately campy vibe. Hart (who also produced) acts like he's in a latter-day FRIDAY sequel with all the punchlines removed, while Henson looks so uncomfortable that you can't help cringing every time she's onscreen; even Don Cheadle's weary dignity is very hard-pressed, and Dexter Darden's weak caricature of Ali doesn't help. Worse, the story just isn't interesting enough to sustain eight one-hour episodes. CONTAINS LESBIANS? No. VERDICT: One can see what they were going for ("COTTON COMES TO HARLEM meets ACROSS 110TH STREET, but based on a true story!"), but it's a complete train wreck.

NOBODY WANTS THIS (2024): Thinly plotted, stupid sitcom about an obnoxious blond shiksa (Kristen Bell), who runs a confessional podcast with her equally obnoxious sister (Justine Lupe), unexpectedly falling for a cute rabbi (Adam Brody), whose family and friends can't believe he's dumped the hot Jewish woman (Emily Arlook) everyone expected him to marry. Feels like a (bad) romcom feature script stretched awkwardly into 10 half-hour episodes, and it becomes more and more offensive as it goes on, villifying every Jewish woman older than about 15 in a vain attempt to make the boorishly antisemitic heroine seem like a reasonable romantic choice. CONTAINS LESBIANS? The main character periodically mentions that she was a lesbian for a year, but she's not now. VERDICT: Aptly titled.

PENANCE (2020): Eye-rolling British drama/thriller, based on a Kate O'Riordan novel (strictly beach and bathtub reading, one assumes), about a middle-aged mum (Julie Graham), reeling from the unexpected death of her 20-year-old son, who has a Horniness Crisis™ involving a hunky, manipulative young man (Nico Mirallegro), who's also dating her teenage daughter (Tallulah Greive) and is plainly up to no good. Not at all credible even before some absurd third-act contrivances, it's essentially a wish fulfillment fantasy (or porn scenario) drenched in just enough sour self-loathing and turgid melodrama for the target audience (Tory-voting sexually frustrated middle-aged white women) to reassure themselves that they're not really having fun. Just to make sure, Art Malik costars as the kind of insufferably chummy local priest Pat O'Brien used to play. CONTAINS LESBIANS? Nope. VERDICT: Probably well-tailored for its intended audience, but for everyone else, it's too silly to take seriously and too dour to even constitute good trash.

THE PENGUIN (2024): HBO Max dared to ask, "Will the market bear yet another Batman-less Batman TV project?" and came up this spinoff of THE BATMAN (2022), returning the film's version of the Penguin (Colin Farrell, buried beneath half his weight in prosthetics), maneuvering between the rival crime families of Alberto Falcone (Michael Zegen) and Sal Maroni (Clancy Brown), with his only ally a Black teenager (Rhenzy Feliz) who becomes his driver and protégé (not unlike the relationship between Dwight and Tyson in TULSA KING). Cristin Milioti costars as Alberto's unstable sister Sofia Falcone, newly released from Arkham Asylum, with Shohreh Aghdashloo as Sal's ruthless wife Nadia. There's no reason to assume this show won't follow exactly the same pattern as GOTHAM and PENNYWORTH — i.e., a brief flirtation with gritty urban crime drama that quickly goes off the rails into campy derangement while stuffing its pockets with as many second-tier Bat-adjacent characters as Warner Bros. will permit. (Alberto and Sofia are borrowed from the Jeph Loeb/Tim Sale series BATMAN: THE LONG HALLOWEEN and DARK VICTORY, although this version of them bears only a vague resemblance to the original.) Since the show's only apparent reason for being is to juice interest in the eventual Matt Reeves/Robert Pattinson theatrical sequel without impacting that sequel (or even showing Batman) in any meaningful way, why bother? CONTAINS LESBIANS? TBD. VERDICT: Lucy with the football.

[hoodienanami]

