#it's genuinely such a beautiful movie. it's campy too but there's so much soul to it. it's mental.

[the-acid-pear]

I fucking love this movie because look at it look at IGNORE THE CENTIPEDE BTW DONT WORRY ABOUT IT but look at the color and the framing and the fucking Fog like i cannot stress enough just how cinematic the first movie is man. Kind of but not entirely lost in the sequels, where the settings were simply Ugly.

[t4tower-of-t4terror]

Twst horror movie taste hcs

A response to smthn in my ask box! I've actually had this in my drafts for over a year!

Riddle

DEFINITELY was not allowed to watch horror movies

I feel like his dormmates have been easing him into the genre a little

He likes Carrie. He finds Carrie White relatable

I feel like Riddle would also like early horror. Universal monsters and maybe a little Hitchcock

But he can't do gore and he isnt a huge fan of slashers

Trey

Casual horror fan. Pretty decent taste

Like he's seen most of the big franchises (Halloween, NOES, Friday the 13th, Scream, Child's Play, etc.)

He seems like either a 70s horror kinda guy or a 90s-2000s horror kinda guy.

Maybe I'm projecting but. I feel like he'd enjoy Black Christmas

Probably secretly enjoys really fucked up insane movies. Curse of science club

Cater

LOVES schlocky slashers

Definitely watches Dead Meat. I feel it in my bones.

Cater likes campy stuff above all. He HAS done a Jennifer Check Halloween costume.

Probably loves The Lost Boys, The Craft, Jennifer's Body, Bride of Chucky, Rocky Horror, all of that fun stuff

Him and Trey have occasional marathons. Sometimes they invite Riddle

Deuce

LOVES HORROR STUFF

Has a tendency to get spooked by it, though

He absolutely loves the Friday the 13th movies.

Has probably done a Billy and Stu costume w Ace

Ace

He's such a wuss but he pretends he isn't

This fuck chooses the scariest shit during horror movie nights and almost pisses his pants

His fav is probably Fright Night. Idk why

Leona

He "doesn't watch movies"

I think he'd fw Chucky though

Ruggie

Black comedy lover

HUGE fan of b-movie franchises like Leprechaun, Gingerdead Man, Evil Bong, etc

I feel like he watches Troma

Avid $5 movie box enthusiast

Jack

I don't think he'd watch any

He gets too upset

Azul

Hes a coward

He really likes movies where the killer gets revenge on their bullies

Idk why but I think he'd fuck with paranormal horror

He likes The Shining. No clue why

Jade

SCARY TASTE BAD TASTE

He's an extreme horror fan

He's seen it ALL

like. Homie can watch the most fucked up shit with a straight face

He recommends Salo at parties. He also is no longer allowed to go to parties.

Floyd

Like Jade.

Fucko will absolutely be like "we shld watch Slaughtered Vomit Dolls!!! I've heard it's really fun" so he doesn't get invited to Halloween parties.

Kalim

Also doesn't watch horror

He gets emotional when certain characters die

He does fw hocus pocus though

Jamil

Also a really graphic horror fan

He probably likes it as projection

He also likes complex psychological stuff. More of a casual fan but has a morbid curiosity with the genre

Really likes "descent into madness" movies

Vil

ARTHOUSE MOVIES

But I feel like Vil wld adore Black Swan specifically. It's a personal callout

Vil likes the darker, artsier vampire movies. They prioritize aesthetic above all else and WILL critique period-inaccurate costuming

But has one rlly campy guilty pleasure franchise. Idk why but I wanna say Sleepaway Camp. Pretends the ending of the first movie doesn't exist.

Rook made her watch Serial Mom and she kinda fucking loved it

Rook

I'm split here. Because this man is a fucking FREAKAZOID

Either he only watches deeply artsy pretentious horror films for the beauty in it

Or he has a collection of "horror" DVDs that are VERY VERY DUBIOUS. And probably real

Whatever. Rook Hunt I recommend The Hunger with David Bowie and Katherine Deneuve because it suits him. Also Hellraiser for graphic gore and also weird erotica.

Also he's a John Waters girlie. I believe it with my whole fucking soul.

Epel

Why do I wanna say Final Destination or Texas Chainsaw Massacre?

Surprised by how much his dormmates actually enjoy bloody horror movies. Despite that, he handles mainstream horror better than he handles Vil's arthouse horror or Rook's whatever the fuck Rook watches

Idia

Category 5 autisms about Perfect Blue

Genuine diehard horror fan. This is canon btw

He has a canon niche horror franchise he made a detailed Halloween cosplay of. This is a fact.

Also. Re-Animator for obvious reasons

Ortho

He is the horror, if you think about it.

Also he watched Videodrome because of the film club and got really into it

Malleus

I can only imagine him watching black and white horror. And distinctly romantic vampire movies

Bride of Frankenstein girlie

Lilia

All of em

ALL. OF. THEM.

Old weird bat man liked horror movies that only 5 people have ever seen. He has the most insane letterboxd page known to man

Silver

He doesn't have much interest in horror as a genre

But maybe Nightmare on Elm Street. Lilia made him watch it

He liked Dream Warriors.

Sebek

Tried to sit through a horror movie because Lilia likes them but he couldn't do it

[hakasims]

The Most In-depth Analysis of Luca Marinelli’s Characters You’ll Ever Need

You’d think I was done with classifications, but I’m not! There’s so much more I can say about Luca Marinelli’s oeuvre and his magnificent roster of characters. And yes, I’ve made this post before where I highlighted specific tropes that show up in a lot of his movies, but that was surface-level shit. This is an actual exploration of what makes a Luca Marinelli character besides being a kinky little whore. And don’t worry, it’s still in that user-friendly question-answer format because I love you.

Here’s the thing: Luca is a chameleon but he also has a type, and this type is:

✨ a (likely) queer repressed addict with daddy issues ✨

That’s the skeleton. Let’s see how many of his major roles possess that skeleton at all and what flavors they add to the picture.

Disclaimer: I excluded characters with little screen time and Joseph from Mary of Nazareth because he doesn’t deserve rights. Also, instead of going in the boring chronological order, I’m gonna start with the least typical character for Luca and end with the crème de la crème. The results may not surprise you.

Nicky (The Old Guard)

Is he queer? Undeniably.

Is he repressed? No.

Does he have an addiction? No.

Does he have daddy issues? I know we’re all deeply affected by our shitty father figures but I would genuinely question Nicky’s sanity if he were still on that shit at the ripe age of 951. A little tip for daddy-hating immortals out there: just do what Angel did and kill your shitty dad. Problem solved.

Is he violent? Despite doling out tons of violence, he doesn’t have a violent nature and seems uninterested in hating his enemy or delivering retribution.

Does he need a good night sleep? I’m sure nothing helps one sleep better than a Joe-shaped big spoon.

Does he need a good cry? Doesn’t seem like it.

Flavors: A perfect immortal warrior bean in a healthy relationship.

Conclusion: Ironically but unsurprisingly, Nicky is the least Luca-like character.

Guido (Tutti i santi giorni)

Is he queer? I don’t believe so but who knows? If someone told me he’s demisexual, I’d believe it.

Is he repressed? The movie may disagree, but I say yes, obviously.

Does he have an addiction? Not unless you count his romantic relationship.

Does he have daddy issues? His family is so supportive and wholesome it’s almost parodic.

Is he violent? He’s the opposite of a toxic macho dude, but then he has a violent outburst out of nowhere because the movie is bad.

Does he need a good night sleep? He doesn’t like sleeping at night.

Does he need a good cry? Naturally.

Flavors: An adorkable awkward nerd with flowery speech.

Conclusion: I can forgive straightness and wholesomeness but I can’t forgive lack of complexity.

Martin (Martin Eden)

Is he queer? I don’t believe so.

Is he repressed? Yes.

Does he have an addiction? No.

Does he have daddy issues? Not to my knowledge.

Is he violent? When he deems it necessary to be.

Does he need a good night sleep? Sure.

Does he need a good cry? Cry your little heart out, Martin!

Flavors: An arrogant, pretentious, politically confused writer.

Conclusion: A little too straight for your typical Luca, but he makes up for it with being complex and complicated.

Loris (Il mondo fino in fondo)

Is he queer? I don’t believe so.

Is he repressed? So fucking repressed!

Does he have an addiction? Nothing beyond his savior complex.

Does he have daddy issues? He has a shitty dad he’s spent his whole life trying to please, and also his mommy left, so like yeah, obviously.

Is he violent? He has his straight dude moments.

Does he need a good night sleep? Definitely.

Does he need a good cry? Oh yeah, let him cry, it’s good for him.

Flavors: A casually homophobic mother hen.

Conclusion: Ruined by heterosexual agenda.

Lui (Ricordi?)

