#its like sci fi is coming back to its roots of campy goodness

[queenboimler]

sci fi has taken itself way too seriously the past decade or so, so to see this new doctor who be unapologetically fun is so healing

[avoutput]

Bimmy & Jimmy Lee || Double Dragon

One million weekends ago, before I was a teenager, before the word tween existed, I had a problem to solve. There was a saying, “You can choose your friends, but you can’t choose your friend’s parents.” These parents paid attention to sugar content, video game violence, prohibited “The Simpsons”, and had eagle eye focus on movie ratings. Before Netflix, the casual weekend sleepover consisted of a trip to pick up some pizza and make a stop at the Blockbuster. Over the years, I had curated a list of films that would make it past the prying eyes of helicopter parents. Now, if you have seen Double Dragon, you might be thinking that this movie is tame and lacks substance, but there was nothing like seeing Power Ranger style fight scenes, the man behind the Terminator 2’s T1000, massive explosions, Blade Runner’s Los Angeles, and finally Alysa Millano in a crazy getup that made her look absolutely thicc. But alas, this film was PG-13! Luckily, it could be found in the children's section, which was just enough lubrication to pass right through the parental units security system. And now, watching this with a critical eye as an adult, it really went above and beyond to give you a top notch fantasy that most other films in this line never imagined. It is with mad respect that I say, Double Dragon is a bomb ass kids film.

This movie is nothing like the video game. The story of the original game was very simple. You are brothers, Billy aka Bimmy and Jimmy Lee. Billy’s girlfriend Marion is kidnapped by the Black Warriors, a street gang. The brothers Lee fight through Neo New York to get her back. The movie is bonkers by comparison. What it lacks in preservation, it makes up for with sheer imagination. The premise of the film is completely rooted in this neo Los Angeles (New Angeles in the film) that mirrors a quirkier version of Blade Runner’s LA. The film lives and breathes in all these little details that are totally clunky and you might even say unnecessary, but this film is a soup, one little thing missing and it might not make a huge difference, but together they make an umami broth. The deepest aspect of this stew is the constant earthquakes that plague New Angeles and which also presumably sank Hollywood to the point that they have boat tours of old institutions like the top of Mann’s Chinese Theater, left cresting just above the water. Everywhere they go there are these building stabilizers that need to be pumped to keep the roof over their head, which may or may not be real science. All of the cars rely on fuel made up of garbage that you can grab right off the refuse filled streets. These details can be easily overlooked and undervalued, but it creates a great deal of the flavor for the film. They make up for the flimsy plot and the child-directed acting. They surround the meat of a normal film and make it into something you can really chew on.

As for the construction and delivery, we might have on our hands here a film that has the most kid movie tropes in a single film. Ever. I tried to write a list, but it seemed endless, and all of them are used on the fly while moving the story forward. For instance:

Infiltrating the bad guys office through the AC trope

Trying to steal something off the bad guys desk from above through the AC grate trope

Falling through the ceiling when caught trope

Turbine fan sucking people in trope

And that's just the progression of a single scene. People slip on gumballs in the middle of a fight for god’s sake! Tropes propagate in every corner of the film. You could even make a drinking game out of one. The brothers do this celebratory handshake where they make a fist with one hand and an open palm with the other and punch into each other. Every time the brothers Lee do their childish handshake, take a shot. You will be way more drunk in the back half, by then it gets pretty intense. I wish I could accurately describe the saturation of kids entertainment nonsense that propels this movie, but suffice it to say, it has it all.

This certainly wasn’t the most compelling children's film of the time, Disney was right in the middle of its animated renaissance and was consistently acclaimed. Live action, low budget kids films were a dime a dozen as well, and most of them were pretty awful. But when it comes down to it, Double Dragon has a consistent, cohesive vision glued together by a living, breathing, cheesy world. It's all in the little details. Like replacing payphones with oxygen stations and having two businessmen fight over it. And like all kids films, they leave the kids feeling empowered. The police are too scared to go out at night to fight the gangs, so a group of teens and tweens called “The Power Corps” decide to take back the streets. Now, what this actually looks like is a little unclear, but they do try to teach kids that corporations are generally the root of all evil, revealing that the corporations own the gangs and pay them to keep people scared. That too is a 90’s kids trope. It was always street gangs and corporate big wigs.

The action and setpieces are campy, or maybe you would just call it corny, and they could have been a little better in some places, but most of the time they are satisfying. This film famously set a Cleveland river on fire and created a giant explosion that had actual citizens calling emergency services. The costumes were the envy of young tweens yearning to hang out at a locker between classes for the first time. You would never find those threads in the store, but you had this feeling that there was some secret store in the mall that only kids 13 and up could find. If you pay attention to all the extras, you will notice absolutely zero consistency in their clothing choices. Sometimes the bad guys are dressed both like clowns and librarians in the same scene. On the other hand, the cool kids in the film have an amazing secret base that the adults don’t have access to, it's truly like bringing to life the feeling of playing at the McDonalds playplace. Double Dragon delivers a feeling more than anything. Maybe it is a feeling kids today can’t even imbibe, their world seems so different, but I think even without the context of the game, this would still make a good late night movie at any sleepover.

Finally, on the fan service front, because there is so little preservation, you aren’t going to find very much unless you are hardcore fan. Alyssa Milano’s character is named Marion, the name of Billy’s kidnapped girlfriend in the game. At one point, the gang runs into the Double Dragon arcade cabinet. Abobo makes a very strange appearance in a grotesque getup that you will wish you could forget. If there was much more than this, I really couldn’t put my finger on it. Everything else is probably too small or trivial.

When it comes to making a video game film, this leaned much more heavily on the originality side than preservation, but it had a sturdy construction and delivery that more than makes up for its lack of fan service. Looking through the list of other live action Hollywood films, it’s looking like it will be the last film to balance with this formula, even though this is only the second film in this series. I think the single minded focus on being a fun kids film outweighs its need to mimic the game, which was honestly fine for me then and now. They could have made a rated R version of this that took the whole thing seriously, and that might have fared better, but it's really hard to say. Sci-Fi adult action films of the time were very hit or miss. Back then, video games were for kids, despite their stories and presentation being mature, so this was probably the only way to get the film off the ground. I won’t claim that Double Dragon is the best kids action film of its day, but it definitely has more kids action film in it than any other kids action film. If you weigh the film against something like Titanic, it's going to sink, but put it in the ring punching at its own weight, it's going to be a contender. Two fist pumps way up.

[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.

[buzzdixonwriter]

Sci-Fi And The Sincerest Form Of Flattery

I know many of you prefer “science fiction” or “science fantasy” or “speculative fiction” or “sf” or even “stf” for short, but I ain’t that guy…

I’m a sci-fi kinda guy.

I prefer sci-fi because to me it evokes the nerdy playfulness the genre should embrace at some level (and, no we’re not gonna debate geek vs nerd as a descriptor; “geeky” implies biting heads off chickens no matter how benign and respectable the root has become).

. . .

A brief history of sci-fi films -- a very brief history.

Georges Melies’ 1898 short A Trip to The Moon is one of the earliest examples of the genre, and it arrived full blown at the dawn of cinema via its literary predecessors in Verne and Wells.

There were a lot of bona fide sci-fi films before WWII -- the Danes made a surprisingly large number in the silent era, Fritz Lang gave us Metropolis and Frau Im Mond, we saw the goofiness of Just Imagine and the spectacle of Things To Come and the space opera appeal of Flash Gordon and Buck Rogers.

And that’s not counting hundreds of other productions -- comedies and contemporary thrillers and westerns -- where a super-science mcguffin played a key part.

That came to a screeching halt in WWII primarily due to budget considerations and real world science easily overtaking screen fantasy.  Still, there were a few bona fide sci-fi films and serials during the war and immediately thereafter, but it wasn’t until the flying saucer scare of the late forties that sci-fi became a popular movie genre again (and on TV as well).

Ground zero for 1950s sci-fi was George Pal’s Destination Moon, which was an attempt to show a plausible flight to the moon (it was actually beaten to the screens by a couple of other low budget movies that rushed into production to catch Pal’s PR wave for his film).

This led to the first 1950s sci-fi boom that lasted from 1949 to 1954, followed by a brief fallow period, then a larger but far less innovative second boom in the late 1950s to early 1960s.

BTW, let me heartily recommend the late Bill Warren’s magnificent overview of sci-fi films of that era, Keep Watching The Skies, a must have in any sci-fi film fan’s library.

Seriously, go get it.

Bill and I frequently discussed films of that and subsequent eras, and Bill agreed with my assessment of the difference between 1950s sci-fi and 1960s sci-fi:  1950s sci-fi most typically ends with the old order restored, while 1960s sci-fi typically ends with the realization things have changed irrevocably.

In other words, “What now, puny human?”

I judge the 1960s sci-fi boom to have started in 1963 (at least for the US and western Europe; behind the Iron Curtain they were already ahead of us) with the Outer Limits TV show, followed in 1964 by the films The Last Man On Earth (based on Richard Matheson’s I Am Legend), Robinson Crusoe On Mars, and The Time Travelers.

But what really triggered the 1960s sci-fi boom was Planet Of The Apes and 2001: A Space Odyssey.  The former was shopped around every major Hollywood studio starting in 1963 until it finally found a home at 20th Century Fox (whose market research indicated there was an audience for well-made serious sci-fi film and hence put Fantastic Voyage into production).  Kubrick, fresh off Lolita and Dr. Srangelove (another sci-fi film tho not presented as such), carried an enormous cache in Hollywood of that era, and if MGM was going to bankroll his big budget space movie, hey, maybe there was something to this genre after all.

