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9worldstales · 3 years

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MCU “Thor”: Who’s to blame for Thor’s banishment?

So I’ve seen around people blaming Loki for Thor’s banishment and…

… I can’t help but wonder if they realize that, by saying so they aren’t just pinning the blame on the wrong person but they’re doing a HUGE, GIANT SIZE disservice to Thor.

But let's list sources used for this first.

SOURCES MENTIONED:

Movies: “Thor” (2011), “Thor – The Dark World” (2013)

Comics: None mentioned

Direct-to-video animated film: None mentioned

Motion comics: None mentioned

Books: None mentioned

Novels: “Marvel Cinematic Universe Phase One: Thor” by Alex Irvine (2015)

Webs: None mentioned

Others: “Thor” old movie script, Interview “Director Kenneth Branagh and Kevin Feige Interview THOR”, interview “EXCLUSIVE: Screenwriter Don Payne Talks Thor!”, Interview “SDCC 2010: Chris Hemsworth Interview THOR”, Video “Thor (2011) Chris Hemsworth Kill Count”

Although “Thor” is meant to be an origin story for both Thor and Loki…

Kevin Feige: The movie, very much, is an origin of Loki, almost as much as it is an origin of Thor. We had to ride that balance. There were drafts where Thor took over too much, and there were certainly drafts where Loki became too prominent, and I think we found a nice balance that is clearly the origin of both of those characters. [Director Kenneth Branagh and Kevin Feige Interview THOR]

…the focus was mostly on Thor and his journey to learn humility.

I mean, this is not MY interpretation of the story, it’s basically what everyone involved in the production says the story is about. Thor is unworthy, the banishment is just, from it he learns humility and becomes worthy again.

Don Payne: Whereas we’ve got an extra-dimensional being once worshipped as a god by the ancient Norse who’s banished to earth and stripped of his powers to learn humility, all set amidst the Shakespearean intrigue of a dysfunctional royal family. You just have to find the things that make Thor timeless and relatable as a character. It certainly helps that he’s charismatic and likeable, albeit flawed. He’s banished for good reason, but I think people will want to go on the journey with him and root for him to find redemption — particularly with Chris Hemsworth’s performance. [EXCLUSIVE: Screenwriter Don Payne Talks Thor!]

Kenneth Branagh: That story arc of the flawed hero who must earn the right to be king is in our piece, but what’s key is the stakes. There, it’s Europe and England, and here, it’s the universe. When that family has problems, everybody else is affected. If Thor throws a fit and is yelling at his father and is banished, suddenly the worlds are unstable. [Director Kenneth Branagh and Kevin Feige Interview THOR]

Chris Hemsworth: At the beginning of this film, he’s certainly a brash, cocky warrior who’s about to inherit the keys to the kingdom, and his father thinks that he’s not ready. It’s the journey of him learning some humility through the film. I think he’s one of those people who has his heart in the right place. He’s doing what he’s doing for his family and to protect the kingdom, and he thinks it’s the right way to do it. It just happens to be a very aggressive way of doing it, which probably isn’t the right way. It’s about tempering that raw emotion that he drives off most of the time, into the right direction. [SDCC 2010: Chris Hemsworth Interview THOR]

And in fact Thor makes a 180° turn from how he started.

The boy then man who insisted he wanted first to kill all the Jotun then give them a lesson is the one who sacrifices his chance to meet Jane again to save them.

Young Thor: When I’m king, I’ll hunt the monsters down and slay them all! Just as you did, Father.

and...

Thor: March into Jotunheim as you once did. Teach them a lesson. Break their spirits so they’ll never dare try to cross our borders again.

versus

Thor: You can’t kill an entire race!

The man who said his father was an old man and a fool, becomes the one who says there will never be a wiser king than Odin.

Thor: And you are an old man and a fool!

versus

Thor: There will never be a wiser king than you. Or a better father. I have much to learn. I know that now. Someday, perhaps, I shall make you proud.

The man who returning from Jotunheim was too busy to care for how Fandral got hurt so that it was Odin who had to say to get him to the healing room, is the one who, once back to Midgard, first worry about having his friends getting Heimdall on the healing room and then about what he’ll do with his brother.

Odin: You cannot even protect your friends! How can you hope to protect a kingdom? Get him to the healing room! Now!

versus

Thor: Get him to the healing room! Leave my brother to me.

The man who thought his father’s lessons were wrong, then admits his father was right.

Thor: While you wait and be patient, the Nine Realms laugh at us. The old ways are done. You’d stand giving speeches while Asgard falls.

versus

Thor: Neither did I. My father was trying to teach me something, but I was too stupid to see it.

The man who first was told by Loki going to Jotunheim was madness and did it anyway then tells Loki how destroying Jotunheim is madness.

Loki: Thor, it’s madness.

versus

Thor: Loki, this is madness.

The man who would start a fight just because he was called ‘princess’ versus the man who kept on refusing to start a fight with Loki even after the other hit him four times and only does so when Loki threatens Jane.

And then there are the comparisons that got lost because some scenes got cut. For start an even better comparison, in which another man calls Thor "Princess" and Thor this time refuses to fight.

Jotun: Run back home, little princess. [Thor stops in his tracks. Loki goes white. He knows what's coming.] Loki: Damn. [In one quick move, Thor pulls Mjolnir, swings it, and KNOCKS the Jotun clear across the plaza. The Asgardians reluctantly draw their weapons, gather into a circle around Thor. Volstagg looks around at the angry Jotuns approaching them.]

versus

Drunk townie: You were in the diner with that hot girl. [Thor doesn't like where this is going.] Drunk townie: I wouldn't mind her doing a little research on me. [He laughs. Thor is annoyed.] Thor: I have no quarrel with you. But she's a lady. You should be more respectful. Drunk townie: And you should shut the hell up, princess. [Selvig looks to Thor, concerned that he's going to lose it. But, to his surprise, Thor remains unaffected by the Townie's baiting.] Thor: I will not fight him. Drunk townie: Then it'll be easy to kick your ass.

Or like the deleted one in which Frigga said that Thor believed to be ready… when in the end Thor will realize he’s not.

Odin: Do you think he’s ready? Frigga: He thinks he is. He has his father’s confidence.

versus

Thor: There will never be a wiser king than you. Or a better father. I have much to learn. I know that now. Someday, perhaps, I shall make you proud.

