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lover-of-mine · 5 months ago

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I love hearing/reading your thoughts on all things 911 and Buddie … soooooooo …

What are your thoughts on the episode titles so far?

I think 8x03 No Place Like Home could see Bobby back at the 118. That or they really do the someone bumps their head and we get an AU type universe. Like the coma dream, minus the coma haha.

Hello baby 🩷

Okay, so, buzzkill, obviously the bees they've been hitting and Gerrard killing the vibe. Since we know the perfume launch is the pool emergency, I'm thinking about the sol de janeiro drama with the body butter that attracted spiders (unclear if it actually attracted spiders but it does make it for a nice plot for a drama) I'm assuming the perfume will attract bees and create problems, and as someone who unfortunately keeps attracting bugs, my perfumes are all fruit based, it's an actual problem lol, I hope I'm not right about that one because I hate calls with bugs lol, and the bees of it all is just a misdirect, like the blimp in s6, and we're going to get another major plotline probably more personal, like the Athena one following the blimp (fingers crossed for queer Eddie, but I like the madney wedding reception theories people have going around, let the Han throw a party, and I have henren theories), and no place like home, it feels too obvious but all cliffhanger points involve someone coming home, Henren getting Mara back, Chris wanting to come back, and Bobby getting the 118 back, so I'm betting we're getting at least 2 out of the 3, I don't see Gerrard lasting past the opening arc, so Bobby coming back, Mara going home, and maybe Chris giving some indication he wants to come home (I've been living in a buddie land where Eddie is questioning his relationship with Buck throughout the opening arc, since Eddie's queer arc makes more sense being about Buck, where they're having a moment, and Chris calls and says he wants to come back and Eddie kind of freezes, but Buck is moving around getting his keys and rushing to get out and he reaches the door before he notices Eddie is still in the same spot staring at his phone and Buck just goes "are you coming with me to go get him or are you just to stay there?" kinda teasing and Eddie is just staring at him like he's seeing him clearly for the first time before following him and the episode ends and we get something like 704 for Eddie's queer realization just because the show likes to mirror the 2 of them during 804, also because Buck is the only one who doesn't have a clear hook set up from s7 outside the Eddie and Chris of it all, so putting him in the resolution makes sense).

I keep going back to the 119 as a call to a set not an alternative reality, but I can see it being the thing with episode 2, because I'm more intrigued about the way we got the titles for episodes 1 and 3, but not for episode 2 and I don't know if you saw the way I was talking about the way s7 is structurally s2, there's even direct parallels visually from the scene with Gerrard to the scene where Bobby comes back in s2, so I keep going back to an arc that's going to work like the tsunami but follow s5 blackout rules, since s7 also has a lot of triggers that are similar to s4. Both sink or swim and desperate times have a certain intensity that I can see them trying to recreate and an alternative reality/coma dream/hallucination could be a way to add some that in. BUT there's the kid going missing aspect, and the council woman plot makes me 👀 at Denny. Because he's the only one of the kids who didn't have a major "I'm in serious danger" plot yet, May tried to kill herself and she also has the mayday plot, Chris was in the tsunami, Harry was kidnapped and closed into a wall, and I'm ignoring Jee because they wouldn't do that to a toddler. While he had the Eva plot, we know Eva wouldn't actually hurt him and he was unharmed during the lab explosion and with his father, and considering the amount of trauma they keep dumping on Chris and everything about Harry, they're not above hurting the kids and this is a situation that could bring Denny into the middle of the mess and the Mara storyline has a lot of opening to put henren in a similar position Buck was during the tsunami and Athena was during the blackout.