From 1965 forward, the cinematic space race was on, with 1968 being a banner year for groundbreaking sci-fi movies:  2001: A Space Odyssey, Barbarella, Charly, Planet Of The Apes, The Power, Project X, and Wild In The Streets.  (Star Trek premiering on TV in 1967 didn’t hurt, either.)

And, yeah, there were a number of duds and more than a few old school throwbacks during this era, but the point is the most interesting films were the most innovative ones.

Here’s a partial list of the most innovative sci-fi films from 1969 to 1977, nine-year period with some of the most original ideas ever presented in sci-fi films.  Not all of these were box office successes, but damn, they got people’s attention in both the film making and sci-fi fandom communities.

=1969=

The Bed Sitting Room

Doppelganger (US title:  Journey To The Far Side Of The Sun)

The Gladiators

The Monitors 

Stereo 

=1970=

Beneath The Planet Of The Apes [a]

Colossus: The Forbin Project 

Crimes Of The Future 

Gas-s-s-s

The Mind Of Mr. Soames 

No Blade Of Grass 

=1971= 

The Andromeda Strain 

A Clockwork Orange 

Glen And Randa 

The Hellstrom Chronicle 

THX 1138 

=1972=

Silent Running 

Slaughterhouse Five 

Solaris [b] 

Z.P.G.

=1973=

Day Of The Dolphin

Fantastic Planet 

The Final Programme (US title: The Last Days Of Man On Earth)

Idaho Transfer 

=1974=

Dark Star 

Phase IV 

Space Is The Place 

Zardoz 

=1975= 

A Boy And His Dog 

Black Moon 

Death Race 2000

Rollerball

Shivers (a.k.a. They Came From Within and The Parasite Murders)  [c]

The Stepford Wives 

=1976= 

God Told Me To [a.k.a. Demon]

The Man Who Fell To Earth 

=1977=

Wizards

[a]  I include Beneath The Planet Of The Apes because it is the single most nihilistic major studio film released, a movie that posits Charlton Heston blowing up the entire planet is A Damn Good Idea; follow up films in the series took a far more conventional approach to the material.  While successful, neither the studio nor mainstream audiences knew what to make of this film, so 20th Century Fox re-released it in a double bill with another problematic production, Russ Meyer’s Beyond The Valley Of The Dolls, and holy cow, if ever there was a more bugfuck double feature from a major studio I challenge you to name it.

[b]  Other than Karel Zemen’s delightful animated films, Iron Curtain sci-fi films rarely screened in the US, with the exception of special effects stock shots strip mined to add production values to cheapjack American productions (looking at you, Roger Corman).  Solaris is the exception.

[c]  David Cronenberg made several other films in this time frame, but most of them were variations on the themes he used in Shivers, including his big break out, Scanners.  Realizing he was repeating himself, Cronenberg reevaluated his goals and started making films with greater variety of theme and subject matter.

. . .

The astute reader will notice I bring my list to an end in 1977, a mere nine-year span instead of a full decade.

That’s because 1977 also saw the release of Close Encounters Of The Third Kind and Star Wars.

The effect was immediate, with knock-off films being released the same year.

1978 saw Dawn Of The Dead, a sequel to 1968’s Night Of The Living Dead, and Superman, the first non-campy superhero movie aimed at non-juvenile audiences.  

1979 gave us Alien, Mad Max, and Star Trek: The Motion Picture.

These films were not just successful, they were blockbusters.

And none of them were original.

Close Encounters served as an excuse to do a Kubrick-style light show; plot and theme are about as deep as a Dixie cup, and of all the blockbusters of that era, it’s the one with no legs.

Alien’s pedigree can be traced back to It! Terror From Beyond Space (and It’s pedigree goes back to A.E. van Vogt’s “Black Destroyer” and “Discord In Scarlet” in the old Astounding Stories) and Demon Planet (US title: Planet Of The Vampires) by way of Dark Star (Dan O’Bannon writing the original screenplays for that film and Alien as well).

Mad Max, like 1981’s Escape From New York, differs from earlier post-apocalypse movies only insofar as their apocalypses of a social / cultural / political nature, not nuclear or biological weapons.  Mad Max, in fact, can trace its lineage back to No Blade Of Grass, which featured it own caravan of refugees attacked by modern day visigoths on motorcycles, and the original Death Race 2000, as well as an odd little Australian non-sci-fi film, The Cars That Ate Paris.

Not only was Dawn Of The Dead a sequel, but it kickstarted a worldwide tsunami of zombie movies that continues to this day (no surprise as zombie films are easy to produce compared to other films listed here, and while there are a few big budget examples of the genre, the typical zombie movie is just actors in ragged clothes and crappy make-up).

Superman was…well…Superman.  And Star Trek was Star Trek.

And the granddaddy of them all, Star Wars, was a cinematic throwback that threw so far back it made the old seem new again.

Not begrudging any of those films their success: They were well made and entertaining.

But while there had been plenty of sequels and remakes and plain ol’ knockoffs of successful sci-fi movies in the past, after these seven there was precious little room for anything really different or innovative.

1982’s E.T. was Spielberg’s unofficial follow-up to Close Encounters.

1984’s Terminator consciously harkened back to Harlan Elison’s Outer Limits episodes “Demon With A Glass Hand” and “Soldier” (not to mention 1966’s Cyborg 2087 which looks like a first draft of Cameron’s film)

All innovative movies are risky, and the mammoth success of the films cited above did little to encourage new ideas in sci-fi films but rather attempts to shoehorn material into one of several pre-existing genres.

Star Wars = space opera of the splashy Flash Gordon variety

Star Trek = crew on a mission (Star Trek: The Next Generation [+ 5 other series], Andromeda, Battlestar: Galactica [4 series], Buck Rogers In The 25th Century, Farscape, Firefly [+ movie], The Orville, Space Academy, Space Rangers, Space: Above And Beyond, plus more anime and syndicated shows than you can shake a stick at)

Superman = superheroes (nuff’ sed!)

Close Encounters / E.T. = cute aliens

Alien = not-so-cute aliens

Terminator = robots vs humans (and, yes, The Matrix movies fall into this category)

Escape From New York = urban post-apocalypse

Mad Max = vehicular post-apocalypse 

Dawn Of The Dead = zombies

Mix and match ‘em and you’ve got a nearly limitless number of variations you know are based on proven popular concepts, none of that risky original stuff.

Small wonder that despite the huge number of new sci-fi films and programs available, little of it is memorable.

. . .

It shouldn’t be like this.

With ultra-cheap film making tools (there are theatrically released films shot on iPhones so there’s literally no barrier to entry) and copious venues for ultra-low / no-budget film makers to show their work (YouTube, Vimeo, Amazon Prime, etc.), there’s no excuse for there not to be a near limitless number of innovative films in all genres.

But there isn’t.

I watch a lot of independent features and short films on various channels and streaming services.

They’re either direct knock-offs of current big budget blockbusters (because often the film makers are hoping to impress the big studios into giving them lots of money to make one of their movies), or worse still, deliberately “bad” imitations of 1950s B-movies (and I get why there’s an appeal to do a bad version of a B-movie; if you screw up you can always say you did it deliberately).

Look, I understand the appeal of fan fic, written or filmed.

And I get it that sometimes it’s easier to do a knock-off where the conventions of the genre help with the final execution.

But let’s not make deliberate crap, okay?

Oscar Wilde is quoted as saying “Imitation is the sincerest form of flattery” but he was quoting somebody else, and that wasn’t the whole original quote.

Wilde was quoting Charles Caleb Colton, a dissolute English clergyman with a passion for gambling and a talent for bon mots.

Colton’s full quote:   “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.”

Don’t be mediocre.

Be great.

   © Buzz Dixon

[comicteaparty]

December 30th, 2019-January 5th, 2020 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from December 30th, 2019 to January 5th, 2020.  The chat focused on Reading Days by Sergio Ragno.

Featured Comment:

Chat:

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Week Long Book Club~! This week we’ll be focusing on Reading Days by Sergio Ragno~! (https://thirteenthchild.net/readingdays/)

You are free to read and comment about the comic all week at your own pace, so stop on by whenever it suits your schedule! Remember, though, that while we allow constructive criticism, our focus is to have fun and appreciate the comic. Below you will find four questions to get you started on the discussion. However, a new question will be posted and pinned everyday (between 12:01AM and 6AM PDT), so keep checking back for more! You have until January 5th to tell us all your wonderful thoughts! With that established, let’s get going on the reading and the chatting!

QUESTION 1. What has been your favorite strip in the comic so far? What specifically did you like about it?

QUESTION 2. Of the ongoing strips connected by the same characters or themes, which one do you like the most and why?

RebelVampire

QUESTION 3. At the moment, who is your favorite character? What about that character earns them this favor?

QUESTION 4. Which of the jokes related to literature, novels, and/or libraries caught your attention the most? What about that strip in general stuck out to you in how it was executed?

Eightfish

1. Unfortunately, even if I've heard of or read the books referenced in this comic I'm not sure I really "get" the strips. I feel like most of the punchlines are going over my head. But I liked this once: https://thirteenthchild.net/readingdays/comic/judging-a-book-by-its-cover-the-dragon-and-the-george/ It reminded me of me and my friends making fun of the trashy action and romance paperbacks at the free books section of the library. Those campy titles and detailed art have a lot of charm and character to them.(edited)

RebelVampire

QUESTION 5. What has been your favorite illustration in the comic so far? What specifically about it do you like?

