#i fucking loved this film

[dollarsignc]

hear me out,

total drama but it’s a 1970s, 24 hr loop, all of the kids live in a home together to try and not get found by the outside world. they all have different paranormal abilities and are known as Peculiars

oh and it’s a miss peregrine’s home for peculiar children au

what do we think

[therealcallmekd]

Now THAT'S Thinkin' In 3D!

HHEHEHEE HAH FLATLAND FANART BE UPON YE

[ghost-in-the-corner]

Okay and the choreography of the Barbie movie? Fucking phenomenal.

Fuck, the tiniest of movements were so impactful. Margot Robbie taking a deep breath after first thinking about death. The Kens being all stiff until Ken got to the real world. The way the executives moved in straight lines like dancers. Allan moving more like a Barbie would. The Ken dance number.

[daftmooncretin]

imagine being scotty in tos. every day your friend group goes on dangerous yet exciting adventures to new planets but you can never go because they always make you babysit the ship. also you have to stay on facetime with them the whole time in case they need a lift. you are the eternal designated driver. the seventh wheel. you dont mind as much as you should though because you sort of want to fuck the ship

[avocadoraisin]

A vampire and a werewolf walk onto a crime scene...

[ilovemesomevincentprice]

It's almost Halloween, so I thought I'd bring this back...

No one could do "sensation, horror, and shock" like Vincent Price!

House of Wax (1953) dir. Andre De Toth

[monstraduplicia]

yeah felix and venetia are NOT beating the siblingfucker allegations

[bixels]

Now that Ghibli's new movie is coming out soon, I've been thinking about anime films and wanna talk about my favorite animated movie ever, Tokyo Godfathers.

TG is a 2003 tragicomedy by Satoshi Kon, following three unhoused people––an alcoholic, a runaway girl, an a trans woman––who find a baby in a dumpster and set off across Tokyo to reunite her with her parents.

If you like the sound of that, go watch it because the rest of this post is spoilers and I have FEELINGS about this movie.

URGHH, the fact that only two moments of true kindness, generosity, and care given to the three protagonists without any expectation of reciprocity are given by a Latin-American immigrant couple and a drag show club full of trans women. The fact that, despite her loud and dramatic personality, Hana is the glue that holds the team together and the heart of the whole movie. The fact that this movie pulls no punches at showing the violence and inhumanity committed by "civilized Japanese society" against the unhoused. The fact that Miyuki craves to be loved by her parents and ends up seeing Hana as her true mother. The fact that Miyuki starts off accidentally using transphobic language against Hana, but slowly begins calling her "Miss Hana" out of respect. The fact that, according to Kon, Hana's role in the story is as a mythological trickster god and "disturb the morality and order of society, but also play a role in revitalizing culture." The fact that Hana so desperately wants to be part of a true family, yet is willing to sacrifice her found family so they can be with their own, and is rewarded for her good deeds in the end by becoming a godmother. The fact that, throughout the movie, wind and light have been used to signify the presence of god's hand/influence (this movie's about nondenominational faith––faith in yourself, faith in others, faith in a higher power. Lots of religious are referenced, such as Buddhism/Hinduism, Christianity, and Shintoism), and in the climax of the film, as Hana jumps off a building to save a baby that isn't hers, a gust of wind and a shower of light save her from death. The fact that god saves a trans woman's life because she proved herself a mother, and that shit makes me CRY.

[arohusbandodododo]

movies like nimona and across the spiderverse makes me realize that I never want to see another live action movie again. The way you can utilize animation and make visuals so interesting, as well as the flow and colors, is just something you can't do with real people

[wyrmswears]

yknow what, fuck you, [unhumans your previous elemental masters of lightning and ice and makes them best friends^_^]

Ice is an unspecified eldritch being. He has an uncanny valley effect on humans that unnerves the majority of the team who in turn can't understand how Libber, Garmadon, and Wu don't feel unsettled by him. Eventually, the teams warms up to him, and though no one becomes as close to him as Libber is, everyone knows they can come to him if they want to hex their ex or get a demon exorcised (sometimes these are one and the same).