So, so far I'm thinking: Eddie questioning his relationship with Buck leading to a feeling realization because I don't think they'll make Eddie gay, I think they're just gonna have him acknowledge he's in love with Buck, Bobby and Athena dealing with the house burning down and getting Bobby back to the 118, Henren trying to get Mara back and maybe something happening to Denny to further that, and parallel to that, the Mara plot triggering a Madney second kid plot. I'm also thinking maybe they can use madneys backyard in the same way they used to use the Grant Nash one and have madney throwing a party. Is it a wedding reception? Is it celebrate Bobby coming back? The adoption going through? Who knows. And getting a parallel to May's graduation party where Madney leaves because Maddie figures out she might be pregnant with Buck and Eddie leaving to go get Chris in a similar vision like the one described up there.

#i think this is the only think that feels coherent enough to share so far kapakapakpaak #911 #911 spoilers #911 speculation #i really need a tag for asks #daffi 💜

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kim-lexie · 5 years ago

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crash landing on you.

woah...if a drama ever could crash land, oh i mean ‘descend’ into my heart it was this one. it descended from the greatest drama writers and has been placed into my list of top dramas of all time. like i’m telling you it’s up there with ‘scarlet heart ryeo’, ‘something in the rain’ and ‘mr. sunshine’. seriously it will not disappoint you and i would give it 100 out of 10.

overview.

this drama follows se-ri, a ceo of an impressive cosmetic-lifestyle brand in seoul. she goes to test drive some of her paragliding products, and a nasty storms ends up sending her to north korea. after landing, she soon meets ri jung-hyuk, a captain in north korea monitoring the boarder. the drama follows him protecting her to deliver her home to south korea, and how their relationship flourishes in the diversity they face from two very different sides of the boarder.

there is romance, family drama, political issues, and cultural differences that are presented in this drama. and i was absolutely there for it all. i ended up writing down my thoughts and fave moments from each episode. because from the start i knew this drama would wreck my heart, and i wanted to look back at all the good times, and times i cried my eyes out of course. so i posted a week-by-week playback from the drama so if you want to see my random thoughts from each week here is the link week-by-week playback.

*spoiler alert* they are ahead, you have been warned.

i have many thoughts, and i am writing this the day i finished the drama. so i will do my best to touch on everything that really struck me throughout this drama. i may even have to go back and update later on, because it is a lot to process.

characters.

i appreciated that we followed so many characters and that the characters were dynamic and held their own for the plot and development of the story.

ri jeong-hyeok and yoon se-ri. their relationship developed so beautifully. i loved how he had a heart to protect her immediately. from their first meeting and him directing her how to leave the north, and her running towards it just showed their personalities perfectly. once he discovered that she was still there he was determined to get her out safely, and to protect her no matter the cost. when we come to find that they met long before, it just went to show how deep their connection and destiny was (cue me singing lyn’s ‘my destiny’ from my love from the star at least twice an episode). he saved her life many a times, as well as her saving his. they had so many moments. some of my faves (obvi not a comprehensive list all of their moments, that would be too much for my heart):

her falling from the tree saying he was totally her type.

how he kept trying to meet her needs even though it was ridiculous and not necessities for the north, but were needs for her as a lady from the south. from making her food, to getting her the candles and body products from the market.

when she was lost in the market and he got a scented candle to lift up to find her.

him keeping her photo even though he called her out saying that it was silly to get extras.

after ri jeong-hyeok got shot protecting her, and their first kiss moment at the hospital.

when ri jeong-hyeok’s family kidnaps her and they meet again at his family home.

when seri played on the piano and we discovered that it was jeong-hyeok’s song all along, the song for his brother that saved her life. when she contemplated suidcide in switzerland.

when his brother’s watch came full circle, to provide pertinent information in turning in the bad man and being the gift se-ri had bought to gift to jeong-hyeok.

when he followed her to the south to protect her, and they met on the street.

when he and the boys surprised her for her birthday.

him waiting for her after he was taken by the NIS and they allowed him to be at her bedside in the ICU until she woke up from the coma.

him leaving her a fully stocked fridge and writing out recipes for her. along with leaving her text messages for a year.