QUESTION 6. Which of the pop culture joke strips was your favorite and why? In what ways do you think this comic succeeds in using pop culture for humor in general?

RebelVampire

1) My favorite strip so far is probably this one. https://thirteenthchild.net/readingdays/comic/what-science-goes-there/ Not only is it a sneaky callback to a very famous sci-fi story, but anything with science cat entertains me. I also like just the...kind of weird dramatic tone this comic has until the last panel where its flipped to deliver the comedy. 2) My fave ongoing series is definitely Science Cat's. I'm just...really biased towards cats. Plus, I really just love the combination between having something education, something comedic, and also something with hints of both science and cat behavior. I love both topics, so for me it's a match made in heaven. 3) Science Cat is my favorite character. Legit, how can you not love a science cat? 4) I actually really like the Judging a Book By its Cover series. Such as this strip for example. https://thirteenthchild.net/readingdays/comic/judging-a-book-by-its-cover-the-last-dark-elf/ Don't get me wrong, there are plenty of great references and such to literature that I adore (such as my fave strip), but I really like this series focusing on covers. I've personally always thought a lot of book covers, while well illustrated, and really, really weird given the title and contents of the book. So I'm really tickled pink by this series that's kind of pointing that out. Plus, it really does kind of demonstrate the impression a book cover gives us and why it's kind of important to consider the first impression book covers give. Which is why I think it works since it's based on these strange first impressions we might get.

5) My favorite illustration is definitely this strip. https://thirteenthchild.net/readingdays/comic/dr-science-cat-cat-scientists-tour-of-the-elements-berylium/ Besides my bias for space, I really love the lighting on this one. It really sells the location for me and gives it a nice sense of presence. Not necessarily needed, but I do love interesting lighting so I'll take it. 6) There are a lot of great pop culture jokes, but I'm gonna go with this Peanuts joke one https://thirteenthchild.net/readingdays/comic/every-time/ Besides the fact it's a classic, it was not the direction I expected it to go. Plus, that Lucy face just really sells it for me. Like its so horrifying in some way, which just makes it all the funnier to me. As for in general, I think this comic really just kind of knows how to balance the elements of pop culture while taking it unexpected directions like this. Where it makes sense in the universe/kind of fits in, yet exaggerates and plays on how ridiculous it could potentially be.

Tuyetnhi

1. I'm fond of the space odyssey parody like lmao. I'll post the link when I find it lol. I think it's just something as midwesterner that likes dry humor, it's a given lol.

RebelVampire

QUESTION 7. Which characters do you enjoy seeing interact the most? What about their dynamic interests you?

QUESTION 8. What was one educational thing you learned from Dr. Science Cat? Overall, what do you think we can learn from the comic in regards to combining education and comedy?

snuffysam

I find the interaction between Reginald and Gina to be really fun. I love the strips where Reginald tries his best to teach everyone meaningful life lessons (e.g. "reading is good") and then Gina comes with an attempt to loudly and completely undermine it. e.g. https://thirteenthchild.net/readingdays/comic/reginald-powers-in-the-root-of-all-yachts/ But, like, the interaction between them inadvertently teaches other lessons - that not everyone who shares your interests will do so in the same way. Gina and Reginald both like books, but they act on it in very different ways (like, Reginald would not likely break open a water main due to something he read on the spine of a book).

RebelVampire

QUESTION 9. What sorts of art or writing details have you noticed in the way the comic is crafted that you think deserves attention?

QUESTION 10. In what ways do you feel this comic stands apart from other gag of the day style comedy comics? Also, how do you feel the comic succeeds in making everything feel part of one thematically connected series?

RebelVampire

7) I probably enjoy seeing Science Cat interact with anybody really. I don't really have a particular preference where this one is concerned. Though I do somewhat enjoy more science cat interacting with other scientists, cause that allows science cat to be the silly one a bit more than usual. 8) The educational thing I learned was definitely the strip on Beryllium https://thirteenthchild.net/readingdays/comic/dr-science-cat-cat-scientists-tour-of-the-elements-berylium/. Beryllium is just an element I never really see talked about at all, so off the top of my head I don't know much about it other than it exists. I think this comic does show that comedy and education don't have to be enemies though. The more fun you make education, the easier it is to swallow. Plus, education doesn't have to be serious and boring all the time.

9) There isn't a specific detail I appreciate so much as the overall effort in so many pop culture references. There's a huge mix of books, anime, movies, video games, and so on. Despite how much we consume on a regular basis, it's still hard to know things so in depth to make jokes about them (since most people move on and consume more, which is totally fine of course). So I just appreciate that effort to store enough knowledge that these scenarios can be created. 10) I think this comic stands apart from other gag of the style days in terms of its variety. While there are certainly gag a day style comics that can be pretty varied, I feel this one kicks it up a notch more than usually with just how much it covers. I also think it succeeds more than a lot of other comics due to the sort of thematic connection the whole comic has. Though I can't put it into words, there's a real sense of writing style that is unique and present in all the strips. So in the end it makes the entire theme feel like a really cohesive comedy comic despite only some of the series being connected by the same characters.

Tuyetnhi

8. me answering questions out of order since I think rebel kinda cemented how I feel about the comic in general and Science cat but lmao. Me too about the Beryllium strip. It's kinda funny that a lot of folks who aren't in the education field don't think it's mutually inclusive to have humor and education content together. Yet a lot of educators are calling this connection to help with memory retention. rip speaking as a future educator, it's important to have these works.

science and art, they're closely related than most people think lol.

Tuyetnhi

10. Reginald's Character design for me stands out compared to other gag comics (tbh I wouldn't expect an octopus pop up frequently so kudos for it same for science cat lol). On terms of books read in my high school days, references in pop culture, and overarching moods about reading books and lit. is done well. I think it's just reminding me of the days I'd think about when I was a school kid, and it's kinda nostalgic that way imo.

RebelVampire

QUESTION 11. What do you think are this particular comic’s strengths? What do you think makes this comic unique? Please elaborate.

QUESTION 12. Overall, what do you think we can learn from the comic in regards to comedy writing and how to take inspiration from real life? In other words, how has your perspective on comedy been changed (even if only a little)?

keii4ii

11. I agree that this comic has HUGE variety going on. It covers so much stuff. Admittedly that's a barrier to entry for me, as most of the stuff that's being referred to, I am not familiar with. But even if I don't get it, I honestly think that's admirable and unique. It's a core part of its identity, and it's quite something to see how much fun the comic/author seems to be having, exploring all these different interests!

RebelVampire

QUESTION 13. What are you most looking forward to in the comic? Also, do you have any final thoughts to share overall?

QUESTION 14. What other topics or themes are you hoping to see addressed in the comic? Why do you think it would suit the comedic style the comic is going for?

RebelVampire

11) I think, as I've said before, it's the variety plus the knowledge that's going into the jokes. Want pop culture? It's there. Want literature? It's there. Want educational science stuff? It's there. There's just so much this comic offers in general that I think it adds to the overall charm. 12) For me, as ties into above, this comic kind of reminds me that you can have successful comedy even if not every joke connects with you. I am personally not a huge fan of comedy as a genre, as most stuff just isnt too my taste. However, with comics like this, it's okay if not everything was to my taste. Because of the variety, there were still strips I really liked. So at the end, the comic as a whole did not need to connect with me to be, as an overall thing, something that succeeded as comedy for me. And I think that's a good takeaway for comedy writing in general. Comedy is probably the most divisive of all genres, so it's nice to see when that doesn't really hinder someone making it.

13) Science cat. I need more science cat in my life teaching me about elements. Cause goodness knows I haven't had a good refresher on the periodic table since high school since it isn't relevant to my life. 14) I really hope to see more of the judging book by its cover series, because there are so many great book covers to choose from. Literal interpretation is a comedic form I'm also a fan of and since this comic already has a lot of that, I think it fits right in.

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB END!

Thank you everyone so much for reading and chatting about Reading Days this week! Please also give a special thank you to Sergio Ragno for volunteering the comic and creating it! If you liked Reading Days, make sure to continue to support it via some of the links below!

Read and Comment: https://thirteenthchild.net/readingdays/

Sergio’s Patreon: https://www.patreon.com/SergeXIII

Sergio’s Ko-Fi: https://ko-fi.com/sergexiii

Sergio’s Twitter: https://twitter.com/sergexiii

[popwasabi]

“Stranger Things 3″: The Pain and Love of Nostalgia

(Warning: SPOILERS ahead for “Stranger Things 3″)

“Stranger Things” most obvious core appeal has always been its campy 80’s throwback.

From the bright neon clothes, its brilliant synthesizer-based soundtrack, use of catchy 80s tunes and references to classic 80s horror and sci-fi, “Stranger Things” undoubtedly harnesses the power of its time period to hook viewers into its show. It’s a show that is rooted firmly in nostalgia and wields it prominently to attract viewers from Gen Xers who grew up in this time period to curious Millennials like myself who watched plenty of the referenced movies.

(How do I both love and hate this at the same time??)

But “Stranger Things” aesthetic callback is more than just a style; it’s a narrative choice that plays directly into the themes of the story. By playing on viewers’ sense of nostalgia the show is forcing us to see how these characters react to growing up, by literally looking back on a period we cannot go back to, and all the complex emotions that come with these feelings.

To understand this further, we need to look back on etymology of the word nostalgia. In ancient Greece the word has a far more complex meaning that simply reminiscing on the past. It’s root definition actually has more to do with feeling pain than happiness about the past.