Is he queer? I don’t believe so.

Is he repressed? Very.

Does he have an addiction? No.

Does he have daddy issues? A big sack of them.

Is he violent? No.

Does he need a good night sleep? Oh yes. To sleep, perchance to dream about anything other than his traumatic memories.

Does he need a good cry? So much.

Flavors: Up-his-butt and pensive.

Conclusion: Leave it to Luca to take a guy who would be an absolute nightmare in real life and turn him into someone I actually want to watch for two hours and see happy by the end.

Gabriele (Waves)

Is he queer? There’s evidence he might be gay.

Is he repressed? I’d bet on it.

Does he have an addiction? Doesn’t seem like it.

Does he have daddy issues? Nobody knows.

Is he violent? No.

Does he need a good night sleep? He probably will with how the movie ended.

Does he need a good cry? At least one.

Flavors: A sweet introverted guy who loves boats.

Conclusion: While not particularly complex, Gabriele has layers and nuances. Also give him a big muscular daddy.

Fabrizio (Fabrizio de André - Principe libero)

Is he queer? I don’t believe so.

Is he repressed? He was before music became his only career.

Does he have an addiction? Alcohol, cigarettes, sex, cheating - take your pick.

Does he have daddy issues? Not as bad as some of the other guys here but he’s heard his fair share of “I’m not mad, I’m disappointed” speeches.

Is he violent? He’s soft.

Does he need a good night sleep? He’s an artist, what do you think?

Does he need a good cry? He’s an artist, what do you think?

Flavors: Fabrizio de André is the flavor.

Conclusion: Even though it’s a biopic, there are still many Luca-isms there. He’s just that kind of actor.

Milton (Una questione privata)

Is he queer? It could be argued that he is bisexual.

Is he repressed? Do you even need to ask?

Does he have an addiction? About half of the breaths he takes are filled with cigarette smoke.

Does he have daddy issues? He seems to have a good and loving relationship with both his parents.

Is he violent? Not by nature.

Does he need a good night sleep? Yep.

Does he need a good cry? He certainly does.

Flavors: A repressed bisexual feeling powerless in a horrible world.

Conclusion: This is proof that Luca can carry a whole entire movie on his sexy shoulders, alone. Also Milton needs a safe and loving triad.

Mattia (La solitudine dei numeri primi)

Is he queer? I personally read him as asexual. Though assigning asexuality to characters who are traumatized is a dangerous path so don’t quote me on this, okay?

Is he repressed? Just the most repressed.

Does he have an addiction? It’s debatable whether self-harm and eating disorders can be considered addictions, but they’re part of his character, and I thought you should know.

Does he have daddy issues? His parents played their part in messing him up which then led to the big thing that really messed him up, though other than that his dad is barely a presence.

Is he violent? Not at all.

Does he need a good night sleep? At least 17 hours.

Does he need a good cry? Oh, so much. He needs all the cry.

Flavors: A quiet genius with lots of guilt.

Conclusion: Can you believe this was his first film role? Our boy is talented af!

Fabio (Lo chiamavano Jeeg Robot)

Is he queer? Undeniably.

Is he repressed? You could argue that he is repressed by being limited in his place in social hierarchy.

Does he have an addiction? Amazingly enough, no. He has fixations, though.

Does he have daddy issues? Thinking his father was a loser and not wanting to end up like him is textbook stuff.

Is he violent? Very.

Does he need a good night sleep? Yes please.

Does he need a good cry? He needs to purge his soul from all the bottled up stuff.

Flavors: A campy psycho.

Conclusion: Luca’s most iconic character, so of course he scored high on the list.

Paolo (Il padre d’Italia)

Is he queer? Undeniably.

Is he repressed? I can’t even start listing all the ways in which he’s repressed.

Does he have an addiction? He smokes a lot.

Does he have daddy issues? His issues are more of a mommy variety.

Is he violent? Not in the slightest.

Does he need a good night sleep? He’s the poster boy for needing a good night sleep.

Does he need a good cry? A good cry, a good weep, a good sob, a good bawl, *googles more synonyms* a good wail, a good squall...

Flavors: A self-loathing gay orphan in need of some life goodness.

Conclusion: What can I say about Paolo that all of you aren’t already thinking? Decent film, great character, excellent portrayal.

Mickey (Die Pfeiler der Macht)

Is he queer? Undeniably.

Is he repressed? It’s Victorian England, you guys.

Does he have an addiction? He smokes casually but other than that... eh. And don’t tell me he has sex addiction. He uses his body strategically.

Does he have daddy issues? If what he has isn’t daddy issues, I don’t know what is.

Is he violent? He’s got tons of bottled up aggression.

Does he need a good night sleep? It would be great if he could use the day’s darkest hours for sleeping.

Does he need a good cry? Undeniably.

Flavors: A conniving slut extraordinaire.

Conclusion: A major player in the book (says me who managed like 50 pages), Mickey Miranda was turned into such a nothing character in the miniseries that they needed a truly extraordinary actor to make him memorable. And guess what, Luca delivered.

Cesare (Non essere cattivo)

Is he queer? Not explicitly, but come on.

Is he repressed? Lethally.

Does he have an addiction? He’s an addiction textbook.

Does he have daddy issues? *Jake Peralta voice* Yeah, the guy without a daddy is the one with daddy issues. Explain that logic.

Is he violent? Oh yeah, he’s a rabid little trash goblin.

Does he need a good night sleep? So much.

Does he need a good cry? He’s had his fair share of good cries, but he could always use more.

Flavors: A aimless junkie.

Conclusion: The quintessential Luca. Beautiful.

Primo (Trust)

Is he queer? Listen, just because we don’t see him fuck a dude on screen it doesn’t mean he isn’t a motherfluffing queer icon. It’s not subtext; it’s TEXT.

Is he repressed? Where do I even fucking start?

Does he have an addiction? Oh yeah. And a coke nail to prove it.

Does he have daddy issues? I would need a whole separate post to unpack his daddy issues.

Is he violent? So very violent.

Does he need a good night sleep? Yes, please. On an actual bed in an actual bedroom.

Does he need a good cry? You can just tell.

Flavors: A ruthless criminal with a strong mafia boss potential.

Conclusion: The pièce de résistance of the Luca Marinelli filmography. Not only does he tick every box, he gets bonus points for the excellent wardrobe choices that emphasize Luca’s best features. Primo Nizzuto is everything great you want from Luca, except singing. (Though in my headcanon that whole white car in a snowstorm monologue was a musical number.)

[spookyceph]

Comfort Zone Pt. 1

A Shigaraki & Toga fic! Because the League becoming friends is just about my favorite thing ever. Also, it's running long, so I split it into two parts.

Rating: T and up

Relationships: Shigaraki Tomura & Toga Himiko, Dabi/Shigaraki Tomura (hints of)

Warnings: Swearing, anxiety attacks, disturbing thoughts, self-harm (in the form of Shigaraki’s scratching), mentions of blood

Even after shoving the door to the downstairs bathroom shut and locking it behind him, Tomura couldn’t convince his heart to stop slamming against his ribs like a caged animal.

How he’d let this happen—why he’d allowed it to—he couldn’t begin to piece together. He’d been so pissed when Dabi had intruded on his solitude at the bar. But then…then the bastard had started talking. Worse, he’d made sense. As if that hadn’t been enough, Dabi had given him a gift before leaning in close, so close, close enough to touch—touch!—his face, to tangle warm fingers in his hair, and shitshitfuckinghellwhatwashesupposedto—

Gasping for the air that had suddenly abandoned the room, Tomura sagged against the sink. No. The walls were not closing in on him. He wasn’t about to suffocate. His brain was just convinced that was the case because it was busy drowning in swells of adrenaline and anxiety. One hand flew up to his neck. The sting of his nails ripping open new furrows across old scratches caused his flailing thoughts to freeze. Seizing the opportunity, he groped for another lifeline.

“W-white counter. Lavender soap. Blue…fuck.” He gouged his nails deeper, countering anxiety’s own claws in his guts. “Blue. The fucking goddamn towel is blue. Like his—”

The resulting jolt of shock at what had nearly escaped his mouth knocked panic’s grip right off of him.

Tomura turned the sink faucet on and stuck his icy, quaking hands under the warm stream of water. The sensation of it flowing and sliding between all five of his fingers like nothing solid could helped ground him further. Cupping his palms, he caught enough to splash onto his face and scrub away the clammy sheen of stress sweat. Too late, he remembered the fresh coating of salve. Droplets raining down his cheeks and chin, Tomura lifted his head to confront his reflection.