him leaving her a recording of him playing the piece on the piano for her to fall asleep, rather than her depending on sleeping medications.

them writing i love you with books on the shelf.

captain ri’s company. i throughly enjoyed the addition of getting to know all of his men. they all developed a friendship with se-ri and it was so precious. and how she gave them all rewards before she was meant to leave the first time, and gifted them things. i loved how they all came to love her and wanted to protect her, which is especially prominent in how they all surround her after she was shot by cheol-gang.

ju-meok and his love for south korean dramas throughout the episodes was precious. i loved that seri was able to make his dream and gift come true to meet his favorite actress. eun-dong a precious bean, just wanting to see his family, not always knowing what was going on, but always providing emotional support. kwang-beom the handsome face, who blew his cover in the south when all the agencies wanted to recruit him (hahaha). and of course chi-su the one most hesitant to accept her, came to love her most and became the most accustomed to the lifestyle of the south.

these men tended to provide the perfect comedic relief for many tense moments. their one liners were perfect. i appreciated them coming to the south and trying to get accustomed to blend in. all those scenes were hilarious from them in the stores walking around with their knock off brand names, hours in the internet cafes, sauna stays, and chicken dinners. some notable moments include the birthday celebration scene, when seri thought they had left and gone back to the north and starts weeping on the floor, just for them to come out for the ‘surprise’. and them saying wait ju-meok you said surprises were a good idea but she is crying. another moment being when ri jeong-hyeok was showing seri his scars saying hers won't be too bad, and them walking in thinking something scandalous was happening, (this even happened when captain ri was in the hospital in north korea hahaha).

jeong-hyeok’s family. the storyline behind his brother was kind of dropped, and it was kinda sad because i feel like it shaped jeong-hyeok immensely. but it was so sad that his brother passed in such a tragic way at the hands of cheol-gang. and that it brought jeong-hyeok back from his dream as a pianist to fulfill what he needed to for his family. his father was stern and hilarious in the scene when the two of them finally met again. just being baffled that his only son left was in love with a woman from the south. his mother was so supportive of him, and i loved that. she just wanted her only son to be happy in life and come back alive.

now seri’s family is whole other story they were WACK. like seriously insane and it was ridiculous. her father and mother redeemed themselves compared to the beginning, once seri returned they kept it in check and wanted the best for her. i loved how the mother and daughter relationship blossomed and how she was there for her daughter in recovery and grieving the loss of jeong-hyeok as he went back to the north. that was beautiful.

now on to her oppa se-hyeong and his witch of a wife sang-a. they wanted to keep her in the north, then when she was back to send her back/use it against her in business ventures, then tell cheol-gang her address so he could take her. like what?!?! her eldest brother and his wife were oblivious and just wanted money and titles, but dang at least they didnt send an ex NK officer after seri. and it was only until the man-bok wire tapped the room while she was in a coma did it come out that they were truly evil.

our second otp. seung-jung and seo dan. my goodness what an unexpected pairing, but you know i was on that ship as soon as i saw it developing. i loved how they dished what the other served, and how seung-jung was a different person who wanted to do better by her, seriously they were great. i loved that seo dan saw that she was worthy and deserved to have a man that wanted her and saw her true beauty and qualities that made her a strong and independent woman. and that she didnt need to pursue something that was not vibrant because jeong-hyeok did not pursue her how she deserved, because he had someone else in his heart. i loved this relationship. and i really did not appreciate that we finally had major character development from seung-jung, and then he died. like seriously?! we went from only a few episodes prior going to turn seri into her brother and keep her there in the north. and then he went to protect seo dan and ended up losing his life to protect her.

the moment he asked her what she was referring to when she said, ‘i like it’. was it jeong-hyeok, was it the ramen, or was it him (seung-jung)?!? and she responded with him, weeping. i weeped like a baby. and then he died in the ambulance. i couldn't contain it.