You might remember Thor smashing a cup because he wanted another drink… well there’s a deleted scene in which, just before the Warriors Three and Sif reach Midgard, he brings a cup to Izzy in payback for the one he broke.

Thor: This drink, I like it. Darcy: I know. It’s great, right? [Thor hurls the empty mug at the ground, SHATTERING it.] Thor: (CALLS OUT) Another! [ISABELA ALVAREZ (60), the diner’s proprietor, glares at Thor from behind the counter.] Jane: Sorry, Izzy. Little accident. What was that? [He doesn’t understand. The other patrons stare at him.] Thor: It was delicious. I want another. Jane: Well, you could have just said so. Thor: I just did. Jane: No, I mean, ask nicely. Thor: I meant no disrespect. Jane: All right. Well, no more smashing. Deal? Thor: You have my word. Jane: Good.

Versus

As the group finishes breakfast, Thor looks at the mug in his hand, gets an idea. Thor: [About a cup] May I have this? Darcy: Sure. Thor: Thank you. Please, excuse me. [Thor leaves. In front of her diner, Isabela prepares to open for the day. Isabela sweeps the front porch. She looks up to see Thor approaching. She eyes him suspiciously. He offers her a MUG.] Excuse me, Isabela. Isabela: Oh my gosh. Thor: To replace the one I broke. Please, forgive me for my behavior. Isabela: Okay, thank you. Thor: if I may, I’d like to come back here for more of yours splendid "coffee". Isabela: Any time.

And then you might remember how Fandral was hurt in Jotunheim and it was Loki and Volstagg who helped him, while in a deleted scene we’ve Selvig being hurt and Thor helping him.

And so on and on and on.

Thor started one way, this caused his banishment and the banishment changed him.

If we go and say Thor didn’t deserve to be banished, that it was all Loki’s ploy, we ignore how Thor before was an unworthy person and after he became a worthy person. We turn Thor into a person who’s ALWAYS worthy, regardless of him acting one way or its exact opposite but for some reason was misjudged and punished unfairly and never really had to change because he was perfect as he was.

We turn Odin into a fool who punished a worthy son for crimes he didn’t do and then took the punishment back not because Thor changed, but because he realized he made a mess.

The idea Thor’s banishment is Loki’s fault is against the authors’ intentions, damages Thor by stripping him of his growth and, ultimately, it’s totally false, so trying to pin the blame on Loki so as to make him look bad is simply wrong.

Although Loki did some things that triggered Thor’s reactions, Thor wasn’t completely and utterly brainwashed. It was Thor’s decisions who ended up bringing those consequences and Loki had no idea Odin would go as far as banishing Thor.

In a deleted bit Loki says Odin normally ALWAYS forgive Thor.

Fandral: Well, if he doesn’t show up soon, he shouldn’t bother. Odin looks like he’s ready to feed him to his ravens. Loki: I wouldn’t worry. Father will forgive him. He always does.

From Thor’s reaction to his banishment it’s clear it’s the first time he got such a punishment and that he assumed all he had to do to be forgiven is to retrieve Mjolnir.

The novelization is not shy to say that:

Odin had always favoured Thor because Thor was a warrior, just like him… [“Marvel Cinematic Universe Phase One: Thor”]

The Warriors Three and Lady Sif clearly follow Thor because they don’t think it’ll end up in Thor being banished for disobeying Odin’s orders even though they know he shouldn’t have done it.

This proves it was the first time Odin reacted as such to Thor’s disobedience.

But let’s dig more into the story.

Loki yes, caused the coronation to be delayed by having three Frost Giants sneak into the vault and attempt to steal the Casket.

His purpose was:

Loki: That was just a bit of fun, really. To ruin my brother’s big day. And to protect the realm from his idiotic rule for a while longer.

Loki has no reasons to lie to Laufey about this. The ‘a while longer’ clearly imply he didn’t expect it was permanent. If he had said ‘to have him banished forever’, it would have affected Laufey just the same, he wouldn’t have judged him worse.

Thor’s reaction to the invasion is entirely Thor’s.

Thor: The Jotuns must pay for what they’ve done! Odin: They have paid, with their lives. The Destroyer did its work, the Casket is safe, and all is well. Thor: All is Well? They broke into the weapons vault! If the Frost Giants had stolen even one of these relics... Odin: They didn’t. Thor: Well, I want to know why! Odin: I have a truce with Laufey, King of the Jotuns. Thor: He just broke your truce! They know you are vulnerable! Odin: What action would you take? Thor: March into Jotunheim as you once did. Teach them a lesson. Break their spirits so they’ll never dare try to cross our borders again. Odin: You’re thinking only as a warrior. Thor: This was an act of war! Odin: It was the act of but a few, doomed to fail. Thor: Look how far they got! Odin: We will find the breach in our defenses and it will be sealed. Thor: As King of Asgard.... Odin: But you’re not king! Not yet.

Loki doesn’t even talk here. Thor, despite Odin thinking the opposite, insists they should just attack Jotunheim until Odin reminds him he’s no king.

This is relevant because if the coronation has concluded and the Jotuns had found on their own the way to get into the Vault, Thor would have waged war against them. This is what he wants to do and discussing things with Odin doesn’t change his mind, Odin merely forces him to shut up with his ‘I’m the king’ card.

Originally he would leave slamming the door behind himself, a sign he was still upset. We don’t see this, but we see him he’s still upset enough he turns a table upside down.

Then he has a discussion with Loki.

Thor: It’s unwise to be in my company right now, Brother. This was to be my day of triumph. Loki: It’ll come. In time. Thor: What’s this? Loki: If it’s any consolation, I think you’re right. About the Frost Giants, about Laufey, about everything. If they found a way to penetrate Asgard’s defenses once, who’s to say they won’t try again? Next time with an army. Thor: Exactly. Loki: There’s nothing you can do without defying Father. No, no, no. I know that look. Thor: That’s the only way to ensure the safety of our borders. Loki: Thor, it’s madness.

It’s true, if Loki had revealed he had been who orchestrated the break of the Frost Giants instead than telling him he also thought they were a threat, Thor might have calmed down. But this is not excuse enough for how Thor disobeyed Odin’s order, and only proves Thor wasn’t fit to be king right there because he insisted on going to Jotunheim even though Loki also reminded him this means defying Odin.