What are you thoughts on Danny Boyle's Pistol? I remember you saying that you have mixed feelings and I'm curious! Always love reading about your Sex Pistols opinions :)

i think theres a lot of good and a lot of bad. its a pretty mixed bag overall

what i like about it is how humanizing it is, which is much needed when it comes to the sex pistols. its a very loving portrayal of these real kids who deserve the sympathy boyle gives them in his show. it also takes the time to show the beginnings of the band and bust some myths in the process which is always good. highlighting steve as the main character was a very smart choice on that front. i also like how it shows the complexity of the relationships between the characters. malcolm and steve's relationship is very fleshed out and i think done super well, the actors really sell it imo theyre both perfectly cast. and theres a lot of great moments between johnny and sid, johnny and steve, and one utterly fantastic moment with johnny and vivienne that almost makes up for how little vivienne is in the show. just like thomas brodie-sangster and toby wallace with malcolm and steve, anson boon puts so much effort into his performance and you can tell he adores johnny, theres a lot of complexity there even if the script is lacking much of the time

but what i didnt like is how small the world feels (where are the other bands, why do the bromley contingent play such a small role?), how it leaves out some of the most important moments in the sex pistols career, and completely side-steps what makes the sex pistols so great in the first place which is their insane amount of influence on basically everyone who encountered them

in the show the bromley contingent are all together before the sex pistols play their first concert! why!!! putting aside how historically inaccurate it is to have them all together before the first gig, its much more interesting and narratively satisfying for the bromley contingent to build up as the pistols play more and more gigs!

the clash, one of the biggest names in the long list of bands that only exist bc of the sex pistols, is mentioned in the show but theyre never on screen! it would have been a great moment to see joe strummer leave his lame pub rock band after seeing a single sex pistols concert, following them out the door and wondering if he can find a punk band to join before running into bernie rhodes. bazooka joe are there in the second episode bc they have to be but instead of seeing adam ant, who was part of bazooka joe at the time, leave his band to go join the bromley contingent bc the sex pistols very first gig made him want to change his entire life forever we just get the bazooka joe lads getting into a tussle with the pistols and thats it. goddamn it i want to see pete shelley and howard devoto driving down to london in their friend's car just to see the sex pistols and returning to manchester as the buzzcocks and setting up the lesser free trade hall concert that caused joy division, the smiths, the fall, and factory records to be formed!!!

time and time again boyle misses out on actually showing us what made the sex pistols great even tho he has many chances to do so. the show tells us that they inspire ppl and make ppls lives better but we barely see it! the most we get is one performance by siouxsie

its a show that focuses too much on the personal and not enough on the larger world around the pistols. as much as i like the personal aspects, as much as i like seeing the inner workings of their lives and their relationships to each other, what i want to see from a sex pistols biopic is the sex pistols doing what they do best: inspiring other ppl to change the world. theyre the pied pipers of punk, leading all the creative kids who know theres more for them out there off into a new world where theyre finally free to be themselves and do great things

i also would have liked to see more of how intense and fucked up being a sex pistol was by 1977. we see johnny getting stabbed and chased around after the grundy show but we dont see the real incidents of him (and paul! and jamie reid!) nearly being straight up murdered bc of god save the queen, we dont see how fucking evil the press was to him and the rest of the band. and bc of that we dont see how it affects the band to be treated like this by the public and the press which i think is crucial when it comes to wanting to humanizing the sex pistols and getting ppl to understand them

well at least danny boyle queercoded johnny to hell and back to make his relationship with sid even more tragic then it already was

i liked what we got but it could have been much better

[paradlselost]

⠀ ⠀ ˙ . ꒷ 𝓕ANDOMS . 𖦹˙

TASK FORCE 141 — john price , simon ‘ghost’ riley , john ‘soap’ mactavish , gary ‘roach’ sanderson , kyle ‘gaz’ garrack , nikolai , ++ alex keller , farah karin , alejandro vargas , rodolfo ‘rudy’ parra .

KORTAC — könig , nikto , kim ‘horangi’ hong-jin , sebastian kruger ++ valeria garza , philip graves + the shadows , vladimir makarov .

TWO — arthur morgan , john marston , dutch van der linde , hosea matthews ( platonic only ) , abigail marston , mary beth gaskill , karen jones , tilly jackson , javier escuella , sean mcguire , charles smith , lenny summers , josiah trewlany , sadie adler , molly o’shea , kieran duffy , albert mason , charles châtenay , eagle flies , proetus + acrisius .

ONE + REVOLVER — jack marston ( teen + adult only ) ++ red harlow .

NEW VEGAS — arcade gannon ( mlm only ) , benny gecko , craig boone , fantastic , jason bright , joshua graham ‘ the burned man ’ , robert house , sunny smiles , viktor , yes - man .

FOUR — nate / nora , ada , cait , curie , paladin danse , deacon , desdemona , glory , john hancock , nick valentine , piper wright , porter gage , preston garvey , robert maccready , x6 - 88 .

SHOW — lucy maclean , norm maclean , the ghoul - cooper howard , maximus , lee moldaver , thaddeus .