seo dan’s family. i loved her mother, she provided much comedic relief when it came to how seo dan and jeong-hyeok were originally engaged, to kinda getting on the ship of ‘alberto’, to being like maybe it’s fine if she is alone, let me get myself a man. it was hilarious. i also loved how she went into the village and used her money on the black market to get goods to the ladies of the village. it was quite funny to see how much of the south, she appreciated even though they were pretty high up in status in the north. like the boutiques she went to, and the english phrases, and south korean products she used.

the women of the village. these women were precious. they were hilarious in how they always prepared the best for jeong-hyeok when he came back from the outpost. i loved how the village banned together to protect seri and how seri made limited edition products in tribute to them.

the premise and themes.

overall the idea of this concept is wild and completely ridiculous. that she was hidden for so long, that they met before in switzerland of all places, and that it took her weeks to escape the north and it took 8 men 12 hours to get there is ridiculous. but then again if we didn’t have these wild storylines would it really be a drama?

it was interesting to see their perspective of life in the north, for the duration of the drama i was wondering how much of this is true. from the market to the wiretapping of the homes, to the guards and military structure. it was all very intriguing. and i also have issues with people saying this drama glorified north korea because i would like to see those receipts because i did not see it portrayed as a wonderful place to live. it looked difficult and cold, and terrifying!

the only thing that humanized it was the people, which is how it is in these situations. the people there, just typical everyday people, do not necessarily reflect the hierarchy of hate portrayed by officials of the government.

it was so sad at the place that seri was incredibly vulnerable and wanted to take her own life. she insanely depressed and how jeong-hyeok in that precise moment when he was sad and alone wrote a piece of music for his brother that brought her out of her own darkness was beautiful. even though they did not talk or communicate face to face, the heart behind his music brought her out. and they were eventually able to come full circle and meet and grow together. se-ri is an incredible strong character and i wish she had the support she needed from her family and friends. i am glad that jeong-hyeok was able to be there for her, and meet her in her most vulnerable moment on the bridge.

cinematography and episode layout.

i loved the filming of this. like seriously it was beautifully done. from the dynamic scenes in nature and traveling through the forests, to the cityscapes and small moments they highlighted.

i appreciated how we followed the cohesive storyline, but that at the end of each episode we got an extra tidbit to take with us. one of the most noteworthy ones being when the NIS was investigating the ‘spies’/captain ri’s men and looking at all their histories and transactions and places they visited (HILARIOUS). then at the end of that episode it flashed back to the NIS, and now they were looking into jeong-hyeok. and it showed the collective moments that him and se-ri shared and the investigator said that a psychologist viewed all the materials and found to conclude that jeong-hyeok was in love with se-ri. then the lead investigator was like, ‘no duh, you needed a psychologist to tell you that bro. i can see it with my own eyes’. i laughed so hard.

these end scenes at the end of the episodes were also pivotal in piecing together their histories. and seeing how they had met long ago and that destiny truly brought them together.

the ending.

i am partially satisfied with the ending. i like how we got to see where everyone went. like even the little things of how man-bok and his family ended up in pyeongyang. and that the village ladies were same old same old even with a new captain showing up.

i was disappointed that our second otp was ripped apart by those chinese gangsters, because we could have had it all, and not the tragic ending of him protecting her from the bad men and dying a slow painful death and they finally confessed their love for each other.

i loved that our couple found each other eventually, after years but that it was while she was paragliding, which i freaking called it being like wouldn't that bring us full circle! it was wild and i loved how it ended with them on a picnic enjoying life in a little house with all their photos, because that's how it all started. i wish we could have seen them in the future with their twins, but ya know i’ll take this ending over a scarlet heart ryeo for our main leads.

the ost.

my goodness i have never had a great drama with a subpar ost tracks. and this one does not fall short. now, i have drama ost playlists each each, and i believe every track from this drama made the list, because *insert slow clap* they are fantastic. my faves:

‘flower’ by yoonmirae.