This is a serious matter but the key of it is that Thor wanted doing it before and still wants to do it now. He just can’t control his own wish to fight the Jotuns even if his father told him no. He’s not thinking. He’s not a common warrior, he’s the man who’s meant to be king.

If it takes him so little to wage war, then he’s unworthy of being king.

And does Loki really want for him to go to Jotunheim?

Not in the slightest, he knows it’s madness, in fact, believing Thor can’t be stopped, he tries to have him tattled out to his father.

Fandral: Well, at least he’s only banished, not dead. Which is what we’d all be if that guard hadn’t told Odin where we’d gone. Volstagg: How did the guard even know? Loki: I told him. Fandral: What? Loki: I told him to go to Odin after we’d left. He should be flogged for taking so long. We should never have reached Jotunheim. Volstagg: You told the guard? Loki: I saved our lives. And Thor’s. I had no idea Father would banish him for what he did.

In a deleted scene we see that as the group is about to ride toward the Bifrost Loki leaves them for a moment to talk with a guard. He’s not lying when he says he warned the guard.

The novelization digs a lot in how Loki didn’t want them to reach Jotunheim and in how Odin KNEW Thor would just do something, so it’s entirely possible Thor would have acted even if Loki had disagreed with him or had told him nothing.

“Why did he always seem to get into trouble because of his older brother? Wasn’t he supposed to be the wiser one? Odin has expressly forbidden that they enter Jotunheim. Yet it wasn’t the first time Thor had done something reckless. And it wouldn’t be the first time Loki was powerless to stop him.” [“Marvel Cinematic Universe Phase One: Thor”]

Loki had made a decision. True, he could not dictate his brother’s actions, but that didn’t mean he couldn’t continue to make plans of his own. As the others checked and double-checked that they had everything they would need for the journey to Jotunheim, Loki slipped away. When Loki rejoined the others, they were on their way to the Observatory. Hogun gave him a curious glance, but he ignored it. What he had done was none of their business. [“Marvel Cinematic Universe Phase One: Thor”]

They were on their way to Jotunheim. And what would happen once they got there was not in the hands of fate, but in the hands of his impulsive brother and his warrior friends. Loki would not be able to manipulate events there. He had to trust that the arrangements he had made would be enough for them all to survive. [“Marvel Cinematic Universe Phase One: Thor”]

Odin spent an uneasy night and felt no better in the morning. He had not seen Thor since their argument in the Vault. There had been shouting in the banquet hall as Thor told his friends what had happened, but Odin had heard nothing since. Frigga had tried to reassure him that Thor’s temper would ease and this would blow over, but Odin knew better. His son felt himself to be king already, whether the ceremony had been completed or not. He would take action. It was his nature. Odin hoped only that the action would not cause more problems than it solved. Just then, a guard rushed to him, and Odin’s misgivings were proved correct. Thor had taken his friends and journeyed into Jotunheim. Odin felt a deep well of fury rise up within him. Thor has deliberately disobeyed his orders. So, too, had Heimdall, who should not have let anyone pass on the Bisfrost – especially not a war party going to Jotunheim. “Tell the barn master to have Sleipnir and my battle gear to be readied immediately,” he ordered the guard. [“Marvel Cinematic Universe Phase One: Thor”]

Once in Jotunheim Laufey notices Thor wants to be there to wage war. He even warns him that if he keeps this up he would unleash something terrible… and it’s not Thor but Loki who accepts Laufey’s offer for them to leave, Thor doesn’t accept it even if they’re outnumbered and risk being all killed because, as Laufey said, he craved for battle.

Laufey: Your father is a murderer and a thief! And why have you come here? To make peace? You long for battle. You crave it. You’re nothing but a boy trying to prove himself a man. Thor: Well, this "boy" has grown tired of your mockery. Loki: Thor, stop and think. Look around you, we’re outnumbered. Thor: Know your place, Brother. Laufey: You know not what your actions would unleash. I do. Go now, while I still allow it. Loki: We will accept your most gracious offer. Come on, Brother.

Ultimately, even if Laufey and Loki had almost persuaded Thor to leave, all it takes is a small provocation and Thor starts attacking Frost Giants.

Jotun: Run back home, little princess. [Thor stops in his tracks. Loki goes white. He knows what’s coming.] Loki: Damn. [In one quick move, Thor pulls Mjolnir, swings it, and KNOCKS the Jotun clear across the plaza. The Asgardians reluctantly draw their weapons, gather into a circle around Thor.]

Loki is clearly not happy with his brother’s actions, he didn’t want this. It’s Thor who decided to do this anyway and, during the battle, we see that Thor is in a great spirit as he destroys a Frost Giant after another for a total of 145 Frost Giants (you can see the dead count in the Youtube video “Thor (2011) Chris Hemsworth Kill Count”).

Through the battle first Sif and then Loki TWICE will urge Thor to leave, they’re outnumbered they’ll end up getting killed if they remain there and it gets no better when Fandral gets wounded.

When Odin shows up Thor is all for continuing the battle.

Thor: Father! We’ll finish them together!

This is not Loki dictating his moves. This is all Thor and ultimately it’s Thor who argues with his father once they’re back, which is the last straw for Odin.

If Thor had kept quiet or had acted sorry Odin might have still forgiven him. He does not.

Thor: Why did you bring us back? Odin: Do you realize what you’ve done? What you’ve started? Thor: I was protecting my home. Odin: You cannot even protect your friends! How can you hope to protect a kingdom? Get him to the healing room! Now! Thor: There won’t be a kingdom to protect if you’re afraid to act. The Jotuns must learn to fear me, just as they once feared you. Odin: That’s pride and vanity talking, not leadership. You’ve forgotten everything I taught you about a warrior’s patience. Thor: While you wait and be patient, the Nine Realms laugh at us. The old ways are done. You’d stand giving speeches while Asgard falls. Odin: You are a vain, greedy, cruel boy! Thor: And you are an old man and a fool! Odin: Yes. I was a fool to think you were ready.

This is no Loki needling Thor, this is all Thor, this discussing matching the one he had in the Vault with Odin previously.

And, credits when it’s due, at this point Loki tried to interject.

Loki: FATHER-- [Odin turns with a growl and gives Loki a look which stops him in his tracks.]