Cracked and crinkled rice paper skin. Beauty mark like a droplet of ink to one side of his mouth. Vertical scar splitting the symmetry of his lips. White wisps of hair that Kurogiri had long since stopped suggesting he comb curling every which way. Eyes as round and rawly red as the healing exit wounds that shitheel Snipe had given him as parting gifts. Or the thin streams of blood trickling from his shredded neck, soaking into his shirt. The same list of features he’d had as long as he could remember—no more than fifteen years back before recollections slid into oblivion, admittedly, but long enough. Tomura squinted, studying each one, struggling to imagine what they might look like through eyes the bright blue of lightning.

Don’t expect me to share my chapstick, though. You’re on your own with that one, creep.

Tomura’s jaw tightened until his temples throbbed. Sensei had once had him take some standardized tests from the most prestigious schools in the country, just to show him how narrow society’s thinking could be. He’d aced every one…yet he’d walked right into Dabi’s little joke. The bastard had probably laughed all the way back to his room at Tomura’s gullibility. Even with half his skin barbequed, face full of staples and stitches like a campy horror movie character, he’d obviously been born a golden child, tall and beautiful and strong. Probably doted on by everyone around him until whatever little accident had tarnished his shine. Driven into the dark of the underworld, he still retained the same entitled attitude. Someone like Tomura—no pedigree, no social standing, and thus no need to kiss anyone’s ass—would be vermin to him.

Think of this another way. As a show of trust.

There. Better?

Here. Keep it. Should last awhile.

The righteous fire in Tomura’s chest dwindled and fizzled. A smaller but much more alarming warmth kindled along his cheekbones. Okay, fine. Dabi’s expression hadn’t belonged to a purebreed staring down his nose at a stray mongrel when he’d said those things, but so damn what? He’d smirked and teased and bulldozed right through every boundary he found.

Why, then, hadn’t Tomura erased his annoying existence from the world? Or at least beat some respect into him? Just because he’d been nice for two seconds? Tomura preferred to think he wasn’t so pathetic that he could be swayed by such an insignificant gesture.

People always show their real selves when they’re pissed.

The tang of copper coated his tongue as he chewed on his nails—his second favorite method to tear himself apart. What if…what if insults and arrogance were tactics? Ways for Dabi to gather intelligence and gain the upper hand? Tomura did much the same on the rare, awful occasions he had to interact in public, just in the opposite direction—he pretended to be a harmless drone of hero society like everyone else. In that light, Dabi’s intentions had been genuine even though his approach relied on deception.

Aloof characters who nevertheless gave their all for the party when it came down to it were always the most useful in games. Not to mention usually Tomura’s favorites.

Right. That concluded his thinking about the subject for the night. Or eternity.

Door opened a crack, Tomura peeked out into the hallway. Not a soul. He cocked his head, listening. Not a whisper or peep. Mindful of every creaky floorboard, he crept out. Slunk upstairs like a thief in his own base of operations. Hardly dared to breathe until he’d shut and locked the door to his room behind him.

Nerves still crawling beneath his skin, Tomura glanced over at the laptop sitting on the small desk against one wall. To the TV mounted on the other, framed by shelves of games to various consoles. He would’ve liked nothing more than to have a glowing screen absorb his attention, but he knew his focus was too scattered to play anything. Scanning the online news feeds would yield nothing but chatter about Stain or All Might—his fingers latched back onto his neck just thinking about it. He couldn’t wear himself out with training since that meant going back downstairs to use the mats and equipment in the basement. No fucking way was he setting foot in the bar for the next few days. Maybe not for years.

He knew he shouldn’t have let anyone stay here. Now he was trapped, a prisoner in his own goddamned room, all because he’d let an overcooked piece of human yakitori put his soft, stapled hands on him, and—

The rising swells of panic dropped and went utterly still as Tomura’s eyes darted to his closet. Of course. Such an obvious answer. He should’ve known what to do from the beginning.

Aah, you poor thing. What are you so afraid of? All you have to do is follow your heart.

As always, Sensei had provided for him.

Sliding one side of the closet open, Tomura picked up a long wooden box from its resting place beneath his neatly hung clothing. He gently set it in the middle of the room before retrieving a cloth from his desk. Sitting on his heels in front of the box, he wiped a few stray specks of dust from its lacquered surface. Though his memory of receiving it (not to mention its contents) remained lost somewhere in the murky haze of his childhood, the familiar action alone reassured him. Sensei had instructed him to care for it and he had, polishing it every week without fail for fifteen years.

Sleeves over the heels of his palms to prevent smudges, Tomura carefully lifted the lid.

The stench of formaldehyde sprang out immediately. It reached straight down his throat and clenched his guts with corrosive fingers. Despite the urge to vomit everything in his body cavity up, a mantle of calm settled over Tomura’s shoulders. As wretched, as vile, as stomach-wringing as they were, the sensations were familiar. They’d woven themselves into his makeup as tightly as his DNA. The same could be said for what lay inside the box.

Paler even than him against their nest of black coffin velvet, fourteen human hands lay in two neat rows. Well, thirteen—one was merely a replica, a replacement. The metal caps on the wrists gleamed sallow gold under the room’s light. Poised on the razor’s edge between sickened and serene, Tomura reached for them in the usual order.

First, the smallest ones, curled around his wrists. A larger pair with aged, wrinkled skin and knobby knuckles clamped to his biceps next. A similar but slimmer version of those followed on his forearms. The hands with the longest, loveliest fingers encircled his neck in fourth place. Two sets of brutish, blocky ones latched onto his shoulders, then his sides just beneath his arms.

Naturally, the best he saved for last.

Tomura fixed the replica to the back of his head almost absently. His attention was reserved for its partner: a left, the largest hand, the father of its macabre little family. He lifted it with the same care a collector would a preserved butterfly. With a fingertip he mapped out the valleys and ridges of bones and strong sinew along the back. Turning it over, he traced the lifeline etched across its palm that had most definitely lied. The way the scar cleaving his lips tingled and burned had nothing to do with the savage grin that split Tomura’s face. He rubbed his chin to be sure the feeling of blood drooling down it was only a phantom from his buried past.

He didn’t need to know its origins to realize how special Father was.

Revulsion and exhilaration surged up from his center as he pressed the precious memento mori over his face like a mask. His roiling emotions alchemized into something he had yet to name, its crystallized shape strange but stable. At last, the feel of cold, waxen flesh molded to his cheeks, of stiff, dead fingers in his hair, chased away the fantasy of hot, living ones. At last, he could think.

With a relieved sigh, Tomura replaced the box’s lid and stood. After feeling trapped, he needed the reassurance of space. He went to his room’s narrow window, pushed aside the curtains, disarmed the little tripwire surprise he’d rigged, and pushed the bottom pane up so he could slither out onto the fire escape.

The night air reeked of the refuse piled in the alley below. This definitely wasn’t high on his list of favored spots, but it was better than nothing. At least the temperature was being kind to his skin, not too warm or humid, not to cool or dry. The rusty skeleton of the fire escape squeaked as he settled himself on the mesh bottom, hugging his knees. Staring up at the void of the sky, a few stars visible through Father’s embalmed fingers, wasn’t so bad either. Everything he could see was warped, discarded, halfway down the path to total ruin. It almost made him feel at home.

A home with dynamics that had changed overnight. But…like it or not he had two new roommates—with more to come, according to Giran. Tomura didn’t have the kind of power to reduce hero society to rubble and ash on his own. Not yet. In the meantime, he had to make do with the next best thing: strength in numbers. It was just…he got so anxious. The concept of living with anyone aside from Kurogiri was bizarre, the thought of having to interact daily with strangers unsettling.

Yet even someone as powerful, as feared and dreaded as Sensei didn’t work alone. If his mentor hadn’t turned his nose up to cooperating with select people, who was Tomura to? He grimaced behind Father, but he could already feel resolve seeping between the seams in his thoughts. One way or another, he’d learn to tolerate his houseguests and how best to use their skills for the greater goal.

Maybe it was his years martial arts training that picked up on some subtle shift in the air. Déjà vu prickled along the back of Tomura’s neck. His head snapped toward the perceived threat on his right.

He caught a flash of a blonde-haired head just before it ducked back inside the next window over.

I’m Toga! Toga Himiko! It’s hard to live!

“Wait,” came from Tomura’s mouth before his conscious mind registered the action. “I’m sorry. About how I acted earlier.” The surprise of those words, in that order, coming from him fell flat compared to the shock of realizing he wasn’t lying.

[creativity-is-rebellion]

More Top 20 Must-See Horror Movies

 Especially now we are in isolation, who doesn’t crave a good horror movie to watch? To that purpose, I have created yet another top 20 must-see horror movies, along with why you should be watching them. So get into your comfy clothes and blanket, grab some popcorn, and settle in to watch these horror gems (WARNING: May contain spoilers).