‘here i am again’ by yerin baek.

‘all of my days’ by sejeong.

‘photo of my mind’ by song ga in.

‘let us go’ by crush. (his tracks always get me)

‘give you my heart’ by iu.

now if you haven't watched it yet go get netflix and watch this one because it will not disappoint. and i will have to rewatch it eventually because it really was perfect. and i am sure there are many easter eggs that i missed.

#crash landing on you #2020 #k drama #review #playback #ost #ri jong hyeok #hyun bin #yoon se ri #son ye jin #seo dan #seo ji hye #gu seung jung #kim jung hyun #cast #netflix #thank you netflix

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irishcoffeeslushie · 8 years ago

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Nobuta wo Produce review (excerpts) - II

Disclaimer: I didn’t write this, although I wish I had. Source.

The beauty of Nobuta wo Produce is that it doesn’t purport to be anything other than a high school drama, and that’s precisely what makes it so much more than just a high school drama. (Am I even getting my point across? Lol) What I’m trying to say is that the characters are every inch high school kids — no more, no less, neither dumbed down nor savvied up. But they speak from the heart because the writing keeps it all REAL and just lets the characters be themselves, be the thinking, feeling, self-aware teens that they are.

This drama explores the inner universe of adolescence, governed by its own whimsical vagaries and constant flux of emotions. And I love the judicious use of voice-overs as the main characters ponder such things as the future and the uncertainty of life. The dialogue is intelligent without being pseudo-intellectual, complex without being contrived (uh, Dawson’s Creek, anyone? man, talk about a series that tried too hard to be smart and deep and witty, but always felt like it was written by 40-year-olds *roll eyes*). The writing of NwP doesn’t try to be all these, it just IS. Just because the drama is about a bunch of high school kids doesn’t mean it has to be infantile and shallow, nor does it have to play at being implausibly grown-up.

The high school stereotypes are here in NwP, but with a distinctive Jdorama twist. True, the Class Clowns aka the Destiny Duo may not have the most gut-bustingly funny of spiels, but at least they never annoyed me, and always seemed to be having so much fun in their own little world — making funny puns, and punny fun. Beetlejuice Guy would be the closest thing to the resident Obsessive Basket Case, and adds a dash – just a dash! – of signature J-screwiness to the overall flavor of Class 2-B. Only Bando and the Bandettes are given the extreme treatment of all the 2-B students.

The grown-up characters are shown to NOT know all the answers to life, or possess the key to the Fount of Adult Wisdom. They’re mostly shown to be… big kids, really, just more beat-up around the edges and looking the worse for wear, maybe a little wiser and more jaded, and more accepting of the realities and disappointments of life. Hirayama the Tofu Guy (Takahashi Katsumi) provides a solid, comforting presence as Akira’s ever-obliging guardian — though not without his own share of regrets and hang-ups. Hirayama has an interesting dynamic not just with Akira, but with Akira’s volatile CEO father (Masu Takeshi). Both men take their stake in Akira’s upbringing quite seriously, but share an interesting “good cop, bad cop” approach to this responsibility. (LMAO @ the time both grown men bond while assembling the Nobuta keychains in Tofu Guy’s living room!)

I love how the Kiritani family feels like a real family — well, ¾ of a real family. And Nakajima Yuto as Shuji’s li’l bro Koji is the most perfect little boy you will ever lay eyes on… except that this was five years ago and he’s not so little anymore (heh heh). The scenes where the three Kiritani boys (small, medium and large) are just chillin’ at home — dad cooking dinner, Koji doing his homework, Shuji (with that topknot, lol!) patching up a torn sock — are always enjoyable to watch. Ditto the dynamic between Shuji and Koji — case in point: the moment the brothers share in the haunted house in Episode 3 is heartwarming without being hokey. It helps, of course, that Kame and Yuto (then a Johnny’s Jr. who also performed in the “Seishun Amigo” music video, poor kid, lol) share a wonderful on-screen chemistry.