Only at this point Thor will be banished and while yes, the way Loki chose to interrupt the coronation clearly had upset Thor and his words didn’t manage to calm him down, it’s also clear that not only Loki didn’t want for them to go to Jotunheim and almost get killed but that it’s Thor’s reaction to the situation that causes his banishment and that situation could have happened regardless of Loki having a hand in it or not.

Invasions happens.

The difference between “Thor” and “Thor: The Dark World” in which another invasion takes place, is that although Thor is always trying to disobey to his father in both movies, in the first he did it because he wanted to go at war with the Jotuns, in the second he did it because he hoped to spare Asgard from a war.

In the deleted scene for “Thor: The Dark World” even Odin acknowledges Thor was right.

Odin: I thought you’d been blinded by passion but in truth you were the only one who could see and you... did what needed to be done

His motive for disobeying his father in “Thor: The Dark World” is the exact opposite than it was in “Thor”, but if he’d been the old Thor he would have had no qualms to drag all Asgard into a war.

So yes, Loki set up the situation, but if Thor ended up being banished it was solely for his own reaction to the situation, a situation that could have happened in other circumstances.

Would Loki coming clear with Odin lift Thor’s banishment?

No, of course not, because none of Loki’s actions are what moves Odin to decide for Thor’s banishment. What pushes him to decide for such a punishment are Thor’s reactions to the situation. If Loki had confessed the most this could cause was for him too to also be banished.

And, to Thor’s credits, he grew in his banishment and became a better person. This is important, it doesn’t deserve to be underscored.

Also, as said before, Loki couldn’t predict the punishment would have been banishment and he didn’t control Odin either.

Not only Loki actually tried to stop Odin, but even Frigga in a deleted scene begged Odin to reconsider and he refused.

So yes, Thor’s banishment ultimately turned out to be convenient for Loki, but he didn’t deliberately orchestrated it, he didn’t plan that far.

So really, let’s just Thor have his moment of personal growth in which he becomes a better person in his own movie, let Odin have his own agency in deciding if to punish his sons or not and just accept the whole trip to Jotunheim wasn’t something Loki wanted nor Thor’s banishment something he could predict.

In short simply accept the story as its authors wanted it to be.

I get not everyone might be aware of interviews and deleted scenes but really, I would say the movie made the whole thing obvious enough to be understood just by watching it.

#thor #loki #thor odinson #loki odinson #odin borson #kevin feige #kenneth branagh #don payne #mcu thor #mcu thor the dark world #laufey #jane foster #jotunheim #asgard #midgard #fandral #volstagg #frigga #9 worlds study

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ozhiel · 4 years

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Wrong Turn ~ 2021 [Full HD]

https://cinemax24.net/en/movie/630586/wrong-turn

Overview -

When a franchise has been stretched beyond its theatrical beginnings into the multitude of direct-to-video sequels - it's time for a reboot! Wrong Turn - gets a complete reimagining that aims for the classic Murderous Cult instead of the mutant Hillbilly Horror sub-genre. Screenwriter of the 2003 original Alan McElroy returns with director Mike P. Nelson to give the franchise a fresh direction forward but ultimately the show doesn't travel a new trail as a group of friends goes missing hiking the Appalachia Trail. Overall the film works, delivers some gore-fueled scares, but pacing is a problem and the film runs far too long padding out material that would have enjoyed some slashing. Wrong Turn is getting a One-Night only theatrical release via Fathom Events. Tickets can be purchased through Fandango - Worth A Look

Young, fresh out of college friends will do what they always do - travel to a remote place where no one has been before and go for an adventure hike well off the beaten path. That's exactly what Jen Shaw (Charlotte Vega), her boyfriend Darius (Adain Bradley), and four of their friends are about to do along the Appalachia Trail. Warned by the seemingly ignorant redneck locals to hire a guide or stay on the path, Jen and her friends instead hunt to find a lost Civil War fort. Instead of finding a historical relic, they descend into a nightmare world where a cult has thrived in isolation for generations - and will do anything to protect their way of life.

The franchise relaunch is always a tricky prospect. It's one thing if the property has a massive devoted fanbase like Halloween that longs to see the primary villain come up with new ways to do essentially the same thing over and over again. It's something else when the concept of the franchise was already straining under the weight of direct-to-video sequels and knockoffs. 2003's Wrong Turn helped kick off the return to Hillbilly Horror that hadn't really been experienced since the 70s. Taking a page from the terrifying episode "Home" from the fourth season of The X-Files, the original film focused on an inbred family of mutant hill folk cannibals and the following five sequels ground that concept into the ground with little variation or fanfare.

https://cinemax24.net/en/movie/630586/wrong-turn

2021's Wrong Turn takes a page closer to Ari Aster's dark comedy/horror hybrid Midsommar and other murderous cult flicks than the expected mutant cannibal hillbillies. Which turns out to be a clever avenue to explore, even if it's not altogether fulfilling. Original series screenwriter Alan McElroy earns worthy props crafting a scenario worth exploring. The script establishes a culture for this cult and a way of life they believe is right and Bill Sage makes a creepy turn here as the leader of The Foundation - John. Pulling some characteristics of cult leaders ranging from Jim Jones to Roch Thériault, he's equally menacing and charismatic. Jen and her friends end up playing a high-stakes game of cultural anthropology where the slightest grievance could end in death - or something far worse. And I do mean it that way. Those who die, thankfully die fast. Those who don't - well, that reveal is one of the creepiest most unsettling things this movie has to offer. If only there were more moments like that we'd have something special here.

While I would call this an overall successful reboot of the Wrong Turn franchise - it does enough different to make it worthwhile - my principal complaint is the length. At just under two hours, it's about fifteen minutes too long for its own good. Director Mike P. Nelson and his editors just don't manage the pace to drum up genuine suspense or the intended scares to have much impact. Conversations that don't mean anything last far too long where essential pieces of dialog for character and plot are shortchanged.

The film's opening with Matthew Modine as Jen's father Scott trying to figure out where she disappeared doesn't need to be there at all. Once that intro is done the next hour plays as a flashback to "six-weeks earlier." Then it picks back up with Modine and his search for Jen now that we know where she is. Given the movie's title that intro is just wasted screentime. The audience already knows bad things are going to happen; the opening only delays the inevitable without adding anything.