VOUGHT — homelander , a-train , black noir , black noir II , queen maeve , lamplighter , translucent , firecracker , sister sage , the deep , ashley barrett , soldier boy , crimson countess , stan edgar .

THE BOYS — billy butcher , hughie campbell , annie january , sergei ‘frenchie’ , kimiko , marvin milk .

OTHERS — victoria nueman , luke riordan , andre anderson , cate dunlap , marie moreau , jordan li , emma meyer , sam riordan , maverick , popclaw , webweaver .

SLASHERS — jason vorhees : friday the thirteenth , michael myers : halloween og + rz , billy loomis : scream , stu macher : scream , brahms heelshire : the boy , harry warden : my bloody valentine , billy lenz : black christmas , bo sinclair , vincent sinclair , lester sinclair : house of wax , bubba sawyer : texas chainsaw massacre , thomas hewitt : texas chainsaw massacre reboot + beginning .

FAR CRY — john seed , joseph seed , jacob seed , faith seed , sharky boshaw , jess black , hurk drubman jr , adelaide drubman , grace armstrong , jerome jeffries , eli palmer , joey hudson , staci pratt , earl whitehorse . pagan min , ajay ghale . vaas montenegro , jason brody .

BALDURS GATE 3 — orgin dark urge , gale dekarios , astarion ancunín , shadowheart , lae’zel , wyll ravengard , karlach , halsin , jaheira , minsc , minthara , dame aylin , isobel thorm , omeluum , the emperor , rolan , dammon , ketherick thorm , enver gortash , orin , kar’niss , nym , sorn , raphael .

SUPERNATURAL — dean winchester , sam winchester , castiel , gabriel , adam winchester , lucifer , michael , anna milton , charlie bradbury ( wlw only ) .

OTHER — connor : detroit become human , joe goldberg : you , eddie gluskin : outlast whistleblower , father paul hill / john pruitt : midnight mass , riley flynn : midnight mass , sheriff hassan shabazz : midnight mass , kurt wagner : x - men , remy lebeau : x - men , peter maximoff : x - men , adrian chase : peacemaker , abner krill : suicide squad , edward nashton : batman .

[nwonitro]

Vale 2023

Terry Funk, Bray Wyatt, Joyce Grable, Killer Khan, Jim Breaks, Doug McLeod, Kurtis Chapman, Brett Wayne-Sawyer, Emile Dupree, Bart Sawyer, Curtis Smith, Randy Johnson, Bill Howard, Count Drummer, Pat Blake, Sheik Adnan El-Kaissey, Darren Drozdov...

Mantaur Mike Halac, Iron Sheik, Tommy Siegler, Tony Peters, Exotic Adrian Street, Superstar Billy Graham, Butch Miller, Rod Bell, Peggy Lee Leather, Abe Jacobs, Rich Landrum, Ed Garea, Brian Dixon, Tim Lyle, Beverly Shade, Don Luce, Willie Paul, Bill Robinette...

JR Bundy, Jerry Jarrett, Jason Silver, Jeff Gaylord, Toro Bill, Eric Froelich, Black Warrior, Johnny Powers, Karl Von Steiger, Mike Pappas, Don West, Sean Patrick O’Brien, Jimmy The Jester, Terry Machalek Sr, Brian Bukantis, Matt Mann, Lanny Poffo...

Billy Two Rivers, Rockin' Randy Rhodes, Charlie Norris, Ed Cheslock, Dan Masters, Howard Brody, Chica Ye-Ye, La Arpia, Carlos Elizondo, La Tigresa Del Norte, Jay Briscoe, Kenny Jay, El Justiciero, Benny Galant, The Rose, Robocop, El Rostro, Indio Vitela, Millonario.

[softiedancers]

TDA Las Vegas 2024 Best Dancer Predictions!

mini female

stella brinkerhoff

belle marie arauz

savannah jackson

mini male

chase lang

brody schaffer

jeffrey wu

junior female

skylar wong

finley ashfield

lilly anderson

junior male

matthew conway

grayson niemcsyk

lincoln russo

teen female

taylor morrison

kira chan

kylie kaminsky

teen male

logan asuncion

gabriel kleeman

zachary roy

senior female

hailey bills

izzy howard

keira redpath

beth anne mcgowan

senior male

hudson pletcher

caleb abea

drew rosen

alonzo dock

these were my initial thoughts based purely off 1 watch of their recompete solos! i’m so back and forth on mini female, junior female, and senior male. it’s such a toss up. i’ll rewatch the solos and make any changes before saturday!