1) Ginger Snaps (2000)

I first saw this movie when I was fifteen years old, and, watching it recently, I was still impressed how it handles the perils of transitioning from teenhood to womanhood. Ginger Snaps follows the story of two outcast sisters, Ginger (Katharine Isabelle) and Brigitte (Emily Perkins), in the mindless suburban town of Bailey Downs. On the night of Ginger's first period, she is savagely attacked by a wild creature. Ginger Snaps is a terrifying movie with good character development, acting is convincing and it has a fast-paced story line. If you're into well-done horror movies Ginger Snaps is the movie for you. It is one of the best modern werewolf movies I have seen.

2) Annihilation (2018)

Drawing on mythology and body horror, Annihilation is an intelligent film that asks big questions and refuses to provide easy answers. It is Sci-fi horror at its best, boasting a very intriguing and unique idea whilst entertaining the viewer throughout the film. Definitely a must-watch.

3) Green Room (2015)

A punk rock band becomes trapped in a secluded venue after finding a scene of violence. For what they saw, the band themselves become targets of violence from a gang of white power skinheads who want to eliminate all evidence of the crime. Influenced by exploitation movies of the 1970s (and punk music of the 1980s), this horror-thriller is rooted in a gripping, grisly kind of realism without resorting to lazy coincidence or stupidity. This is again a fresh take on horror and worth a view.

4) 1922 (2017)

I learned from a great film critic many years back that your own best judgement of a movie is best discovered when you realise that you are still thinking of it many days later. This Stephen King film stays true to the iconic master with all the tell-tale signs of a Kings classic: A haunting grimness that lingers throughout the movie, a tragedy and of course, outstanding performances. The mother that returns from the dead leaves you in a crazy suspense of whether it is simply a dream, a man’s demented insanity, or an actual reality. Thomas Jane’s performance was stellar and totally believable as a farmer in rural America in 1922. He actually takes you through the movie as if you were part of him and what is going on. The message that Stephen King leaves you with is dreadfully powerful of how greed can destroy all. Definitely worth the watch, especially for Stephen King fans.

5) Evil Dead (1981; remake 2013)

Both versions of this movie are great, but I have a special fondness for the original, which was Sam Raimi’s directorial debut. The camerawork is amazing for a low-budget film, and the creepy atmosphere is eerily accurate. We feel Ash’s pain when his friend, sister and girlfriend are one-by-one changed into Deadites, and the ending keeps you guessing, and wanting, a sequel. I am quite a fan of the Evil Dead franchise actually, and have just finished watching the TV adaptation Ash vs. Evil Dead. I’m savouring the last episodes, and am sad that it got cancelled. I look forward to more from this franchise, hopefully in the not-to-distant future.

6) Get Out (2017)

This film is unique, telling the tale of young black man who meets his white girlfriend’s parents for the first time. Jordan Peele’s film delivers a chilling satire of liberal racism in the US. More than just a standard-issue thriller, this brutal, smart movie is impeccably made, as well as surprising, shocking, and funny, while also offering a compassionate, thoughtful look at race. Expect only the very best a film has to offer, with a nasty twist at the end that you won’t see coming. 

7) Hell Night (1981)

One of the best things about this movie which follows fraternity and sorority pledges who spend the night in a mansion haunted by victims of a family massacre is that it stars legendary Scream Queen of The Exorcist fame, Linda Blair. Other than that, prepare for a fun, wild ride, the way every good slasher movie should be.

8) Insidious Part 2 (2013)

I actually enjoyed this sequel more than the first movie, as it was less plodding and more action-packed, with an intriguing antagonist in the form of the mysterious “Bride in Black,” who turns out to be the evil spirit of serial killer Parker Crane, who, as we know from the previous movie (SPOILER ALERT) has taken over the body of Josh Lambert, and is fighting for control of his soul. I enjoyed seeing the return of Elise Rainier, who was (SPOILER ALERT AGAIN) killed off in the previous movie. James Wan directed this second helping even more masterfully than the first. A must-watch.

9) Sleepaway Camp (1983)

This is a campy slasher gem, where they cast real teenagers, which elevated the drama of the plot somewhat. Sleepaway Camp tells the story of a young girl named Angela who goes to Camp Arawak with her cousin Ricky. Once the two arrive at camp, a series of events/killings leads the campers to discover that there is a killer on the loose. Sleepaway Camp is not in any way intense or fast paced. However, even though many initially might look at as a “rip off” slasher film, the movie does get creative when it comes to the brutal killings and certain aspects to the film that no one saw coming. Including the jaw-dropping twist at the end. I’m not giving it away. You just have to watch it.

10) Cold Prey (Fritt Vilt) (2006)

This movie takes full advantage of its snowy, secluded set-pieces, using Norway’s harsh winter landscape to masterfully build tension and heighten the sense of isolation. As horror movies go, Cold Prey is a slow-starter, committing the first third of its running time to investigating the signs of violence scattered throughout the hotel, allowing the characters to theorise about what pernicious acts may have taken place before the hotel’s abandonment. It begins at the intriguing yet deliberate pace of a psychological horror film as the sequestered friends, initially inebriated and giggly, explore the hotel and sharing secrets, but the movie’s party-hard atmosphere bursts open at the 40-minute mark to reveal a black horror centre. Slick and stylish, Cold Prey is a genuine pleasure to watch.

11) The Hills Have Eyes (1977; remake 2006)

Even if it echoes a better film (namely, The Texas Chainsaw Massacre), the original movie is still an important one to view for lovers of the horror genre.  This is a sometimes ghastly  - and occasionally absurd - shocker that really gets under one's skin. Though many critics initially despised the original outing, it has since been called one of the best horror movies of the 1970s. Scary-movie specialist Wes Craven made this viscerally-violent feature on a low budget, and some horror connoisseurs call it his best. Ultimately the "normal" people strike back with a ferocious blood-lust they didn't know they had, and the question is how much a "civilised" person can be pushed before one becomes a savage. Are the Carters really all that much "better" than Jupiter and his spawn? That is a question that you, as the audience member, are required to ponder.

12) The Dawn of the Dead (2004)

This remake of George A. Romero's 1978 sequel to Night of the Living Dead soups up the zombies, cranks up the gross factor to 11, and has a lot of cheeky in-jokes about its predecessor. In comparison with the original, out are the shrieking blondes and rampaging looters, in are smart, controlled Ana (Sarah Polley as a believable nurse not afraid to wield a fire poker) and Kenneth (Ving Rhames), who is exactly the kind of cop you want walking beside you if you are facing scores of the undead.

The zombies are a bit spryer in this film, and the pregnancy of one of the main characters is not the life-giving promise it was in the first movie. But the ending is what differs most from the original. If you're a fan of the horror genre, then this flick is a welcome, if derivative, fright-fest in the school of Romero's classics.

13) The Cabin in The Woods (2011)

What starts out as another five-band teen getaway to a cabin in the woods ends up becoming a fresh take on the trope, with puppeteers behind what is taking place, in a twisted game of Choose Your Adventure. The ending is fittingly grim, but you won’t be disappointed. Definitely worth one hour and thirty-five minutes of your time.

14) The Babadook (2014)

The feature debut of writer-director Jennifer Kent is not just genuinely, deeply scary, but also a beautifully told tale of a mother and son, enriched with layers of contradiction and ambiguity. It presents grief as a demon, questions reality, and creeps out the viewer by making psychopathology seem like something that could happen to anybody. The style of the film is not teasing exactly - it's too sad and lonely - but there is certainly a hair-pulling mixture of glum laughter and vast apprehension. Is the demon real? Does it matter? That’s for you to judge. Either way, if it’s in a word, or if it’s with a look, you can’t get rid of the Babadook.

15) Suspiria (Original and the Remake - 1977 and 2019 respectively)

Suspiria is a baroque piece of esoteric expressionism that you enter - and exit - without understanding so much as feeling. It's always fascinating to watch; the thrills and spills are so classy and fast that the movie becomes in effect what horror movies seemed like when you were too young to get in to see them. Director Dario Agento works so hard for his effects -- throwing around shock cuts, coloured lights, and peculiar camera angles -that it would be impolite not to be a little frightened. This entry stands out as it is a visually beautiful horror movie, a bright fantasy that lives off its aesthetic. If you are a horror fan and haven’t seen this movie yet, then you’re not living right. The remake is also worth a watch, something that is oftentimes unique in the horror genre.

16) A Quiet Place (2018)

This gripping, clever monster movie is one of those rare genre treats that seizes on a simple, unique idea and executes it so perfectly and concisely that it elicits satisfying squeals of delight. It's directed and co-written by Krasinski, who's best known for his work in comedy but translates his experience in that genre to the expert building and releasing of tension here. A Quiet Place is, in many ways, like an extended classic horror movie sequence, such as famous ones in The Birds or Aliens, wherein the heroes must try not to disturb packs of resting monsters.