Characters are also on the painfully thin side - again, playing to genre tropes. Charlotte Vega and Matthew Modine carry most of the dramatic weight with an appreciable father/daughter dynamic. Again, Bill Sage is an ominous presence and Daisy Head earns high marks as the creepy Edith. The rest of the cast is there to fill time until they're appropriately 86'd in gloriously gory ways. And while there is ample gore, we don't really care enough about the characters for any demise to be meaningful or all that shocking. When Jen and her friends call out the names of the friends gone missing, you're constantly replying "who?" They could have easily been named after their character archetypes "The Jerk," "The Priss," "Gay Guy 1," "Gay Guy 2", and "Boyfriend" for how simply defined they are. You know who is going to die and how badly pretty much as soon as you meet this troupe of traveling friends.

At the end of the day I was entertained by this new spin for Wrong Turn - a franchise I basically gave up caring anything for around when the second sequel hit video store shelves. This film doesn't do anything new to the genre, but for the series, it's a notable refresher. Between this series' sequels and the recent Hills Have Eyes, on top of the remake series of I Spit On Your Grave, it was long past time to bury Hillbilly Horror and let that genre corpse rot a little before digging it up again. If Wrong Turn 2021 was just a little bit leaner it'd play a bit meaner and give horror hounds some more meaty scares to sink their teeth into. It's certainly a better movie than any of the past direct-to-video sequels but that may not be a strong enough recommendation.

Final Thoughts In the last seventeen years, the Wrong Turn franchise has run the cinematic gauntlet. It started with a solid creepy first film but endured through a series of haphazard (at best) direct-to-video sequels that strain to keep the name alive in the minds of horror fans. Now we find ourselves with a reboot that shakes things up dramatically for the franchise moving away from Hillbilly Horror and into the Murderous Cult sub-genre. And it works for the most part with Matthew Modine making a fine Action-Dad, and our new cult The Foundation a creepy evil entity to explore. Holding things back is an extended runtime and odd pacing that bogs down the momentum and impact of some of the scarier setups. Overall a decent relaunch to a franchise long gone stale. Wrong Turn is getting a One-Night only theatrical release via Fathom Events. Tickets can be purchased through Fandango - ultimately, it's Worth A Look

#wrong #turn #movie #wrongturn2021 #2021

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thearkhound · 4 years

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Drama CD Metal Gear Solid interviews

The following is a series of interviews that were published in the booklets for the Drama CD Metal Gear Solid series. The booklet for Vol. 1 contains an interview with Hideo Kojima himself, while Vol. 2 contains interview with Motosada Mori (the series’s military advisor, who served as the audio drama’s screenwriter as well) and illustrator Yoji Shinkawa. The scripts for the Metal Gear Solid radio drama has been translated for quite a long time now, but the interviews have not until now.

The Metal Gear Solid radio drama is a non-canonical continuation of the game in which Solid Snake, Meryl Silverburgh, Roy Campbell and Mei-Ling continue working for the U.S. military following the events of the Shadow Moses island takeover as they become involved in new missions set in various conflict zones. You can read a translated transcripts on the following links: Vol. 1 and Vol. 2.

Hideo Kojima

It seems that the story for the Drama CD is set after the events of the game itself.

Don’t think about it too deeply. (laughs) That was my biggest concern when it came to discuss the radio drama. There are quite a few inconsistencies if you think about it seriously. More importantly, I don’t think they [the main characters] would be willing to return to the battlefield after the ending of the game. You’re better off thinking of this audio drama as an alternate story using the same characters.

Mr. Motosada Mori, who worked on the game as a military advisor, seems to had been in charge of writing the script this time...

Originally I was told to write it myself but I wasn’t able to due to various circumstances. So when it came on deciding a writer, it had to be someone who was not only be knowledgeable of the Metal Gear universe, but also be familiar with military and world affairs, as well as firearms... I was wondering if there was such a worthy candidate. Not only does Mr. Mori has the expertise and experience, but he is also a published author. On top of that, he provided entertainment advice on the game itself, so I was confident to assign the job to him. At first I wanted Mr. Mori to employ his own unique gimmick and we thought a lot of what he could add to the script. But then the amount of technical terms he added to the script became too much for the average listener to understand, so we ended up reducing them. (laughs)

By the way, the character of Allen Iishiba was based on someone we knew... When we went to the United States for research, we were able to observe a tank in person thanks to a friend of Mr. Mori in the U.S. Army, so he became the inspiration for that character. [Translator’s note: The person in particular is Tomoaki Iishiba, who is credited as one of the military advisors alongside a Michael Allen.]

Were there any difficulties when it came to the difference in expression between a videogame and an audio-only CD?

Perhaps this is the fate of videogames as a medium, but there is a chance that if you only hear a line of dialogue once, you might not understand it the first time, so we have to repeat things like a parrot during conversations. [Translator’s note: This is why most conversations in the MGS series end with Snake repeating what the other person said in the form of a question] As a result, we end up writing dialogue that would seem out of place in a normal conversation. We had no choice but to write like that in order to make the game easier to understand, but because this is purely an audio drama this time, it covers more acoustics than the game itself. Therefore, the difference between the mediums was not a problem at all.

Finally, can you give us any last words?

I think that the Drama CD will depict a lot of things that could not be done in a videogame. Give Mr. Mori my regards. (laughs)

Motosada Mori

You worked as a military advisor in the original Metal Gear Solid game, but this time you’re writing the screenplay...

I actually played Policenauts when it was first released, so my feelings are rather complicated. I became a fan of Kojima because of Policenauts. While observing the game’s development process, I thought many times about how it would be like to be one of the players anticipating its release. Putting it in another way, I might be wondering if it was going to be a good game and I would wish to play it without knowing anything about it... (laughs) If there is ever a next game, I want to be just a player.

This time you’re working on an audio drama. Did that present any difficulties?

How to depict the world of Metal Gear without the use of visuals? That was the biggest challenge. Moreover, whether you’re listening to just one episode or the one that comes after, you have to write them like a single storyline. On top of that, I intended to write a drama that would appeal to both, people who played the original game and those that didn’t. Nonetheless, it was difficult. Writing the screenplay was an everyday hell. Basically, the story takes place after the events of the game, but like Mr. Kojima said, writing a story that follows the ending of that game was the best opportunity to show off my skills. To what extend can you demonstrate a unique worldview? The results is a kind of progression that proceeds from the video game to the audio drama and vice-versa.

Were there any instances where you based the story or characters on your experience?