You see, nostalgia back then use to describe a condition of deep homesickness or longing for a period we can never return to and the melancholy that comes with it. “Stranger Things” is deeply rooted in this condition and expressed at times quite explicitly by all its characters.

From the very beginning “Stranger Things” nostalgic feel is about how these characters grow up and often times grow up too quickly. From Will being ripped away from his D&D pre-teen friends in season one and his mind infected by the creatures of the Upside Down, to Elle being experimented on before she can even have a childhood, the show takes us on a journey through the emotions of this pain of leaving the past behind and how innocence can be snatched away all too often by meddling adults and/or monsters in this case.

(Some VERY  big monsters in many cases.)

This theme is by far its most present in “Stranger Things 3” as our band of nerds are now all teenagers trying to navigate hormones, young love and looking back on a childhood they can never have back and all the real horrors in between. It’s not just the youngest characters who deal with the pain of nostalgia, however; our adult heroes and heroines also inevitably deal with the pain of reminiscing on the past on lives that are permanently changed.

But the ultimate theme here isn’t just about the pain we associate with the past but that despite many things inevitably changing in your life, if you hold on to those closest to you in this journey that won’t change at least and the pain you feel is only a reminder that what you felt was real.

(#Feels)

“Stranger Things 3” does a great job of immediately telling the viewer how different things are this season compared to the previous two. Elle and Mike can’t stop making out, as does Lucas and Max, and Nancy and Jonathan are trying to navigate the complex and often humiliating adult workplace. There’s even a new monument to capitalism in Hawkin’s new Star Court Mall. But many of the other characters aren’t handling change all that well. Still new dad Hopper is having a hard time processing that Elle likes boys now, Dustin has spent most of the summer away from his best friends who seem disinterested in his new projects (and suspected made-up girlfriend), all while Will struggles mightily to keep the gang’s old D&D interests alive while his friends suck face.

There’s a tremendous sadness here reflected with these characters that viewers who watched these kids in the previous two seasons will immediately feel. They aren’t quite the same kids they used to be and they’ve grown a bit a part as they’ve grown up literally. We feel Dustin’s and Will’s pain (especially the latter given what he went through) that things are different and will never be quite the same between these friends. It’s a pain that many of us have definitely experienced growing up as we age out of hobbies, places and in some cases our friends.

Another character that has to deal pretty personally with nostalgic pain in this season is quite clearly everyone’s favorite dad Steve Harrington. The once king of Hawkins High has now been reduced to scooping ice cream at the mall to eke out a living. It’s a humiliating fall from grace for a young man who was once the most popular person in town. He’s spends much of this season trying to desperately to hold on to appearances, whether it’s only being interested in women who can up his status or pretending he doesn’t understand nerdy platitudes.

(Seriously, who hasn’t felt inadequate as fuck working a shitty customer service job before?)

Meanwhile Hopper, who probably struggles with change the most this season, gets quite aggressive with Mike and his advances on his adoptive daughter Elle. This isn’t helped by the fact that he still struggles with feelings he still has for Joyce and he often has self-destructive ways of dealing with these emotions. Though his actions border on problematic during the season Hopper’s transformation and acceptance is perhaps the most touching of the series as he lets Elle spread her wings and accepts change in the season’s finale in a bittersweet sendoff.

It’s season’s 3’s “villain” Billy though that we get the saddest feelings we associate with nostalgia. We learn that Billy’s attitude and views on others are more tied to his past than anyone else as we see a much sweeter more innocent kid who just loved his mom when he was a child who has changed so much. As with the series overarching messages its again tied to how easily innocence can be ripped away by bad adults whether its story’s primary villain of secret government agencies running lab tests on children and Interdimensions or in Billy’s case simply a drunk, evil belligerent father. This season finally explains where Billy’s bad attitude comes from and how much he’s changed for the worst because of the way his upbringing has treated him.

This season really shows how when we’re all at our lowest we all wish we could just go back to the way things were and journey back to a simpler time. It’s why nostalgia, no matter how happy the memory is, has a sadness to it; because we know we can never go back.

(I mean yeah, but it doesn’t get this dark.)

It’s through the events of season 3’s story though that we see how nostalgia isn’t all about pain and that there are still constants from our past that we can rely on in the present; namely those we love. The season begins by splintering the huge cast of characters by pitting their emotions against one another, but they each pick up a single piece of the larger puzzle of the plot that ultimately leads them back to one another and because of their past ties they are able to quickly move on from their pain and work together once again as a team. In this way nostalgia reminds us that it’s not all about pain but about love and more importantly and how they make our lives worth living. Though hormonally these kids have changed and their interests are more related to puberty now than Dungeons and Dragons they still care about one another and will do anything to keep each other safe (not to mention save the world). The adults in this story function the same way, quickly setting aside any past bitterness for the greater good.

Love is the ultimate uniter here that brings past to present and its why this fellowship of characters are able to win in the end.

(Daaaawww..)

Growing up is an often painful process and that occurs no matter what stage of life you’re in. Whether it’s like our pre-teen gang of nerds going through puberty, working our first humiliating job like Nancy or Steve as young adults or reminiscing on past what-might’ve-beens or child-rearing issues like Hopper its difficult when we all hit our next inevitable change in our life. We don’t want things to change because we often are happy with whatever stage we were once in. Sometimes we fight it, alienate others in the process and cause even more heartache for ourselves than we ever should.

But what “Stranger Things” reminds us is that despite all this, if we keep those we love and care about closest to us these changes won’t be so painful and drastic. We’ll at least get to go through all of it together.

So yes, nostalgia can be quite painful at times. There’s always going to be melancholy and some level of sadness we associate with the past and though we may fight it there are still friends, family and loved ones who will remain constants through it all in our lives.

All we can do is hold on to them for as long as we can and through those we love maybe we can keep a bit of that past alive forever.

*sniffs* I’m not crying, YOU’RE CRYING!

[aion-rsa]

Best Movies Coming to Netflix in July 2021

https://ift.tt/2UQ1B1r

Movies are back. It at least feels that way when you see the numbers that films like F9 and A Quiet Place Part II are earning. But more than just the thrill of going back to theaters, July signals what is typically considered to be the height of the summer movie season. On a hot evening, there are few things better than some cold air conditioning and a colder drink of your choice while escapism plays across a screen.

That can prove just as true at home as in theaters. And as luck would have it, Netflix is pretty stuffed with new streaming content this month. Below there are space adventures, comedies, dramas, and more than a few epics worth your attention, either as a revisit or new discovery. And we’ve rounded them up for your scrolling pleasure.

Austin Powers: International Man of Mystery (1997)

July 1

When the first Austin Powers opened in 1997, it was intended to be as much a crude love letter to the popular cinema of the 1960s as a modern day raunchy laugh-fest. Now with the benefit of another 20 years’ worth of hindsight, Mike Myers and Jay Roach’s spoof of Bondmania is itself an amusing time capsule of 1990s comedy tropes. There’s Myers’ cartoonishly larger-than-life characters—beginning with Powers but most dementedly perfected with Dr. Evil, the comedian’s riff on Ernst Stavro Blofeld—as well as the pair’s embrace of what they considered to be the defining trappings of the late ‘90s.

The film’s nostalgia for the ‘60s and its value as a piece of kitsch ‘90s nostalgia makes this Austin Powers (and to a lesser extent the second movie, The Spy Who Shagged Me) a fascinating relic, as well as a genuinely funny lowbrow symphony of sex gags, bathroom humor, and multiple digs at British stereotypes, including bad teeth. In other words, it’s a good time if you don’t take it too seriously. Just avoid the third one, which is also coming to Netflix.

The Karate Kid (1984)

July 1

1984’s The Karate Kid is the cultural apex of Reagan America’s obsession with martial arts movies and Rocky-style underdog stories. It offered ’80s kids the ultimate fantasy of learning martial arts to defeat local bullies and finding time to squeeze in a love subplot along the way. Granted, the Cobra Kai series has thrown a wrench into this film’s seemingly simple morality tale, but just try not to root for Daniel by the time you reach arguably the greatest montage in movie history.

There’s also something eternally comforting about watching Pat Morita beat-up ’80s thugs while validating parents everywhere by suggesting that you to can one day grow up to be a great warrior if you just sweep the floor, wax the car, and paint the fence.

Love Actually

July 1

Christmas in July? Sure, why not. This Yuletide classic likely needs no introduction. Writer-director Richard Curtis’ Love Actually is the ultimate romantic comedy, stuffing every cliché and setup from a holiday bag of tricks into one beautifully wrapped package. Perhaps its greatest strength though is it mixes in a touch of the bitter with its sweet, and doesn’t hide the thorns in its bouquet of roses. Plus, its use of “All I Want for Christmas” is still a banger nearly 20 years on.

Admittedly, we aren’t particularly inclined to watch this in July ourselves, but if you don’t mind the Christmas of it all, there are few better rom-coms in your queue at the moment.

Memoirs of a Geisha (2005)

July 1

This adaptation of the Arthur Golden novel of the same name was one of the highest profile literary adaptations of the early 2000s. It’s the story of a young girl sold to a geisha house in the legendary Gion district of Kyoto who then grows up to be the most famous geisha of 1930s imperial Japan… right before the war. The film (like its source material) had controversy in its day due to having a somewhat exoticized view of Japanese customs, as well as for the casting of Chinese actresses Michelle Yeoh and Zhang Ziyi in the roles of icons of Japanese culture, with Zhang playing central geisha Sayuri.