At the same time, Krasinski uses his quiet moments like music, ranging from moments of restful beauty -- including a father-son trip to a waterfall, where it's noisy enough that they can talk and even shout -- to moments of pause. A loud noise can cause a jump, but it's immediately followed by tension and dread: Will the creatures come this time? The real beauty is the movie's primal quality, based on the most basic elements of life, such as survival and protection of the species. No explanation is given for the monsters' existence; they, like us, are just here. Images of water, sand, bare feet, crops, and plant life serve to underline the theme of life itself. A few overly familiar horror movie clichés keep it from being perfect, but otherwise A Quiet Place is so good that it will leave viewers speechless.

17) The Exorcist (1973)

Once famously dubbed ‘the most terrifying movie ever made,” this movie is steeped in urban legend, especially concerning the unfortunate happenings that occurred when it was being made. 

If you think your teen is ready for this shocking film, keep in mind that some audience members in the '70s reportedly fainted after seeing Dick Smith's grisly makeup effects on Blair. In some extreme cases, viewers even required psychiatric care. Also, the moans, snarls, and profane utterances from Regan (most are actually the dubbed-in voice of a well-known older actress, Mercedes McCambridge) amount to some of the most chilling audio ever done for film.

Thanks in part to Linda Blair's wrenching, Oscar-nominated performance, The Exorcist was a huge hit, earning back 10 times its $10 million budget (a then-lavish sum, outrageous for a "mere" horror flick). Movie historians cite it (along with The Texas Chainsaw Massacre) as the conclusive end of old-school spook shows featuring Dracula and Frankenstein and bobbing rubber bats. If you haven’t watched it yet, you may have your horror movie fan card revoked.

18) The Final Destination Franchise (2000 - 2011)

If I had to list all of the movies in the Final Destination franchise in order of quality, I would say 5, 1, 2, 3, and 4. Fourth instalment withstanding, the series is a formidable addition to the horror genre, as the invisible killer, Death Itself, stalks its victims and kills them off in creatively gruesome ways after they initially cheat death. The fifth addition contains an awesome twist at the end which in hindsight you should have seen coming throughout the entire movie. Pay close attention. The only downside is (SPOILER ALERT) that none of the characters throughout the series really survive.

19) Let the Right One In (Lat den Ratte Komma In) (2008)

Please watch the Swedish version, and power through the subtitles. This is a horror movie that is tragic on multiple levels, as it deals with a lonely and bullied boy who so happens to live next door to a pubescent vampire. When her benefactor dies, we see how the main character’s life will also unfold, and what lies in his future. A must-see film that is more than just your average horror movie.

20) Terrifier (2017)

This movie definitely gets back to basics by paying homage to the original slasher classics. Art the Clown, who we are originally introduced to in the 2013 movie All Hallow’s Eve (also worth a watch), is a vicious horror movie villain who kills just for kicks. He also subverts the horror movie trope by using a weapon which was previously considered off-limits to horror movie villains, especially those with supernatural abilites (mostly, anyway). This movie also contains one of the bloodiest deaths in recent horror movie history. I like the use of practical effects over the often-overdone CGI. What is Art the Clown? Deranged killer? Demonic entity? Who cares? Its all good fun. Watch it now on Netflix.

I’ll probably be back again some time in the future with a further 20 horror movies that are worth a watch, because there are so many of them. To everyone, take care during these uncertain times.

[zerochanges]

428 - Chunsoft’s Sound Novel Perfected

428: Shibuya Scramble is an unequivocal, truly Japanese game, and one that nobody ever thought would come out in English--and the doubters were sort of right. The title was a Japan exclusive for many years since its original Wii release in 2008 but after a decade of being out of reach for the English market this cryptically Japanese exclusive was somehow able to be cracked and come September of 2018 made the journey to North American and European markets on PC through Steam and both physically and digitally on the Sony PS4. Honestly I still can’t believe it and I own the darn game! The journey to getting this game out is surely an interesting one, as localization director David Kracker recounted on the Playstation blog that he had to fight hard to get the game pushed forward for a worldwide release outside of Japan, but ultimately was able to do so by showing that appeal for niche games such as these have been increasing steadily since its original Wii release. 

For many people 428: Shibuya Scramble will be their first experience with a Chunsoft sound novel--especially since the localized Kamaitachi no Yoru (Banshee’s Last Cry) is downright almost impossible to play now. Last blog post I discussed in detail what the heck a sound novel even is, and went through a brief history of the visual novel market in general covering where Chunsoft falls in and how much they contributed to the genre. So because of that I won’t go into too much heavy details on sound novels today, but the short and simple answer I gave in my previous entry is that a sound novel is two things. The first of which was a dated term that Chunsoft used regularly (mostly on the Super Famicom and Sega Saturn) and has since fallen out of use in favor of adopting visual novel. The second of which is the more complicated answer that sound novels are both the aforementioned term that was used by Chunsoft for their brand of visual novels and also a certain style of visual novels that would follow years later by other companies that were heavily inspired by the early works of Chunsoft often aping their presentation and narrative style, with 07Expansion’s Higurashi - When They Cry being one of the most popular examples. 

If all that sounds like a bit much, or is just all greek to you, don’t worry--all you have to really take away from my rambling is that the Chunsoft seal of quality with 428 really means something, especially to fans of visual novels. You see, 428: Shibuya Scramble is actually a spiritual successor of sorts to Chunsoft’s earlier Machi sound novel released in 1998 on the Sega Saturn and later Sony Playstation. Machi was a highly well regarded game for its time that was a big hit both critically and with gamers, but despite its constant praise still sold poorly. Over the years people started to discover the game through its solid word of mouth and old fans and new fans alike were always clamoring for a sequel. After many years of begging Chunsoft finally delivered just that, and this is where 428: Shibuya Scramble comes in. By no means a direct sequel (so don’t worry you definitely DO NOT need to play Machi to understand the story) 428 is set in the same city of Machi (aka both take place in the same fictional version of Shibuya), and super fans will be able to spot some references and cameos from Machi sneaking in. 

428: Shibuya Scramble is essentially a dream game to many hardcore fans in Japan that waited anxiously for a return to form from Chunsoft. When it came out the game even famously got a perfect score of 40 in the well known Famitsu gaming magazine--and this was back when you could still count perfect scores they gave out on your fingers, only 8 games prior made that list; nowadays the magazine is known for being far more forgiving with its reviews. So basically, what I am getting at is this is yet another game that was pretty huge back in Japan but sorely skipped over worldwide. 

You may be thinking to yourself then, that’s all well and good, but what about the game itself? Well let me get into that. 428: Shibuya Scramble is as its name implies, a game about Shibuya, while you do take control of characters in the game, at large the characters themselves all feel like a part of the city. Shibuya is a living, breathing entity in 428, and you really get to explore the entire city from multiple perspectives in this one long, crazy day. Shibuya’s story is your story. There are multiple characters you get to play as and each one has their own unique, individual story to tell, but each story is interwoven into the others and they begin to overlap in creative and fun ways. This is where a large part of the game play comes from; finding out how decisions you made with one character affects the fate of another character. 

Say for example if you are being chased in one character’s story and decide to run into a busy city street to escape your pursuers thus causing a traffic accident, in another story the character you are playing now is stuck in said traffic accident and cannot progress their story leading to a bad end. Everything you decide to do with one character not only affects that character’s fate but may even affect the entire city’s at large and change the outcome for every other character you play as too. Finding out how to best affect the story by jumping around the multiple characters and getting everything to play out just right is a lot of fun and no surprise was also a major feature in Machi prior. 

There are a bevy of characters to interact with in Shibuya but the multiple residents in this major Japanese metropolis you take direct control of are Shinya Kano, a rookie detective trying to make his way in the force and crack a kidnapping case, Achi Endo, an ex-gang leader with a heart of gold trying to make Shibuya a better place, Minoru Minorikawa, an investigative journalist on a mission to save a life, Kenji Osawa, a brooding genius that just wants to be left alone but is trapped inside a corporate scandal that goes beyond anyone’s imagination, and Tama, a poor soul trapped in a big furry cat mascot costume that just wants to be free from the hell that is a terrible part time job. Each character has their own unique flavor they bring to the table and their own individual plots range from comedic to serious, romantic to frightening, and everything else in-between. Kano’s scenario is a pretty straightforward crime drama, while Osawa’s plays like a physiological thriller where you don’t know who to trust, meanwhile Tama and Minorikawa’s scenarios will have you on the floor laughing at the insane hijinks they manage to get into somehow, and Achi is kicking ass beating up thugs and saving a lost girl. 