Most of the incidents, including the characters who appear in it, are fictional, but some of it is partly based on my own experiences. For example, is it possible to distinguish between good and evil on the battlefield? The characters in this story, like Schultz, Cortez and Ivanovich, all act in their own interests, believe in themselves and try to justify their means. It’s a rule that doesn’t work at all on a normal society, but somehow you can get away with on the battlefield. Those with power seize everything. This is a drama about tragic men who were drunk on a power struggle and were conversely swallowed into it.

Finally, can you give us a few last words?

Enjoy this audio drama and let us know what you think! I want to make the best use [of your feedback] next time... Will there be even be a next time, Mr. Kojima?

Yoji Shinkawa

There are many characters being drawn for the first time for the Drama CD. What kind of mood do you usually have when you design a character?

My creation method varies depending on the character. For Allen Iishiba... well, he was modeled after a real person. (laughs) He was actually a gentle guy, but he became a bit scary in the artwork that I drew.

For Sergei Ivanovich, I originally drew him as an older man in his 50s or 60s, but then Mr. Kojima requested him to be “a younger and cooler type.” When I asked him what kind of feeling he wanted from the character, he answered “someone like Tony Redwood [a character from Policenauts].” I then drew him younger, but he still didn’t stand out, so I wanted him to hold a small arm. I asked Mr. Mori if it was alright if he was holding a knife and he answered that was fine. It’s the same feeling I had when working with Mr. Kojima.

The image of Marc Cortez was that of a brave soldier with a decisive military history. However, since he is a character of questionable allegiance, I gave him a hat that obscured his eyes in order to make him look very suspicious. Maybe it’s just like Roy Campbell and his beret or Master Miller and his sunglasses. Can you recognize a character with just that [an accessory] alone?

The familiar characters from the original game all appear in new outfits here too. Especially Meryl Silverburgh, who looks cool in her sneaking suit!

After the Metal Gear Solid game finished development, I wanted to have [Meryl wear the sneaking suit] and did a drawing. It felt quite right, so I asked Mr. Mori about it. She’s armed with just a single Desert Eagle pistol, so she would need the infinite ammo bandanna to match Solid Snake... (laughs). Just kidding about that. I wanted Meryl to be depicted much closer to her namesake from Policenauts.

Speaking of weapons, there’s seems to be quite an elaboration on them in this Drama CD...

That’s right! Even the AKM assault rifles wielded by the bad guys was chosen by Mr. Mori. I’m pretty sure it was his choice. I always think of the visuals first in my case. We had a few meetings before producing the Drama CD and I was surprised when they brought in an AKM without any prior announcement, as it was very different from how I was imagining it. But it was fun to collect reference materials. I was grinning while drawing them.

#metal gear solid #hideo kojima #motosada mori #Yoji Shinkawa

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nixonsmoviereviews · 7 years

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"Alien: Covenant"- A beautiful failure.

(NOTE: As with many of my reviews here, this was taken from my IMDb profile, hence references to how it was my 500th review on that site.)

I was ready to write my 500th IMDb review on a special film that meant a lot to me in order to commemorate reaching such a number. And I was thinking about what I could possibly pick... perhaps my favorite television series? Or a game I highly admired? Perhaps a review of my favorite guilty-pleasure? Or find the movie I thought was the greatest ever made? It had to be something meaningful. And then I saw "Alien: Covenant", and I had my answer. My 500th IMDb review will be not for a great film, or one I admired. It will be in recognition of perhaps the single most disappointing cinematic experience I've ever had. Yes, Ridley Scott's return to the "Alien" saga began on a shaky note with 2012's mediocre "Prometheus"- a film that was stunning to behold but ultimately half-baked in the story department. But oh boy, does he outdo himself with "Alien: Covenant!" I wasn't expecting this. It's almost heartbreaking, because Scott gets the entire film so fundamentally wrong. It's to the point that "Covenant" reaches the brink of being near unwatchable at times. And beyond that... it's so thoroughly ludicrous, it almost retroactively makes the earlier installments less enjoyable merely by association. It's that bad. A vessel known as "The Covenant" is on a mission to the planet Origae-6, where a human colony will be established with a crew and passengers kept in deep hibernation, and the ship under he supervision of android Walter (Michael Fassbender). However, an unexpected neutrino blast cripples the ship and kills several crew and colonists. Awakened, the remaining crew are forced to make a hard choice when in the aftermath of the blast, a distress signal is found on a mysterious nearby planet. Descending to its surface to investigate, the crew shockingly find this previously unknown world to be a suitable analog for Earth thanks to a similar atmosphere... well, if it weren't for mysterious spores that impregnate several crew- members with proto-xenomorphs and the appearance of the android known as "David"- now the sole survivor of the "Prometheus" disaster! From there on, it's a race to survive a tangle of plot- lines as David's motivations are questioned, the crew attempts to defeat the new alien threat and the audience tries to care! In a lot of ways, the problems audiences had with "Prometheus" are back in this follow-up- from the smallest nit-picks to the grandest logical errors and examples of faulty writing. It's very much a film where you can count along with the glaring gaps in reason and execution with each passing minute. The only thing is these issues seem substantially exacerbated by a general apathy and sense of "going through the motions" on the part of the creative team. There's no heart here as there was with "Prometheus." Say what you will... it's clear that there was a drive and effort behind that film. And when the resulting reception ended up mixed, Ridley Scott went back to the well and simply tried to make a film that was cosmetically similar to his iconic original. And that's not spoiling anything- it's in the darned title! And we end up with a film that's merely a pale imitation of what came before, leaving it a wholly monotonous and dull experience. Yes, Scott's trademark visual direction is as gorgeous as ever... but it's to the service of nothing but copying and pasting, with less thought and an added sense of convolution as it must now bridge "Prometheus" and the original "Alien." Not that I lay the blame entirely at the feet of Scott, as there is also the poor writing courtesy a small army of screenwriters. There is a distinct lack of character establishment and development outside of Fassbender's admittedly delightful dual role. Not a single human character feels real or fleshed- out in the slightest, and the bulk of the cast come across like they're playing animated versions of the cardboard cut-outs for the film you see in your theater's lobby. Which is a shame, as there is some good talent involved, including the likes of Katherine Waterston, Billy Crudup and Danny McBride, who oddly enough gives the best performance of the film outside of Fassbender. The pacing of the writing is also suspect, especially in the opening act, which is both needlessly drawn out but also vapid because we're just seeing "stuff" happen with no characters to root for. The script never finds the balance between story and character... so we're left with nothing but tenuously connected plot-beats that transparently only exist to bring us from one sequence to the next, peppered in with the occasional awkward insertion of a reference to the previous films for contrived fan-service. It's hack writing 101. And to top it off... The film feels unnecessary. I hate to say that, because no film is technically necessary. But in the grand scheme of a franchise, there needs to be a purpose to exist or else it just feels like a cash-grab. And this feels like a cash- grab. By virtue of its own design (and again, this spoils nothing), you can't do much outside of complicate the backstory with twists and turns in a prequel such as this, which lends a strange level of unbelievability to the earlier installments. The original four-film series was haunting, and the aliens themselves were a menace that the characters happened upon. Now, with added layers of religious subtext (don't get me started on Crudup's cringe-worthy persecution complex the writers tossed into one scene), nonsensical insertion of numerous new locations that the aliens are infesting, and "Prometheus" suggesting that the xenomorphs are some weapon experiment... and I just don't buy it tying together. The one-two punch of "Prometheus" and "Alien: Covenant" cheapen the whole series. "Alien: Covenant" is a woefully misjudged and shockingly dull tale that takes the series to new lows. And for that, I give it an abysmal 2 out of 10.