Read more

Movies

Black Widow Review: Marvel’s Most Feminine Film is a Brutal Action Movie

By Rosie Fletcher

Movies

How Underworld Mixed Werewolves, Vampires, and Shakespeare

By David Crow

But whatever its shortcomings, Memoirs of a Geisha is still an exquisitely crafted melodrama that provides an often delicate window into one of he most graceful and misunderstood arts. The film won Oscars for its costumes, art direction, and cinematography for a reason. Plus whenever Zhang and the actually Japanese Ken Watanabe share the screen, unrequited sizzle is hot to the touch.

Mortal Kombat (1995)

July 1

Look, 1995’s Mortal Kombat isn’t a great movie in the classic sense of the word. Those looking for notable ’90s schlock might even have a better time with 1994’s Street Fighter and Raul Julia’s scene-stealing performance as General M. Bison.

Yet at a time when video game movies still struggle to capture the magic of the games themselves, Mortal Kombat stands tall as one of the few adaptations that feel like an essential companion piece. It might lack the blood and gore that helped make 1992’s Mortal Kombat arcade game a cultural touchstone, but it perfectly captures the campy, shameless joy that has defined this franchise for nearly 30 years.

Star Trek (2009)

July 1

The idea of a Star Trek movie reboot wasn’t greeted with universal enthusiasm when it was first announced but then J.J. Abrams delighted many fans by creating a Trek origin story that was both familiar and new. Chris Pine shone as the cocky Kirk, bickering with Zachary Quinto’s Vulcan Spock while trying to save the universe from a pesky Romulan (Eric Bana). This was a standalone that could be enjoyed by audiences completely ignorant of the Star Trek legacy which also achieved the feat of not annoying many long-term followers of the multiple series. It was a combination of humor, heart, action and a zingy cast that won the day – it’s still the best of the three Star Trek reboot movies to date.

Talladega Nights: The Ballad of Ricky Bobby (2005)

July 1

Alongside Step Brothers, Tallageda Nights remains a a biting snapshot of the 2000s zeitgeist from writer-director Adam McKay. Eventually he would drop (most of) the crude smirks in favor of dramedies about the excesses of the Bush years via The Big Short (2013) and Dick Cheney biopic Vice (2018), however Talladega Nights remains a well-aged and damning satire of that brief time when “NASCAR Dads” were a thing, which is all the more impressive since it was filmed in the midst of such jingoistic fervor.

So enters Will Ferrell in one of his signature roles as a NASCAR driver and the quintessential ugly American who’s boastful of his ignorance and proud that his two sons are named “Walker” and “Texas Ranger.” He’d be almost irredeemable if the movie wasn’t so quotable and endearing with its sketch comedy absurdities. There’s a reason Ferrell and co-star John C. Reilly became a recurring thing after this lunacy. Plus, that ending where adherents of the homophobic humor of the mid-2000s found out the joke was on them? Still pretty satisfying.

Terminator 2: Judgment Day (1991)

July 1

This is the movie that changed everything. Filmmakers had been experimenting with computer-generated visual effects for years, including director James Cameron with 1989’s The Abyss. But Cameron, as usual, upped his game with this 1991 action/sci-fi epic in which the main character — the villain — was a hybrid of live-action actor and CG visuals.

Those of us who saw T2 in the theater when it first came out can remember hearing the audience (and probably ourselves) audibly gasp as the T-1000 (an underrated and chilling Robert Patrick) slithered into his liquid metal form, creating a surreal and genuinely eerie moving target that not even Arnold Schwarzenegger’s brute strength could easily defeat. There were moments in this movie that remained seared into our brains for years as high points of what could be accomplished with CG.

Read more

Movies

Terminator 2 at 30: How Guns N’ Roses Created the Perfect Hype

By Joseph Baxter

Movies

Aliens and Terminator 2: How James Cameron Crafts Perfect Sequels

By Ryan Lambie

This writer prefers T2 to the original Terminator. It’s fashionable to go the other way, but the first movie, while excellent, is essentially a low-budget horror film, Schwarzenegger’s T-800 a somewhat more formidable stand-in for the usual unstoppable slasher. The characters in T2 are far more fleshed out, the action bigger and more spectacular, the stakes more grave and palpable. It was the first movie to cost more than $100 million but it felt like every penny was right there on the screen. And Cameron tied up his story ingeniously, making all the sequels and prequels, and sidequels since irrelevant and incoherent. We don’t need them; we have Terminator 2: Judgment Day.

Underworld (2003)

July 1

Is Underworld a good movie? No, not really. Is it a scary movie, what with the vampires and werewolves? Not at all. Well, is it at least entertaining?! Absolutely. Never before has a B-studio actioner been so deliciously pretentious and delightful in its pomposity.

Every bit the product of early 2000s action movie clichés, right down to Kate Beckinsale’s oh-so tight leather number,  Underworld excels in part because of the casting of talent like Beckinsale. A former Oxford student and star of the West End stage, she got her start in cinema by appearing in a Kenneth Branagh Shakespeare adaptation, and she brings a wholly unneeded (but welcome) conviction to this tale of vampire versus werewolves in a centuries-long feud. Shamelessly riffing on Romeo and Juliet, the film ups the British thespian pedigree with movie-stealing performances by Bill Nighy as a vampire patriarch and Michael Sheen (Beckinsale’s then-husband who she met in a production of The Seagull) as an angsty, tragic werewolf. It’s bizarre, overdone, and highly entertaining in addition to all the fang on fur action.

Snowpiercer (2013)

July 2

Before there was Parasite, there was Snowpiercer, the action-driven class parable brought to horrific and mesmerizing life by Oscar-winning Korean director Bong Joon-ho in 2013. The film is set in a future ice age in which the last of humanity survives on a train that circumnavigates a post-climate change Earth. The story follows Chris Evans‘ Curtis as he leads a revolt from the working class caboose to the upper class engine at the front of the train.

Loosely based on a French graphic novel, filmed in the Czech Republic as a Korean-Czech co-production, and featuring some of Hollywood’s biggest stars, with dialogue in both English and Korean, Snowpiercer is not only a truly international production that will keep Western audiences guessing, but it packs an ever effective social critique as we head further into an age of climate change and wealth inequality. Also, there is a scene in which Chris Evans slips on a fish.

The Beguiled (2017)

July 16

Sofia Coppola’s remake of the 1971 film of the same name (both are based on a Thomas Cullinan novel) is a somewhat slight yet undeniably intriguing addition to the filmmaker’s catalog. It’s the story of a wounded Union soldier being taken in by a Southern school for girls–stranded in the middle of the American Civil War–with salvation turning into damnation as the power dynamics between the sexes are tested. It is also an evocative piece of Southern Gothic with an ending that will stick with you. Top notch work from a cast that also includes Nicole Kidman, Kirsten Dunst, Elle Fanning, and Colin Farrell makes this a bit of an underrated gem.

The Twilight Saga

July 16

In July, not one, not two, not three, not even four, but all five of the movies adapted from Stephenie Meyer’s young adult phenomenon book series will be accessible on Netflix. Indulge in the nostalgia of Catherine Hardwicke’s faithful and comparatively intimate Twilight. Travel to Italy with a depressing Edward and Bella in New Moon. Lean into the horror absurdity of The Twilight Saga: Breaking Dawn: Part 2. Or marathon all five for maximal escapism into a world where vegetarian vampires are the boyfriend ideal, the sun is always clouded, and the truly iconic emo-pop tunes never stop. 

Django Unchained (2012)

July 24

The second film Quentin Tarantino won an Oscar for, Django Unchained remains a highly potent revenge fantasy where a Black former slave (Jamie Foxx) seeks to free his wife from Mississippian bondage and ends up wiping out the entire infrastructure of a plantation in the process. Brutal, dazzlingly verbose in dialogue, and highly triggering in every meaning of the word—including quickdraw shootouts—this is a Southern-fried Spaghetti Western at its finest.

Read more

Movies

Quentin Tarantino Still Wants to Retire Since Most Directors’ Last Films Are ‘Lousy’

By David Crow

Culture

Once Upon a Time in Hollywood Easter Eggs and Reference Guide

By David Crow

Perhaps its other great asset is a terrific cast of richly drawn characters, including Foxx as Django (the “D” is silent), Christoph Waltz as German dentist-turned-bounty hunter Dr. King Shultz, Leonardo DiCaprio as sadistic slaveowner Calvin Candie, and Samuel L. Jackson as Stephen. While Waltz won a deserved Oscar for the film (his second from a Tarantino joint), it is Jackson’s turn as a house slave who becomes by far the most dangerous and cruel of Django’s adversaries who lingers in the memory years later… 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post Best Movies Coming to Netflix in July 2021 appeared first on Den of Geek.

from Den of Geek https://ift.tt/3A8JEeG

[sanabakkoushisanangel]

Heeey. Sorry if I disturb you by something or anything but could you maybe list some good shows? (It's not a must that LGBT couples are included) thanks a lot ❤️❤️💫

Hi, Anon! 

You’re not disturbing!

So I’m the type of person that watches a pretty random variety of shows so I’m not sure what your taste leans toward exactly. 

If you have any suggestions, make a comment or drop me a message with the show and why you like it! And if you want, make a suggestion on how to make this list better!

** Is for shows other people suggest to me. I’ll comment if I’ve heard of it or seen any of it. 

*I’ll try to put if it’s LGBT friendly. And also I want to put down if it’s diverse or not and a note if you suggest a show is diverse…I’m looking for either the main character that is a POC or more than 1-2 minor characters that show up often enough to make a difference to the plot. Don’t tell me a show is diverse if it’s 3 black characters are just window-dressing…👀

***UPDATE*** (8/11/2019)*** SO I'm finally getting around to updating this list. As always let me know if y'all have any suggestions! This thing is getting insanely long! I might try to make it a link on my page (which is in serious need of renovation lol). Oh Lord, I still have so many shows I didn't add. I might have a problem...