428 manages to combine all these different kinds of smaller stories into one large story seamlessly and it’s an incredible experience jumping between all these fun characters and seeing how they eventually interact with each other as the plot progresses. It’s hard for me to even pick a favorite character in the game as all of them are so well written, and so different from one each other. If I had to pick though, I would say Osawa is probably the protagonist I relate to the most and a lot of his big story moments left me teary eyed and really moved on a truly genuine personal level (I don’t think I’m a genius like him though). 

I can praise 428 to the high heavens, and really a large part of me writing about it today is to do just that, but there is an elephant in the room I probably should address at some point. Something truly horrendous, something that prevents the game from ever being a true masterpiece, something that scares everyone away, the horror of ��� real life actors! Yeah, as I am sure it’s obvious by this point 428 uses real life actors and was actually filmed on location in the city of Shibuya. A lot of people are put off by this and honestly that kind of bums me out that so many are so unwilling to even try different things. 

To go off on a bit of a tangent, my own personal opinion is that I freaking love the way 428 looks. I’m someone that quite enjoys campy FMV video games; stuff like Night Trap or any Tex Murphy adventure game is solidly right up my alley. I also enjoy unique mixtures of real life and animation, so I love rotoscoping a whole lot--I’m always ecstatic when I find a cool movie or animated series that is rotoscoped, and that’s a large draw to me for games that use it such as Hotel Dusk. So no, I really think 428 is a beautiful game visually that was made by real pros who had to use guerrilla film making in order to bring their vision to life because of laws that prevent filming on location in Shibuya. What the team was able to do here, while also hiding it from “the man” is incredible work! 

Contextly Chunsoft’s sound novels opted to not use the now established format that predominantly is how visual novel look. Originally with Otogirisō this was because visual novels were still in their infancy and the now ubiquitous presentation where sprites are shown in front of background art had not yet taken off. Nobody really knew what visual novels at the time should look like. Otogirisō is actually commonly attributed as one of the earliest examples where a visual novel had background art to begin with and wasn't just mostly text or sprites presented over a black void. Chunsoft kept their games pretty consistent visually from that point, and characters were often not seen on screen, usually just presented through the use of silhouette if needed. This really helped the “novel” aspect of their visual novels, since you had to imagine the characters’ appearances mostly through the narrative descriptions about them just like in literature. 

Over time this changed with the advent of CD hardware which meant the use of still image photography and Full-Motion-Video could really take off, and Machi ran with this new hardware looking much like how 428 does. You can say these games really have a more broad appeal to them too as they are not just “anime” games but games anyone can enjoy just like a good book. This while true in Japan does get a bit tricky for a localized title as a majority of the actors are Japanese which is off putting to a general public not used to watching Japanese cinema or TV dramas. For better or worse 428 is an unequivocal Japanese game, but I really implore anyone who is even the tiniest bit interested to try it out for themselves (especially since there is a free demo) and stay open minded about the game, because if you do, you will find one of the best written, and best localized games in a generation.

428: Shibuya Scramble's predecessor; Machi on the Sega Saturn

428 didn't get a very fair shot when it came out in the English market. The month of September was jam packed with both Triple-A titles such as Marvel’s Spider-man and niche titles that could not be missed such as Dragon Quest XI: Echoes of an Elusive Age. The release date really was setting the game up to go against some huge competitors and with its enigmatic overly Japanese sensibilities 428 lacked much of the charisma to fight them. I followed the localization process very closely and this was a game I dreamt I could play for many years, but even I had to pass up grabbing the game on its release date and waited about a month or so until I managed to pick up my own copy as I had poured all my attention into Dragon Quest XI at that time which as bad as I feel for 428 I still don’t regret. By the time I wrote my annual favorite games of the year list I had to exempt 428 from it even, only writing a brief honorable mention as I knew I would love it but hadn't actually gotten to play it yet. The end of the year was far too packed with excellent titles vying for my and everyone else’s attention and what a shame, as 428 is now easily neck-and-neck with my then favorite game of the year Dragon Quest XI.

The truth is it will be very unlikely we will ever see a game like 428: Shibuya Scramble come out in English again. This was a very unlikely localization to happen in the first place, and a very risky one, but it sadly was not a runaway success. Anyone interested in the history of visual novels, sound novels, or seeing one of Chunsoft’s greatest titles definitely shouldn't pass this game up though. And anyone willing, I really recommend 428: Shibuya Scramble hard. If you love good storytelling in gaming, there isn't any better than what’s here. The story in 428 is so heart felt, and uplifting that I found myself crying a lot during my playthrough. I laughed, I cried, I found tons of inspiration for my own writing, 428 truly is a game that changes you. I think those are far too rare nowadays. This is a game that should be in any niche gamer’s PS4 or Steam collection. 

[tyrantisterror]

The Godzilla vs. Megalon of Jurassic Park Movies

My opinion on JW:FK hasn’t really changed so much as it has been refined.  I still think it’s a VERY flawed film, and that acknowledging and analyzing those flaws is beneficial to me as a person who cares about monster stories.  I also still love isolated parts of it, and in fact love them even more despite the fact that the flaws that sit alongside them in this film are just as glaring as they were before.  Sometimes you can both like a thing and yet also focus on its failings.

I was trying to think of a way to better articulate my feelings about the movie because I’m worried people have the impression that I hated it because, y’know, I talked a lot (and will continue to talk a lot) about it’s story telling problems.  I think I found a way to express my true feelings by way of comparison.

Jurassic World: Fallen Kingdom is the Godzilla vs. Megalon of Jurassic Park movies.

Godzilla vs. Megalon was the first Godzilla movie I ever saw, and to this day it is one of my favorite entries in the franchise.  I loved this movie as a kid - absolutely adored it, to the point where it started a lifelong obsession that has only grown stronger with age.  I cannot overstate the profound emotional effect this movie had on my life.

It is also, objectively and inarguably, one of the worst Godzilla films ever made.  Probably one of the worst kaiju movies in general.  Some have even called it  one of the worst films of all time (though I think that’s incredibly unfair to Godzilla vs. Megalon and also woefully underestimates how bad movies can be.  I spent my teenage years actively seeking out shitty films, so I feel qualified to voice that as an expert opinion on the matter).

Godzilla vs. Megalon was shoddily made.  Its plot is cobbled together from pieces of previous Toho movies - a rehash of Godzilla vs. Gigan and Atragon, essentially - and in a way that is nowhere near elegant enough to keep you from thinking about the better versions of this basic story that already existed in Godzilla canon.  Its low budget results in an over-reliance on stock footage that is edited in an ridiculously clumsy manner.  None of the characters really develop, and a lot of the scenes don’t make a whole lot of sense.  It is campy as all hell and has some utterly absurd plot developments that make for a very inconsistent tone.  It is an indisputably bad movie.

And yet... I love Godzilla vs. Megalon.  I loved it at first sight, and that love endures to this day.  I have seen hundreds of better films than it, and yet I love it more than most of them.

I love Godzilla vs. Megalon because, for all its faults, it has some incredibly endearing qualities.  Some of them are objectively great - the shot of Godzilla and Jet Jaguar surrounded by a circle of fire while Gigan and Megalon menacingly watch them from outside it is an iconic visual, and one of the best special effects shots in the Godzilla series.  There are aspects of it that I think come down to personal taste - a lot of people hate the anthropomorphism of the kaiju in this movie, but honestly I love the idea of a Godzilla who heroically comes to humanity’s rescue from cackling villains at the bidding of a grinning robot named Jet Fucking Jaguar.

And there are some things in this movie that are, well, terrible, but also kind of glorious in how fucking crazy and ill conceived they are.  Is the infamous tail sliding scene a piece of high art?  No, it’s... it’s such a goofy, stupid decision.  Would my life and, indeed, the world itself be significantly less beautiful without that moment of cheesy insanity in it?  Yes.  I believe we would be less impressive as a species if that moment - that scene of Godzilla sliding on his tail to kick Megalon in the dick, TWICE - had never been made.  Humanity is greater for having made it.  It’s terrible, but wonderful.

And that’s Jurassic World: Fallen Kingdom too.  It’s got moments that I genuinely believe are some of the best in the franchise.  It has moments that a lot of people would deride for being “goofy” or “weird” that I personally love because that’s the kind of person I am.  It has a REALLY bad script - just.... just a lot of REALLY big, glaring storytellling issues.  A lot of them.  Tons.  Many that are basic fucking aspects of story telling.

And it has a plethora of moments that are really bad but also really great at the same time - moments that are both horrible and wonderful in how stupid and insane they are.  Truly it is the Godzilla vs. Megalon of the Jurassic Park franchise.