#imdb #movie #film #review #alien #alien covenant #ridley scott #thriller #sci-fi

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aaronsniderus · 7 years

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10 Movie and TV Show Home Values in Real Life

Whether it’s Lorelei’s house in “Gilmore Girls” or the living room with the leg lamp in “A Christmas Story,” some of the locations in our favorite movies and TV shows are just iconic.

And then there are many homes and living spaces like those in “Friends” and “Home Alone” that seem just palatial. It makes sense to do this from a script writing point of view. It gives the writers, actors and directors the space to play out a grand vision onscreen. However, have you ever wondered what it would actually cost to live in some of those places in real life? We did.

Join us as we embark on a grand tour of homes from the big and small screen alike.

‘Home Alone’

Image: HookenOnHouses.net

There was plenty of room for Kevin McCallister to roam in the house featured in the 1990 holiday classic directed by John Hughes.

The house in suburban Chicago had five bedrooms and three and a half baths where Kevin could hide from the people trying to rob his house. It’s a really nice house as depicted in the movie. But how much would it cost in real life?

According to the “Home Alone” wiki, the movie novelization states Kevin’s father Peter is a successful businessman. If he had held onto the house, it would be worth $598,263 based on fair market value in that area for 4,243 square feet.

Home values often rise faster than the inflation rate, particularly in a seller’s market, but Zillow home value data only goes back so far. It’s not perfect, but in order to get an approximation of what the home would have been worth, I’m using the inflation rate.

The home would have been worth $324,316.97 when the movie was released in December 1990, assuming the only factor driving the price up was inflation. However, one way to really see your home value rise in a way a successful businessman like Peter McCallister would really appreciate is to have it featured in a blockbuster movie.

According to Zillow, the home in Winnetka, Illinois, is actually likely worth $2,079,433 today. There’s clearly some markup because the movie was shot there.

‘The Addams Family’

Image: 21ChesterPlace.com

They’re creepy, kooky, mysterious and spooky, and they happen to have a seriously cool mansion. That’s right – I’m talking about “The Addams Family.”

This house is a little bit awesome, because it definitely has a look that Morticia and Gomez would be proud of. The history of the exterior is well chronicled. The 21 Chester Place address that’s used to set the scene in the show is actually located in the West Adams District of Los Angeles.

This one poses an interesting challenge to try and find a value. Longtime fans of the show will notice there’s no third floor or tower. The show used a matte painting for the exterior for every episode after the pilot once they had their inspiration. In addition, the house was never sold. It was eventually donated to the Catholic Church, which eventually gave the land to Mount St. Mary’s University.

However, that doesn’t mean some enterprising people haven’t tried to do their own real estate evaluation. The Movoto Real Estate blog calculated that the third floor and tower would add 2,400 square feet, for a total of 14,400 square feet. Based on Los Angeles real estate prices, the current value would be $5,846,400. In 1964 dollars, that comes out to $736,665.49. That house is spooky expensive.

‘Friends’

Image: HookenOnHouses.net

On “Friends,” they conveniently avoid the problem of how much the characters’ apartment would cost by explaining that Monica inherited a rent-controlled apartment from her grandmother and never told the landlord that grandma died.

That has to be illegal, but it’s brilliant screenwriting because it gives them a lot of flexibility. Monica and Rachel were paying just $200 per month, which suddenly makes a two-bedroom apartment in the West Village district of New York seem a lot more reasonable on the salary of a coffee barista and a sparsely employed chef. How much would it really cost for Monica’s apartment?

A quick search of Trulia shows that you can expect to spend a minimum of $3,400 per month on an apartment in that area. And that price probably doesn’t include the gorgeous windows and balcony access.

Bottom line: If your job’s a joke and you’re broke, the only way you’ll afford a West Village apartment is with a little TV magic.

‘16 Candles’

Image: HookenOnHouses.net

The Chicago area appears to be a favorite setting for John Hughes. He moved there as a teenager. Before that, he’d grown up in the Detroit area (hence Cameron Frye’s Gordie Howe jersey in the next movie on the list).

Nice real estate near the big city is expensive. The house from “16 Candles” is no exception. When the house was listed for sale around June of last year, the owners wanted $1.5 million.

While it will cost you $141 per square foot to get a home in the area, there’s definitely a movie markup here. Based on square footage, the home should have cost around $435,500 today if the movie hadn’t been filmed there.

‘Ferris Bueller’s Day Off’

Image: DNAInfo.com

Cameron Frye had the coolest house in our final John Hughes movie of this list. It had a very distinctive modern look with floor-to-ceiling glass windows. It also didn’t hurt that there was a Ferrari to ogle at. But like a few other houses on this list, the story behind the real estate listing holds its own intrigue.

Although it looks very cool, the windows made the place harder to sell. It turns out that single-pane windows aren’t great from an insulation perspective, making it hard to keep the house a comfortable temperature. Also, it was strangely divided into two parcels of land.

This caused the listing price of the home to fall from $2.3 million when it was originally listed after the owners died in 2009 to $1.65 million in 2011, and it was in danger of being torn down.