Enjoy!!

Derry Girls: Man I hope you all get to see my recommendation for this show!!! It's truly a gem! I can't say it's diverse but it's also based off a small town in Northern Ireland so not really faulting them. Very LGBT friendly!! Spot the tiny rainbow pins our main 5 wear in the entirety of the second season!! It's like the cutest, most wholesome unspoken way of showing support! I literally watched the second season, went back to rewatch the first season and then rewatched the second season again. They're so loveable!

Four Weddings and a Funeral: I surprisingly haven't watched the 1994 film that was one of the best movies of the 90s apparently. But Mindi Kaling is producing its remake that's now a TV show on Hulu. Features a much more diverse cast (TWO main characts being Black, the main love interest being Muslim, actually portraying Muslim character seamlessly without making it campy or oversimplified!). There's a lack of LGBT characters (Tony 1 and Tony 2 don't really count since that feels slightly degrading to me...). I'm hoping they'll get better at that in future episodes!

Dark: A German TV show that's like a mystery time travel thriller. Not really diverse? It does feature a deaf supporting character and some minor supporting characters are LGBT but other than that...It IS a good story that's really interesting and gripping to watch.  

3%: A sci-fi post-apocalyptic story based in Brazil that's Hunger Games ish in that young people fight for their right to live in the ideal land of plenty. But because it's a show, you get to explore the ethical aspect of it a little more. I have a beef with how this show treats its PoC character to be honest. But it does have a lot of PoC characters and there's I think an LGBT plotline in a later season. But, I feel like the first season may have been its peak. Definitely still a good show and y'all might enjoy the later seasons more than me. 

Patriot Act: Not really a story obviously but I have to plug this show because for once I'm seeing a nonproblematic Indian Muslim man (side-eyeing Kumal and Aziz) that's actually doing great episodes highlighting a lot of important issues that we're totally not getting informed about that we should really be paying attention to more.  

Kim's Convenience: A Canadian sitcom based on a Korean family's convenience story. Really cute wholesome show with a great cast that really tries to be diverse and thoughtful and respectful of its PoC. I don't think they have an LGBT main character but it's friendly to it!

-Shadowhunters: I love this trash show. It’s actually not all that great but it’s got some absolute gems of characters you end up watching it for anyway. I def recommend but S1 was watched with a ton of skip Clary/Jace scenes for me. This is LGBT friendly and diverse.  

-Eastsiders: One of my Netflix finds. So super LGBTQ friendly because it revolves around a gay couple. The revolving door of characters includes many people at different spectrums of sexuality. It’s unapologetic and fun to watch. Our main couple is self-labeled slutty mcsluttersons but they’re committed to each other. The diversity of race is meh but it does have the Constance Wu from Fresh off the Boat in it and she’s lovely. 

-Riverdale: I tried man, I used to read Archie comics when I was younger but um, this show…I think it’s supposed to be ironically pretentious? It just falls flat for me tbh. It’s popular though so you can check a couple of episodes out to see if it’s your thing. There’s an openly gay character in this that should get more story than he does. Also, kind of LGBT baits too at times so not sure if I trust them completely. 

-Narcos: One of my recent shows. Very very intense show. Just really well done. It’s male-centric in that most of its main characters are male and its portrayal of women isn’t varied or flattering or significant in any way so that definitely sucks. But I don’t watch all my shows through that lens. For a show about Pablo Escobar and the drug wars it’s a really gripping watch. Beware of heavy subtitles because it’s set in Columbia. 

-The Expanse: My sci-fi pick. I love this show. It’s a gorgeous, diverse, rich story, funny without trying too hard. I just get sucked into every character. It had one older married gay couple that was really minor characters but I don’t recall any current mains that are. But It’s an inclusive show so I don’t think it’s particularly averse to the idea. Based on books I haven’t read yet! 

-Veep: This is like a completely meant-to-be-offensive comedy show with the amazing Julia Louis-Dreyfus. While I wasn’t in love with the last 2 seasons, the first 4 are amazing. No clear-cut character you root for in particular but it’s so close to politics you can’t help but laugh/cry. Watch it for the absolutely unapologetic legendary burns. Also, has a lesbian couple in it although it’s offensive comedy so prepare for that.

-Archer: Also another meant-to-be-offensive show that’s hilarious but so terrible and inappropriate. I don’t usually like that kind of comedy but I binge-watched this when I was sick and got hooked. 

-Vikings: I love this show. If you like Game of Thrones, you’ll like this one only it’s got less nudity and more idgaf fight scenes. It’s got brilliant characters, beautiful battle scenes, really interesting storylines, and just good snarky humor. Watch it! Also, they’re not shy about same-sex couples even if they don’t explicitly say it. 

-Mr. Robot: Really good show, very different and…I actually don’t know how to describe it? The main has mental health issues. It’s a sociopolitical commentary type show. It’s about hacking and network security and corporation conglomerates in control of our everything and the fight against it. Also from @cherryrebel : Mr robot has a shit ton of diversity in both race and LGBT, the lead is mixed race but the actor is Egyptian, Tyrell is bisexual, Gideon is gay, Angela, Elliot, and Darlene are implied being lgbt+, I think I’m forgetting about someone but watch that show, it’s the shit 

-Legion: A superhero show that’s so incredibly NOT like the other superhero shows. You'll find yourself in a serious mind trip thinking you’re the one that’s crazy. But it’s really really good. Go watch. 

-Mozart in the Jungle: About a bunch of musicians and a crazy conductor you absolutely love. It’s really good. LGBT friendly! And diverse-ish.

-Luther: One of the best crime shows in my opinion. Idris Elba just does things and you will want to watch him do it. Anything he does is beautiful and brilliant. But the show actually IS brilliant and amazing and go watch!! 

-This is Us: one of those, where-the-hell-did-you-come-from?? shows. Really heartfelt stories that make you laugh, cry, and go aww a million times. 

-Killjoys: Another sci-fi show I love. It’s got diversity and great characters and great action and story. It's a complicated plot though and if you skip episodes you're really going to struggle with the story. But if you don't care, it's still fun to watch ladies being brilliant and kicking ass. Also LGBT friendly and diverse!!

-True Detective: Crime detective show. It’s great, very gritty and serious but good stories and character-driven. I actually really enjoyed the third season despite my reservations of this show. Definitely needed subtitles! Also, I got major unspoken LGBT vibes from the characters (3rd season) here but I feel like they didn't go the distance with it. 

-Humans: Sci-fi show about android robots that are part of normal life- they look human and are basically live in maids. Only five of these have consciousness. Really good UK show. Diverse AND LGBT friendly!

-Broadchurch: Another good UK crime show. David Tennant and Olivia Colman are brilliant and bicker in the most endearing way! And Jodie Whitaker is so amazing! Slow and gripping and bingeworthy. @iamacolor mentioned a lesbian character in this one too. Wouldn't say it's LGBT friendly but there is diversity in the characters. 

-The Americans: Russian sleeper spies in America that lead normal lives, have American children, and are like totally Russians carrying out secret missions. It's fantastical and exaggerated and sometimes I side-eye it like really?? But it's a fun casual watch. Not really diverse or LGBT friendly even if there might be some peppering in there. 

-The Get Down: Great show that was recently canceled :( has about 1 season out. I’m not sure how to describe it and do proper justice. It’s lovely though with amazing characters. Also, LGBT friendly and clearly diverse!

-Stranger Things: Great show sci-fi mystery thriller type show. Diverse cast, wholesome even with a dark and violent plot. LGBT friendly but it's got a list of problems in my opinion. But still a fun watch.

-Dear White People: Black college students from all kinds of backgrounds dropping truth bombs all around and being amazing. Go watch. It's definitely a smart show with a lot of humor. It’s balanced with amazing depth to its characters. LGBT friendly! *so while it's definitely diverse in that the entire main cast except one is Black- I do find it weird that in an ivy league college there aren't many Asian students? Like it seems like they tried to fix that in the third season but it could definitely stand to do more in terms of its recurring supporting characters*

-Brooklyn Nine-Nine: an Amazing funny cop show that manages to be winsome, hilarious, endearing, quirky, diverse, balanced, and just amazing all around. Very LGBT friendly and diverse! It's a consistent show. 

-Fresh Off the Boat: An Asian family comedy show that’s endearing and hilarious. (Also check out Jane the Virgin for crazy telenovela-esque antics that are hilarious and cute). 

-Orphan Black: Sci-fi show about clones. A really amazing show, LGBT friendly. Great story AMAZING characters…most of which is played by one woman. Diverse and LGBT friendly.

-Preacher: Great show based on the graphic novel…uhh not sure how to describe it but it’s good. Reth Negga is in it!! 

Also adding Sense8 for its LGBT and diversity. Good show but I’ve heard something about the directors/producers being racist? Not sure so I’m recommending with caution because the show itself esp s2 where the nonwhite characters got a better fleshed out plot is good. But since I don’t know what the producers/directors have done, I’m giving a heads up for someone else to fill me in.

Poldark: I just started this one 2 days ago. 2 episodes in I’m really enjoying it. It’s from PBS’s Masterpiece series. Aiden Turner as a Cornishman is delicious. So far I adore his wife and immensely enjoying yet another period show.  