And since I know some of you will ask about it:

Jurassic Park is the Godzilla (1954) of the Jurassic Park franchise.  Both are masterpieces that are landmarks in both the monster movie and horror genres, and also film in general.  Both have some very prevalent flaws (Jurassic Park, like all Spielberg films, has some truly staggering continuity errors, while Godzilla has a couple of scenes that were VERY sloppily edited because of the film’s rushed production schedule and limited budget), and yet both have virtues that are so strong they more than make up for it.  They are rightfully considered classics, and it is an unfortunate truth that none of the sequels will ever be able to shake off the shadow these two films cast.  There just isn’t a way they can be topped.

The Lost World: Jurassic Park is the Godzilla vs. The Sea Monster of the Jurassic Park franchise.  It has a way worse reputation than it deserves, and a lot of people - even fans of the franchise - will parrot the many criticisms they’d heard of the movie without actually critically watching it themselves.  Despite its reputation, the movie is actually a LOT better than you’d think, with a lot of creative ideas that take the franchise in a very different direction than the earlier entr(y/ies), and while the change in direction may feel a bit odd at first, it ultimately opened up the story to a lot of new possibilities.  Still flawed, yes, but worth far more than most give it credit for.

Jurassic Park III is the Godzilla vs. SpaceGodzilla of Jurassic Park movies, in that it’s a mediocre story whose main problem is that it doesn’t really have, like, a reason to exist beyond a desire to get more money from the franchise.  It does nothing to shake up the formula, going through the motions of previous entries except without any enthusiasm or soul.  There are worse movies, sure, but you can feel everyone’s lack of motivation while watching it - everyone and everything involved is keenly aware that there’s not really an artistic reason to be here, and as a result it feels like the movie equivalent of eating stale potato chips.

Jurassic World is... hard to place, honestly.  Maybe the Godzilla vs. MechaGodzilla II (i.e. the 1990′s one) of the Jurassic Park movies?  That’s at least apt for me - I absolutely loved that film when I first saw it, but upon repeated viewings I slowly realized that it was actually a lot worse than I wanted it to be, and that there was really only one element in the movie that made me love it so much when I first saw it - and unlike, say, Godzilla vs. Megalon, that aspect was nowhere near as prominent as it needed to be.  I still dearly love that one piece of the movie, but my opinion on the movie as a whole has soured considerably.

[cripplinganxietyflix]

GUEST FEATURE: STRANGER THINGS 2

(This review was contributed by Mark B. If you are interested in becoming a contributing reviewer, drop me a message and we’ll chat. If you’re a friend and are interested in participating in upcoming video reviews, please let me know.)

The recent, much-anticipated release of Stranger Things 2 conflicted me as a viewer, a fan, and an endorser of the "Indie-meets-mainstream" ethos that Netflix claims to have cornered the market on.  Contrary to almost every other global giant in the entertainment industry, Netflix had promised a hands-off approach in their content development, allowing directors and real fans of niche genre to produce compelling, organic love affairs with their subject matter.  It was in this time that Stranger Things was released.

Stranger Things was an unpretentious, genuine nostalgiafest from real 80s movie nerds who aimed not for the gimmicky "80s throwback" references that your brother's frat based theme parties on, but that gorgeous, inspiring sense of wonder and charm that 80s cinema made us feel, which is so frequently missing in modern entertainment.  Stranger Things was perfectly cast and written, using its setting admirably to incorporate just the right amount of campiness to feel like an 80s piece but still be taken seriously as a narrative.  The characters were compelling, developed, and perfectly weaved together a story that, despite being just close enough to 80s prototypes to solicit Goonies and E.T. nostalgia, never felt gimmicky or redundant.  Most importantly, however, it had soul.  The Duffer Brothers had struck a nerve that had been eluding directors for decades by making a throwback series that held its own weight; using its 80s setting perfectly to tell a deep story, to develop distinguished characters, and most importantly, to not feel like a B-movie or a cheap gimmick.  You get the feeling that this might have been what Ghostbusters could have looked and felt like if they had the benefit of modern CGI effect techniques (not to mention the young, energetic cast, all of whom seemed to be born to play their parts).

In the years that have followed since Netflix began producing its own content, sometime after the honeymoon phase had ended, Netflix lost sight of what had made their renaissance so endearing in the first place.  Daredevil evolved from a promising show to one about a bland, blind ninja with a flat personality; complete with forced, cheesy dialogue from most of its supporting cast, writing that was hellbent on attempting, in vain, to make Elektra an important part of the storyline, and saved only by the introduction of the Punisher.  Netflix had turned it's Marvel contract into 4 separate shows, which seemed to clunkily step on each others' toes (with the exception of Luke Cage) and drove the whole arc into a forced team-up series.  They bought up contracts for cancelled or struggling quality shows, for better or worse and it was a fun to catch up with the Sunnyvale crew and the Bluth family, but these were less “Original Programming,” rather only further franchise buy-ups.  Some of the earlier programming was still going strong, but whether it was disappointing follow-up seasons, forced character entrances, or just the sheer volume of shit that they collectively threw against the wall to see what would stick, Netflix seemed to have lost its soul.  Cue Stranger Things 2.

After initially viewing the trailer, I was excited to see how things had progressed in Hawkins, as the original series had left a lot to be answered, and Stranger Things 2 had the potential to be exactly what I was looking for.  The immediate, impulsive, antagonistic side of me was a little worried about the chosen title for season 2- "Stranger Things 2".  It felt like it was immediately treating itself as if it were a sequel film, rather than allowing itself to be a continuation of an already well-established narrative.  Was it a reference to 80s films, which felt entirely comfortable with slapping a numeral on the back of a film title for its later installments without supplementing the title with anything new?  I was conflicted.  I existed somewhere between fanboy and skeptic.  

I was wrong for feeling this way, as I often am.

Stranger Things 2 is a sequel film, and that is a beautiful thing.  The scope of everything; cinematography, story, cast, antagonist, character depth, everything is far larger in scope. The vision for the sequel is unbelievably vast; complete with gorgeous, wide-shot cinematography, two new antagonists that are justifiable and brutal and exist on different planes, and character development and interactions that would have seemed impossible in the first season but work perfectly here.  

The Upside Down is now ruled by a much larger, more menacing creature as experienced only through the often misunderstood eyes of Will and Eleven, until it is much too late for those who cannot see what they do, and Hawkins High is now ruled by a newcomer who is constantly punking and abusing our beloved cast, including dethroning the last installment's antagonist-turned-hero, Steve Harrington.  The Party has a new female inductee, and while she is charming and interesting in her own right, more importantly, she illuminates the jealous characteristics of Eleven as the duality of her vigilant psychic vs. coming-of-age pre-teen hemispheres of personality begins to take hold and develop.  Sean Astin plays a new love interest for Joyce, who is seeking a stable relationship, seemingly due to the trauma that unfolded for her family in season one.  The casting choice here is an interesting one, (Sean Astin being of 'The Goonies' fame), but he quickly establishes himself as an important character in both the storyline and the lives of the Byers family.  His addition doesn't feel forced, and The Goonies references (which I'd assume took some restraint to not go overboard with) are used sparingly, and subtle enough that they feel more like easter eggs than distractions.  Among the many strong points of Stranger Things 2 is the fact that even though everything has grown so much, there is still a quaint, small-town, 80s vibe throughout its entirety.  The growth in scope has not resulted in a loss of detail or a cheapening of character. Despite its lofty vision, the story remains intact and organic.

The storytelling is, again, top notch.  The use of foreshadowing is weaved deeply enough into the fabric of the story as to not render it predictable, but rather to impress repeat viewers.  There is a give and take in their choice to (or not to) satisfy the viewers' obvious desires.  Most notably, the choice to keep Joyce and Hopper from pursuing a romantic relationship- which would have been predictable but may have scored points with the casual viewer.  Instead, Joyce has found love elsewhere, and the dynamic of her relationship is more complicated but ultimately rewarding. It serves as a good contrast with other decisions that are included in the narrative.  Pop culture references are incorporated in naturally throughout the story arc- the right characters are obsessive about the Ghostbusters release, and exchange authentic dialogue about it.  The video games referenced are chronologically relevant and serve as literary devices.  The use of Dungeons and Dragons is both relevant to the story and a clever allegory for it as well.  Character development exceeds expectations, and unlikely character arcs and alliances dominate the storyline.  These are better than I could ever have imagined in both their usage and their actual portrayal by the cast, whose performances were generally impressive and even awe-inspiring. 

  In a market where movies and TV shows are perpetually getting bigger and louder (and simultaneously more sterile and lifeless), Stranger Things 2 shines brightly.  If all is right with the world, it should be the gold standard for sequel seasons of series that have already captured your heart.  It is quintessential "watching a loved one grow up, but stay true to themselves" cinema.  It is bigger, better, more in-depth, but consistent with the first season all the same.  It feels like one of the few Netflix follow-ups to truly meet audience expectations faithfully.  It is easy to fall in love with the entirety of Hawkins, Indiana, because the creators themselves are, too.