It was finally sold in 2014 for just over $1 million. The owners are undertaking a major renovation.

‘Full House’

Image: Zillow.com

The home from “Full House” sold last year for $4 million. Well, not the home from the show. That was a soundstage. The home that serves as the backdrop in the exterior shots sold for an inflated price, even by San Francisco standards.

The house is 2,484 square feet. That gives the house a value of $1,381,104 based on the square footage. If anyone wants to give me the $2.6 million markup for being the Full House exterior, my response is going to be “You got it, dude!”

‘A Christmas Story’

Image: AChristmasStoryHouse.com

One of my mom’s absolute favorite movies during the holiday season is “A Christmas Story.” I couldn’t let this post pass without knowing what the house in that movie was worth. The really cool thing about this particular house is that you could legitimately buy the place without drawing a Hollywood paycheck.

The house where Ralphie listened to “Little Orphan Annie” and learned to always drink his Ovaltine is actually in Cleveland. A fan purchased it on eBay in 2005 for $150,000. It has since been turned into a shrine to the movie, complete with museum tours.

Super fans can even sleep where Ralphie and Randy did for as little as $395 per night. The upstairs floor has been converted. The price per night does vary with the seasons. If you want to stay Christmas Eve or Christmas Day, it’ll cost you $1,995 per night.

‘Clueless’

Image: ImNotAStalker.com

One thing I feel comfortable saying about Alicia Silverstone’s character in “Clueless” is that she probably had no idea how much it cost to live in that mansion.

The Encino, California, house had seven bedrooms and 10 bathrooms. Who knows why you’d need 10 bathrooms in a house with seven bedrooms, but why not? It’s 9,441 square feet on a two-acre lot.

Basing solely on square footage (not accounting for the amenities in the house), it’s worth $3,833,046 currently. In July 1995, that would have translated to nearly $2.4 million.

‘Batman’

Image: Thrillist.com

Batman is one of the cooler superheroes around. That’s a fact in my mind. The best thing about him is that his status is attainable. Sure, he’s a gazillionaire, but at least his abilities are based on skills and technical prowess rather than mystical or sci-fi powers. I had to check out what Wayne Manor would cost.

As it turns out, someone totally went ahead and did the math. The Movato blog puts the cost of the Caped Crusader’s digs at just north of $32 million. It’s not just the 42,500 square feet of space, either. We have to take into account the multilevel garage, ballroom, game room, library and laboratory. Of course, it includes the services of Alfred.

One of the things that was most interesting about this is actually putting a real-life location to Gotham City. They chose Chicago, although in the movies, New York and Pittsburgh have also been used, to name just a couple.

‘Gilmore Girls’

Image: Truila.com

Throughout the show’s seven seasons, the houses of the characters played a key role in setting the stage for the events that happened to Lorelai, Rory and the gang.

How much would it really cost to live in Stars Hollow? An enterprising writer from Trulia grabbed some coffee worthy of Luke’s Diner and set about finding out by comparing the homes in the show with those in the Connecticut town it’s based on.

Sookie had the most expensive home on the list, with her three-bedroom, two-bathroom house coming in at $685,000 when the Trulia article was written last year, and Lorelai and Rory’s house came in at $445,000. Real estate in the Northeast doesn’t come cheap.

Do you have a movie or TV show home you’d like to live in? Let us know in the comments. What did we leave off the list?

The post 10 Movie and TV Show Home Values in Real Life appeared first on ZING Blog by Quicken Loans.

from Updates About Loans https://www.quickenloans.com/blog/10-movie-tv-show-home-values-real-life

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mikebrackett · 7 years

Text

10 Movie and TV Show Home Values in Real Life

Whether it’s Lorelei’s house in “Gilmore Girls” or the living room with the leg lamp in “A Christmas Story,” some of the locations in our favorite movies and TV shows are just iconic.

Join us as we embark on a grand tour of homes from the big and small screen alike.

‘Home Alone’

Image: HookenOnHouses.net

There was plenty of room for Kevin McCallister to roam in the house featured in the 1990 holiday classic directed by John Hughes.

According to Zillow, the home in Winnetka, Illinois, is actually likely worth $2,079,433 today. There’s clearly some markup because the movie was shot there.

‘The Addams Family’

Image: 21ChesterPlace.com

They’re creepy, kooky, mysterious and spooky, and they happen to have a seriously cool mansion. That’s right – I’m talking about “The Addams Family.”

‘Friends’

Image: HookenOnHouses.net

Bottom line: If your job’s a joke and you’re broke, the only way you’ll afford a West Village apartment is with a little TV magic.

‘16 Candles’

Image: HookenOnHouses.net

Nice real estate near the big city is expensive. The house from “16 Candles” is no exception. When the house was listed for sale around June of last year, the owners wanted $1.5 million.

‘Ferris Bueller’s Day Off’

Image: DNAInfo.com

This caused the listing price of the home to fall from $2.3 million when it was originally listed after the owners died in 2009 to $1.65 million in 2011, and it was in danger of being torn down.

It was finally sold in 2014 for just over $1 million. The owners are undertaking a major renovation.

‘Full House’

Image: Zillow.com

‘A Christmas Story’

Image: AChristmasStoryHouse.com

‘Clueless’

Image: ImNotAStalker.com

One thing I feel comfortable saying about Alicia Silverstone’s character in “Clueless” is that she probably had no idea how much it cost to live in that mansion.

The Encino, California, house had seven bedrooms and 10 bathrooms. Who knows why you’d need 10 bathrooms in a house with seven bedrooms, but why not? It’s 9,441 square feet on a two-acre lot.

Basing solely on square footage (not accounting for the amenities in the house), it’s worth $3,833,046 currently. In July 1995, that would have translated to nearly $2.4 million.

‘Batman’

Image: Thrillist.com

‘Gilmore Girls’

Image: Truila.com

Throughout the show’s seven seasons, the houses of the characters played a key role in setting the stage for the events that happened to Lorelai, Rory and the gang.

Do you have a movie or TV show home you’d like to live in? Let us know in the comments. What did we leave off the list?

The post 10 Movie and TV Show Home Values in Real Life appeared first on ZING Blog by Quicken Loans.

from Updates About Loans https://www.quickenloans.com/blog/10-movie-tv-show-home-values-real-life

0 notes