Grantchester: Adding this to the list after I discovered it on my prime account. I’m only one season in and I love Sydney Chambers and his gruff buddy cop Geordie? This isn’t a show that is going to have you sitting on the edge of your seat. It’s totally a procedural type of show. But it’s characters are likable, its story feels comfortable, and honestly, if it’s a shitty day for you and you just want something that’s easy? This is it. @iamacolor  :)

Entourage: So I binged 8 seasons and a movie in a week so let’s just say I fell into this gaping manhole…So it has one very prominently gay character on this show that gets a fair amount of screentime and a plot considering he’s a side character. He’s a fairly loveable character you really enjoy watching develop and grow. However, I should warn people that this show has really colorful language that is quite frankly really sexist and homophobic. For those of you that don’t know, it’s essentially a show about a popular actor from Queens that makes it big in Hollywood and brings along his 2 best friends and older brother to live with him and share in his wealth. If you can get past the language and inherent sexism, it’s actually a decent show about 4 guys with an extremely tight unbreakable, ride or die friendship. Lots of cameos by famous actors and directors, etc. I admit I might have a thing for Kevin Connolly and Adrian Grenier…

Jane the Virgin: Okay firstly, I LOVE this show. I wasn’t caught up because I had too much on my plate but like this show is so tongue in cheek and has great Latino rep! Including a character that speaks like 98% in Spanish so it’s great. AND they have LGBT rep so there you go. Enjoy and thank me later!

Superstore: Almost disappointed no one reminded me to recommend this show?? It’s basically centered around a store much like Walmart where you have a colorful cast of employees. It’s funny, it’s cute, it’s very socially aware. A disabled character (of color!), a gay character, and a smattering of all sorts. PLUS America Ferrera whom I adore!

The Good Place: Great show, great diversity, really funny. I binged it aaaallllll. Seriously go watch this show!! 

Cable Girls: Netflix Original from Spain. Do yourself a favor, watch it in Spanish with subtitles. The dubs feel so off. So the music choices for this show are the biggest con. Like it’s modern English songs in a show set in the 20s. Whoever chooses the music really doesn’t read the tone of the scene because it always throws me off. BUT, it’s a show about women gaining their independence through working as operators. You don’t have a diverse cast (so another con) but it’s LGBT friendly. There’s an exploration of sexuality minus the harmful abuse of it. It’s got its own set of flaws for sure but there’s a lot of potentials for it to be a good watch. 

Atypical: Autistic boy on the cusp of adulthood that’s navigating how to grow into it and live as normally as possible despite his limitations. Diverse characters, funny stories, and most importantly, endearing af. I think it handles the touchy topic wonderfully and allows people in this show to both be good people and also make mistakes both big and small. What I really enjoyed about this show is that it feels unafraid to let it’s characters just be. It doesn’t fall into tropes and it just has really well-written characters. Can’t wait for Season 3. Also, def don’t want to spoil but LGBT friendly.  

Lovesick: If nothing else, watch this show for Antonia Thomas. I’m lowkey in love with her so I will watch anything she’s in. But it’s one of those shows that might not be for everyone. It’s about three great friends where two have been in love with each other at different parts of their lives and keep missing each other’s feelings. It plays via flashbacks quite a bit so your story isn’t quite linear but it doesn’t make it difficult to watch. I personally loved it but I’m biased because well Antonia Thomas…

Santa Clara Diet: So I confess I dropped this show mid first episode when I first watched it. Its pilot was so strange and bonkers I was just so incredibly confused. I think the projectile vomiting just turned me off. But boredom is a great motivator and I came back to it later. And man, I am so so so glad I did. It’s just such a lovely show. I love every character to bits. LGBT friendly for sure. It’s so incredibly far-fetched so you just go with it and enjoy the ride. 

On my Block: Four friends transitionally into high school and navigating changing dynamics in their lifelong relationships while also dealing with real life, high school, gangs, and growing up. It’s a good watch. Really hoping for a second season. 

Sisters: Aussie show about a woman caring for her ailing elderly father who finds out he used his own sperm in his fertility clinic in order to help parents struggling. Now she has new half-siblings all over the country and gets to navigate dealing with that shitshow. This is a good show. Flawed people being selfish, good people getting the short end of the stick, people being real, things getting ugly. It gets interesting and awkward but it’s a good watch.    LGBT friendly.

Homecoming: Really gripping show about soldiers that return stateside wanting to return to society, join a program to help them do so, turns out things aren’t as they seem. Check it out on Amazon Prime. Diverse…umm one of the main supporting characters is black?

Bodyguard: Richard Madden from GoT plays a completely different role in this show about a bodyguard that finds himself part of a bigger conspiracy plot that forces him to face his own demons. Overall the story is good. Intense, gripping, intriguing in all the right places. But the ending has you rolling your eyes at how cliche they made it out to be. My biggest gripe being romanticizing characters that really don’t deserve it without highlighting their problematic behavior. It sweeps a lot of questions under the rug and concludes what would have been a highly conflicting plot with some really shoddy tropey shortcuts. Still it’s definitely a bingeworthy show. Diversity is for shit though all things considered. 

Recommendations by Other Blogs:

-**Shameless: Based on the UK show I believe. Has an openly gay character in a really complicated loveline that’s one of the major draws of this show. Very good show but definitely not for everyone. Expect LOTS of cursing, nudity, etc. But it’s hilarious, weirdly heartwarming, really fun to watch. Adding based on an anon suggestion- I haven’t watched the seasons in full but I love popping in to catch up. LGBT friendly and also somewhat diverse. 

-**Crazy Ex-Girlfriend: I have not watched this show myself but @blueberrysenpaii suggested this and said: Should add CEG. There’s a veeeery proud bi guy! So LGBT friendly! Someone tell me if it’s diverse?

-**Stitchers: Another show I haven’t watched but it’s been recommended a few times so it’s probably worth a watch. LGBT friendly! Someone tell me if it’s diverse? From Anon: There is a lesbian couple (Camanda) and they’re happy and healthy. It’s a great interesting storyline, it’s funny, super loveable characters, there’s some mystery and suspense in every episode, I love it so much, and it’s so underrated

**Black Sails: Have not watched this show either. LGBT friendly and diverse cast! But here’s @foolbrite ’s recommendation: black sails!! its an AMAZING  story plus there is such good lgbt rep in that show

**One Day At a Time: So I have watched a couple episodes of this. It’s so cute! Diverse and LGBT friendly! But here’s the recommendation from @jcarizma : One Day At a Time is really good. Has an LGBT main character and most of the characters are Hispanic as well and the show actually talks about topics that are importantes and it still manages to be hilarious. It’s on Netflix. and also @onyourleftbooob : one day at a time is INCREDIBLE and i loved how they dealt with their lgbt character

**Black Mirror: San Junipero: Again never watched this show but I have seen gifs of this episode?story arc? Diverse and LGBT friendly! Anywho another rec from @onyourleftbooob : black mirror’s san junipero is great  *Update: I did watch this myself so I can definitely say it was really nice!*

**How to Get Away With Murder: I actually was a little reluctant to recommend this show. Mainly because *spoiler* one of my favorite main characters got killed off in a way and point in the story where it was pure shock value and I’m forever upset. *end spoiler* I personally dropped the show at that point. However, it was great until that point and it does have an great LGBT rep and just as important a very diverse cast! Also recommended by @onyourleftbooob  

**The Bold Type: I have not yet seen this show personally but I have seen lots of mentions of it on my dash and it seems like it’s really good. Good diverse and LGBT friendly show! @im-the-trashqueen-of-my-fandoms recommends this: One of the 3 leads is black and discovers that she’s not really straight when she starts developing feelings for a lesbian Muslim photographer :)

So I think I got most of the ones I really enjoy. Not including like Breaking Bad and Game of Thrones because those are hugely popular. I hope you enjoy! If I think of more, I’ll add them here.  

[newstechreviews]

Over the past 20 years, horror fans have seen some exceptionally wonderful horror movies. We're living in a golden era of modern horror where filmmakers don't have to rely on witty supernatural villains spouting terrible one-liners while killing off their victims one by one. Now, both indie and major studios are producing memorable films that mix horror with other genres to create something unique and wonderful, like this year's Get Out, which won big at the box office.

We're taking a look at the past two decades of horror and picking out the best movie, year by year. Some years were better than others, but all of these movies should be on your watch list, especially with Halloween right around the corner.

1997: Event Horizon

1997 was not a great year for horror movies. It was a summer filled with movies like Scream 2, I Know What You Did Last Summer, The Relic, and a slew of other very forgettable films. That year, Event Horizon was released, a sci-fi/horror hybrid about the reappearance of a ship that went into a black hole. The rescue team discovers something horrifying inside. Sure, it's not an amazing movie, but it's fun, and there are plenty of memorable moments, like when one character's eyes get sewn shut.

1998: Ringu

Ringu kicked off what eventually become America's love affair with Asian horror cinema. A reporter and her ex-husband investigate a mysterious tape that reportedly kills you seven days after you watch it. The vast majority of people are much more familiar with the 2002 American remake, which had a much bigger budget, but the original Ringu is a much better horror film with some great scares, even if a couple effects sequences are dated.

1999: The Blair Witch Project

For better or worse, depending on your outlook, The Blair Witch Project started a revolution when it came to "found footage" movies. This was a new genre for horror to jump into and part of the allure was the audience wondering if what they were watching was actually real. The Blair Witch Project follows three film students that head into the Maryland wilderness to shoot a documentary about local myth the Blair Witch. Obviously, things don't go well for them.