Libber is a raijū and though this isn't common knowledge when she joins the elemental masters, news quickly spreads; she isn't great at keeping secrets. She DOES bite and Maya learnt this the hard way.

more art but also cw for death under read more

[tapeworrmart]

Red Dead Revenge (low honor Arthur)

[heyimboredtalktome]

suffice it to say i can never watch ofmd again without feeling like im going to throw up lol

here's the fucking letter

nothing about a ceasefire, nothing about the 5000 palestinians killed, almost 50% of whom are children, the carpet bombing, nothing about the 150,000 palestinians killed since 2008 out of which 30,000 were children, nothing about the surveillance, apartheid, dispossesion, racism, rape, murder and ethnic cleansing that the palestinians have been subjected to for decades by their beloved genocidal regime israel, also the FUCKING LIE ABOUT THE BEHEADED BABIES that even biden himself admitted that he hadn't actually seen which pretty much assures you that it's a lie because if there was such a thing you can be assured that it would be plastered 24/7 on cnn bbc because obviously war crimes committed by the hamas are somehow much more illegal than the war crimes committed by israel because the palestinians are inherently "HUMAN ANIMALS" and must be dealth with as such. they're basically saying "thank for giving israel full freedom to commit genocide and war crimes ❤️"

[howfarethestars]

i’ve seen furiosa three times now, and i keep coming back to the idea of it being a story told as oral history. it’s mythic, it’s legendary, it’s sprawling, and it’s just an absolute joy to watch. it feels like storytelling at its very essence. it’s the kind of story that got told around a camp fire three thousand years ago.

i think you can feel its mythology most in its inaccuracies and missing pieces. we don’t know exactly how dementus and his crew brought down the leader of gas town; we just know that he did it. we don’t know every detail of the 40 days wasteland war; we just know how it ended. it feels like reading from a history book and there’s a footnote at the bottom noting the uncertainty surrounding certain aspects of the story.

furiosa is entirely the vessel through which the story is told. she’s our lens. if she doesn’t know what happened (dementus didn’t drag her into gas town; she doesn’t know what happened exactly) (she was in the citadel watching the 49 day war from a distance; she doesn’t know the details), neither does the audience. she’s set up to be a pretty reliable narrator (and so is the physical narrator, the history man), but she can’t help what she simply doesn’t know.

that’s why i find the ending so interesting, too. the introduction of the idea that maybe the peach tree isn’t true, that stories got passed around saying that furiosa simply shot dementus or tortured him to death in the same tree where he did the same to her mother, is something most *films* don’t do. it’s something that myths do, something that a real breathing person would do if they were verbally telling you the story.

because it’s an oral history!!

[lesbiancolumbo]

As Indigenous woman filmmakers, we knew that our path through the industry would be narrow and that our film, Fancy Dance, would have a small window for success based on the abysmal record of representation for Indigenous folx in Hollywood. As such, we channeled our collective wills as granddaughters of Dust Bowl survivors, descendants of genocide and avowed followers of the indomitable Merata Mita to give this film the best shot possible. If there existed a “how to make a successful movie in Hollywood” checklist, we followed it to a tee. Step one: Create a compelling script (after her sister’s disappearance, a hustler kidnaps her niece from the child’s white grandparents and takes her to the state powwow in hopes of keeping what’s left of her family intact) – check. Step two: Find top-tier producing partners (Nina Yang Bongiovi, Tommy Oliver) – check. Step three: Cast amazing actors at the top of their field (soon-to-be Oscar nominee Lily Gladstone) – check. Step four: Premiere and screen at world-renowned festivals (Sundance, SXSW, BFI London) – check. Step five: Receive excellent reviews (THR called it “exceptional”) and festival prizes (Hamptons, L.A. Outfest, Mill Valley, NewFest, Sun Valley, Tacoma) – check. Step six: Get a distribution deal – …crickets.

[tommytomatoe]

asher: "is my tie on straight?"

david: "is it ever?"

asher: "c-can you fix it?"

david: "hold still."

the tie wasn't the only un-straight thing in the room that day...

[ilovemesomevincentprice]

Vincent Price with his fuzzy co-star behind the scenes of The Long Night (1948)