[thebeltanequeen]

I just want to make a sailor moon thing so here goes!

Favorite Character: Usagi is and always has been my absolute, undisputed favorite. Other than getting bad grades and not studying, we have an extremely similar personality (and we’re both ENFP’s!)

Other Favorite Characters (because I just love practically everyone okay): Rei, Minako, Haruka and Seiya

Least Favorite Character: Freaking Chibiusa from the classic anime like… Can you spell rude, ungrateful, disrespectful brat without saying her name?? No. No you cannot. Pity because I like her in the manga, and she is beyond precious in smc

Order of the seasons in the classic anime I like the most to least and why…

1. Stars ~ This is my teen/young adult favorite season because the bar for the villain was absolutely raised and Galaxia was perfect. She had no mercy, no remorse, and she was ruthlessly and brutally powerful. I adore it when Usagi swoops down like the literal angel she is and saves her soul in true Usagi fashion. Powerful and beautiful final battle! But the other reason it is my favorite is how much growth Usagi undergoes. I’m just so proud of my cinnamon bun queen okay?? Oh yeah and Stars being my fave has absolutely nothing to do with my big fat crush on Seiya. Nope. Not at all. Nothing to see here. I actually put off seeing stars cause I knew Mamo wasn’t in it and then BOOM everyone UPGRADED (Oh did I say that out loud? Yes I did).

2. R ~ This is totally my bias kicking in because I lived and breathed this season in my childhood. It was my favorite for forever because I just absolutely love it?? However, I don’t consider the doom tree arc to be apart of this. It is strictly the black moon clan and negaverse (you nega creep!!). I remember watching the movie and I had the cutie moon rod, so I would run around screaming that I was going to punish people while repeatedly pressing the buttons and making it play the little power up jingle! Ahh good times. Crystal Tokyo fascinates me to no end, and I ADORE that everyone gets to see that Usagi is the most badass person ever and totally owns by becoming queen of the LITERAL EARTH. Hella rad. Hella cool. Slay my queen. Slay.

3. S ~ So the seasons I watched were R, S, and Super S. My entire childhood is based purely off these three seasons. If you asked me which season of SM was the best I would say S because it is so intense and the story is fantastic. Also ahem… HARUKA TENOH EVERYONE!! MY CRUSH FOR LIFE!! Ahem… Anyway… I love the struggle between the inner and outer scouts because it is so genuine and there is nothing campy or silly about it. It is the most morally ambiguous season and that is what makes it the most realistic.

4. Super S ~ Super S is only higher up than season 1 because it has nostalgia tied up with it. I vividly remember watching Pegasus swoop in and save the girls (something I now dislike greatly ironically). It is also the prettiest season in my opinion?? Idk the colors are great! And I like the Amazon trio I mean what can I say?

5. Season One ~ Season one is on the bottom because I didn’t watch it until I was 12. It wasn’t a part of my earlier childhood so I can’t bring myself to care about it much. I also want to cringe at how immature it can get, even though Usagi is my precious. This post got too long, I'll make another!

[thesinglesjukebox]

SARAH JEFFERY - QUEEN OF MEAN

[3.36]

Who died and made you queen of mean?

Kayla Beardslee: I don't like your kingdom keys / They once belonged to me / You asked me for a place to sleep / Locked me out and threw a feast (what!?) / The world moves on, another day, another drama, drama / But not for me, not for me, all I think about is karma / And then the world moves on, but one thing's for sure / Maybe I got mine, but you'll all get yours! [3]

Wayne Weizhen Zhang: The devil on Taylor Swift's shoulder -- the one who tells her to be petty and make cringe-y music -- brought to life with horrifying, cartoonish realness. [2]

Isabel Cole: Listening to this with no preparation, I thought, first, is this a villain song from a Disney Channel movie?, and then, but seriously, which: yeah. Which had me wondering if I should soften on it, since its purpose is not the purpose of actual music, but with the caveat that I'm two decades out of the target demo, I feel like it fails at its intended project, too. Jeffery has a pretty enough voice, and a few seconds in the chorus suggest that given decent material she'd be at least adequate to the task, so why lock her into a wildly unconvincing speak-singing (are we supposed to read this as rapping? Is this a Hamilton thing?) cadence in which she sounds neither angry enough to justify a heel turn nor, like, awesome enough to be fun? Most songs of this nature are not up to the goofy thrills of "Poor Unfortunate Souls," but this isn't even up to the rather moderate bar set by "Let It Go," despite the benefit of a singer who hasn't spent the past fifteen years blowing out her cords. [3]

Alex Clifton: So the context of this is that in a Disney Channel Original Movie Sleeping Beauty's daughter saw Belle & the Beast's son get engaged to the Evil Queen's daughter despite the fact that they're all 22 and babies and really should focus on growing up and learning who they are instead of trying to get married to end a successful musical franchise, and so she... raps about it... with her best Lin-Manuel Miranda impression. It's not as horrible as it sounds, but then again, it's not great. [4]

Joshua Minsoo Kim: Talk-rapping for Hamilton fans. Stock music production with trap flourishes, all of which sounds embarrassed of its rap influence. Instrumentation that's mixed incredibly low to draw attention to weak vocals--Jeffery really can't sell a modicum of emotion, huh? There's better music made by amateur YouTube Kids content creators. [0]

Alfred Soto: This song offends me several ways. First, talk-singing this much didn't work for Lou Reed. Second, the chintzy approach to arranging and singing reduces the song's range to the bellyaching of a MAGA-ite. Finally, Jeffery's short range intermediate missile of a voice is deadly when listeners are in range. [1]

Kylo Nocom: Is there a better example of camp? Sarah Jeffery's melodramatic half-rapping half-fairy-tale-narration is comedy gold, and that bridge of rock-riffage-as-evil-turn makes me lose my damn mind. Too bad that the production here is the worst of fake trap; the Disney Channel folks got away with basic presets in High School Musical, but here the instrumental errs too close to something expected of Sofia Carson or Ashley Tisdale doing YouTube covers. Sarah Jeffery's choruses here are swooning basicity surrounded by moments of hilarity, which nearly ruins the effect - this is better off the less it sounds like an actual pop song. Luckily, those seconds of Jeffery just yelling near the end makes this whole thing work out, a punchline to one extended bizarre joke. My 3-year-old niece would probably think this is badass, but she's already somehow in love with Billie Eilish, so I don't expect her to make much out of this; Disney Channel evil is never really evil, so why take that when there's so much weirder shit? I can't take "Queen of Mean" seriously and I don't know how to, really. Guess that's the point, but it's kind of a boring one. [5]

Katherine St Asaph: A Disney-villain version of "Love the Way You Lie," though not a great idea, isn't any worse an idea than "Be Prepared" being a Disney-villain version of a fascist march song. But one wonders whether the source material -- evil-evil, not campy-evil -- imposed some hesitation on the performance, is part of why Jeffery's vocal only goes about 50% of the way there. (Maybe I've got the wrong source material. Maybe what they had in mind was Hamilton, or Jojo's "Leave (Get Out).") There's another problem: All the energy in "Love the Way You Lie" is in Rihanna's belting and Eminem's roaring, not the instrumental, so adding a key change to that instrumental is pretty queen-of-meaningless. [4]

Ian Mathers: I'm glad that musicals exist for people who like them (genuinely!) and certainly if I had kids and they were into this it'd be less objectionable than some other stuff they might be playing constantly within earshot, but mostly it just makes me feel like Tommy Lee Jones trying to film a frickin' Batman movie: I cannot sanction this buffoonery. (And that's also fine! It's not for me, etc.) [4]

Katie Gill: If you try to judge a Descendants song like you would judge an actual song that you'd hear on the radio or would get a "Song of the Year" Grammy nom, then you're missing the point of a Descendants song. You've got to judge this song on the same metric as you would "We're All in This Together" or "How Far I'll Go" this song is made for children, ages 6-12ish with the express purpose of entertaining said children and while also being simple enough that the small children can sing along to it with a hairbrush microphone in their bedroom. And when you view "Queen of Mean" in the lens of that category, it succeeds! Granted, it's not one of the stand-out songs of the franchise and that rap is downright silly. But Sarah Jeffery does an amazing job on the chorus, there are some solid lyrics, those final few measure are top notch, and the entire Descendants franchise could be subtitled "goofyass rap numbers" so honestly, I can't fault it too much. [7]

Will Adams: Despite not knowing anything about Disney's villain alternate universe fanfic The Descendants, this is an adequate heel turn. It's "Let It Go" by way of "Look What You Made Me Do," perhaps. But the genre constrains it; I understand in a musical theater setting, it's important to push the vocals to the front of the mix to catch all the plot happenings, but it sacrifices dynamics in the process. For a queen of mean, the song never grows to anything justifying its title. [4]

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