Runners-up: The Sixth Sense and Audition

2000: American Psycho

In 2000, the world fell in love with potential sociopath Patrick Bateman, a wealthy white-collar worker during the '80s who fantasizes about murdering everyone around him while discussing Huey Lewis and the News. American Psycho isn't just a horror film; it mixes and bends genres to tell its tale. However, the amount of blood, brutality, and violence in this film makes it feel like a precursor to the modern gore sub-genre that came a few years later. American Psycho isn't just a good horror movie, it's a great movie in general.

Runner-up: Ginger Snaps

2001: The Devil's Backbone

Spanish director Guillermo del Toro is a name you're going to see a few times on this list because he is not only a fantastic director when it comes to horror, but he puts his name behind some incredibly memorable films. In The Devil's Backbone, a young boy, who lost his father in the Spanish Civil War in 1939, is forced to live in an orphanage. He never feels quite comfortable in his new surroundings as there's a groundskeeper who doesn't want him looking in a storage locker, and the building is haunted by ghosts. This is one of del Toro's most underrated films.

Runner-up: Session 9

2002: 28 Days Later

While 1985's campy Return of the Living Dead was the first time a fast zombie appeared on screen, 28 Days Later popularized the idea of fast-moving infected/undead chasing down their prey. The diseased in 28 Days Later are not traditional zombies nor are they the living dead, but Danny Boyle's frantic and intense film was terrifying and helped usher in a resurgence in zombie films and media. In 2003, the comic series The Walking Dead started and in 2004, Zack Snyder's Dawn of the Dead remake came to theaters. Fans of the genre owe a lot to Boyle's film.

Runner-up: The Ring

2003: A Tale of Two Sisters

While South Korea's A Tale of Two Sisters may not be as well-known or regarded for ushering in Asian horror renaissance like Japan's Ringu, it's a great example of Korea's style of horror filmmaking: a genre-mixing, intense process that leaves the viewers on the edge of their seats. A teenage girl returns home from a stint in a mental hospital, and is terrorized by her cruel step-mother and ghosts within the family home. A Tale of Two Sisters balances psychological horror and a mystery exceptionally well and makes that year's biggest American horror film, Freddy vs. Jason, look like child's play.

Runner-up: 2LDK

2004: Shaun of the Dead

In Shaun of the Dead, Shaun decides to try and win back his ex-girlfriend; however, the only problem is that there's a zombie apocalypse happening around them. This movie is one of the best horror/comedies of all time, thanks to the witty writing of Simon Pegg and Edgar Wright, and let's not forget how amazingly this movie is edited as well. While the focus is a bit more on Pegg's character, Shaun, and his best friend Ed, played by Nick Frost, there are a few jump scares and classic "trapped by zombies" moments that make this a legitimately great film.

Runners-up: Dawn of the Dead and Saw

2005: The Descent

If you're claustrophobic, then The Descent is a total nightmare. A group of explorers head out on an adventure to search an uncharted cave system, only to find monsters in the darkness that are hunting them all down, one by one. Aside from the scares coming from the man-eating beasts, what sets The Descent apart from other horror movies that year is the feeling of being trapped, thanks to the way it was filmed, which--believe it or not--was all in a studio outside of London, as filming in an actual cave was deemed too dangerous. The Descent is a must-watch for horror fans, and one of the better movies on this list.

2006: Pan's Labyrinth

Once again, director Guillermo del Toro makes the list. Pan's Labyrinth takes place in Spain in the mid-1940s and follows a young girl obsessed with fairy tales. One day, she finds a faun who tells her she's a princess but must complete three tasks in order to prove she's royalty. Pan's Labyrinth has a narrative setup that could easily be used for a children's film, but del Toro takes it down a dark path, setting it against a war, and creating some haunting creatures, like the one above. It's a movie that appears to be a fantasy, but upon closer inspection, is filled with unimaginable horrors.

Runner-up: The Host

2007: The Orphanage

2007 may have been one the best years for horror. It was a year that produced The Mist, 28 Weeks Later, 30 Days of Night, and 1408 to name a few, but none of those films hold a candle to The Orphanage, which was executive produced by Guillermo del Toro. In the movie, a young woman (Laura) and her husband raise their son in an old house that used to be an orphanage that Laura was raised in. Soon, her son begins talking to invisible friends and quickly disappears, so Laura enlists outside help to figure out what's going on. Obviously, the little boy in the mask is creepy, but this movie shines in its use of location, sound, and overall tone. There's a reason del Toro put his name on this movie: It's haunting.

Runners-up: Paranormal Activity and REC

2008: Let The Right One In

Sweden's romantic horror film is bizarre and haunting, and the American adaptation--Let Me In--just isn't the same. Let The Right One In follows a young bullied boy who is befriended by a strange girl, who turns out to be a vampire, of sorts. It's one of the early adopters of the the new age of horror that puts the focus on a slow-building tension that immerses the audience into the world where the real horror is rooted in realistic fears, even if said fears are coming from something supernatural. It's a film that's best enjoyed on your own, and we won't say much else about the film because there are so many twists and turns to it.

Runner-up: Quarantine

2009: Drag Me To Hell

Sam Raimi--known for the Evil Dead franchise--made a return to horror in 2009 with Drag Me To Hell. A loan officer has to evict an old woman from her home, and after doing so, finds herself cursed and on a mission to save her own soul. This movie is pure Sam Raimi, who has a knack for blurring the lines between comedy and horror at times. Are we supposed to laugh when the main character has blood/bugs/vomit/black tar dumped on her face or are we supposed to be disgusted? Sadly, Raimi doesn't direct as much anymore, but he did produce one of the best horror films in the past decade, Don't Breathe.

Runner-up: Pandorum

2010: I Saw The Devil

2010 was another great year for horror films: Tucker & Dale vs. Evil, Black Swan, Rare Exports, and The Dead were all released. However, South Korea's I Saw The Devil was easily the best horror film of the year. It brilliantly mixes the genre with a Korean favorite: the revenge film, as a serial killer murders a secret agent's fiance, and he takes vengeance into his own hands, even if it means becoming a monster himself. Where this movie truly succeeds is with the character arc of the lead, Kim Soo-hyeon, as he morphs into what he is hunting down, in a sense.

Runners-up: Let Me In and Insidious

2011: You're Next

You're Next was one of two good horror films to come out of 2011, which was a pretty bogus year. Luckily, both of those films are pretty fantastic. You're Next has a new spin on the home-invasion story. A family on an anniversary vacation find themselves being hunted down by masked killers; however, one of the hunted has a secret: they know how to fight back. This genre of horror has been overdone, but the twist gives this story some new life.

Runner-up: Grave Encounters

2012: Cabin in the Woods

Cabin in the Woods is a really weird movie, in all the right ways. It starts as a typical horror film featuring a group of attractive young adults, heading to a remote cabin, where they're hunted down by zombies. However, what sets this movie apart is the turn, which happens during the first act--and we won't spoil it in case you've never seen it. Cabin in the Woods is ingenious and actually pretty funny at times. In addition, it's the only horror movie that will have you rooting for a gross merman to kill someone.

Runners-up: Sinister and VHS

2013: The Conjuring

Ed and Lorraine Warren's alleged supernatural encounters have been made into countless movies, with the most memorable being The Amityville Horror. However, in 2013, The Conjuring came out, which recounts one of the Warren's early investigations of a Rhode Island farmhouse that is under attack by a supernatural force. It is, by far, one of the best horror films of the decade and launched a fantastic franchise as well.

Runners-up: Oculus and VHS 2

2014: The Babadook

Jennifer Kent's 2014 film, The Babadook, follows a widow trying to take care of her problematic child who thinks there is a monster in the house. The mother quickly discovers a creature called the Babadook is terrorizing the family. Much like a few other films on the list, The Babadook slowly builds tension, and while the film has a few jump scares, it doesn't rely on them to horrify the audience.

Runners-up: REC 4 and Housebound

2015: It Follows

It Follows is a great way to promote abstinence. Joking aside, the 2015 film does revolve around a curse that can only be passed on by intercourse, and that curse comes in the form of a slow-moving, supernatural being that kills you if it reaches you. The movie centers around a young woman who becomes cursed after a sexual encounter with a young man who mysteriously disappears. She and a group of friends do what they can to keep her from being reached by the creature. The story is unique and keeps the viewers on the edge of their seats for the entire film. At no point does the tension let up.

Runners-up: They Look Like People and The Visit

2016: The Witch

On this list, 2016 was the best year for horror, as you can see from the long list of runners-up below. The film that beat out everything else that year was the slow-paced movie The Witch. This movie is an extremely slow burn that follows a family in the 1600s who believe their daughter may have been influenced by witches. What makes this such a great film is the attention to detail, from the clothing to the insanely specific dialect. In addition, it has some of the best cinematography in modern horror. It is a beautiful movie with some chilling undertones.

Runners-up: Don't Breathe, Green Room, Hush, The Conjuring 2, Train to Busan, Under The Shadow, The Shallows, and The Wailing

2017: Get Out

2017 may not be over, but as of October, the best horror film of the year is Get Out. The Jordan Peele-directed film follows Chris, a young black man who is on his way to meet his white girlfriend's parents for the first time. He quickly learns that something is off about the family and everyone in the circle of friends. Get Out has such a good story that weaves mystery and thriller genres into it as the movie progresses--along with a little comedy. What makes this such a great film is that while some of the elements in the film are "out of this world," it has its rooting in reality. Not only is it a great horror film, it's one of the best films of the year.

Runners-up: Split and It

from RSSMix.com Mix ID 8258822 http://ift.tt/2gFfcSl