The realism of Nobuta wo Produce doesn’t quite have the gritty, inner-city feel of, say, Dangerous Minds or Stand and Deliver, because there are offsetting moments of hyperreality (e.g. the horrific bullying, the vandalism/sabotage arc, the zany characters) as well as surrealism (e.g. the living spirits, the dream about Santa Claus, and the dream about Aoi) that all add flavor and character to the drama without overpowering its faithful depiction of Planet High School. This balancing act between hyperreal and surreal is a tricky line to tread: a production that exaggerates plot and characters will always feel facile despite any entertainment value (uh, Hana Kimi anyone?), while a drama that is too dependent on fantasy/dream elements can feel rarefied and thus run the risk of alienating the viewer.

The strength of NwP is that it doesn’t skew towards either extreme, but reaches a comfortable — yet dynamic — equilibrium, which is no small testament to the virtuosity of both writing and direction. The finished product retains its solid core of realistic narrative/character development and naturalistic technique, but is complemented by these pleasantly unexpected but contrasting touches of loopy Jdorama hyperbole and floaty phantasmagoria. This drama, ladies and gents, is pure magic realism at its working best.

… Such is the flipside of magic realism, this nebulous nexus of the strange, the dark, the frightening. The drama gives no explanation for the dream, and very wisely leaves it at that.

So, thanks to Nobuta wo Produce I will always, always, always hold Kame and Pi dear beyond words no matter what mess they’ve made — and continue to make — of their post-NwP career trajectories. Maki I remain fond of despite her lackluster performances in Hana Kimi and Kurosagi; I know I’ve been extra hard on her in my past reviews, but only because I think she’s capable of better things and hope a suitable film or TV project will eventually come her way. But my fondness for Maki is cosmically — cosmically I say!!! — eclipsed by all that I feel for Kamenashi of the pencil-thin brows, and Yamashita of the dead-fish stare. Now wait a minute, some of you might ask: How dare she even make that claim? Isn’t this E.G., who uses her blog to flay those boys alive as if there were no tomorrow? Isn’t she the harpy who likes to chain them to a rock and feast on their livers — again, and again, and again?

Er, yes on both counts. It’s haaard to explaiiiin, but the reason I rip these poor boys apart all the time is because I like to play with my food because they mean THIS MUCH to me. (Readers go, “Eeeehhh? Nandeee” *headscratch*) But see, such is the power of Shuji to Akira, that whatever Kame and Pi do in the years to come — whether as J-pop pinups warbling way off-key, or wannabe actors out to carve their own niche in the Leading Man Canon — I will be there to watch them, and love them in spite of it… maybe even because of it. Even if it makes my ears bleed, my eyeballs implode, and my spleen liquefy and dribble out the nearest body orifice (don’t ask which). I am their F-A-N, and their F-A-N for L-I-F-E — and all because of a pair of seventeen-year-old schoolboys who liked to bond over soy milk and take sunset bicycle rides together.

But I’m also the kind of fan who harbors no illusions about Kame and Pi’s dramatic abilities (for Pi, it’s the lack thereof haha); I’ve seen enough of their collective oeuvre (practically all of it, actually *blushes*) to know that Nobuta wo Produce is the best work they’ve ever done, or will ever get to do. (Like I said, that drama was puuure maaaagic!) Since NwP, each boy has made exactly ONE other drama I believe they can be proud of: Tatta Hitotsu no Koi for Kamenashi, and Proposal Daisakusen for Yamashita. (Never mind the rest; the rest are just the necessary evils you slog through to ultimately earn the title of “Kame/Pi Completist.” The reward? A 10-disc set of KAT-TUN+NEWS’ greatest hits. And a lifetime supply of cheap wine. *Kame fans remember Kami no Shizuku and promptly lapse into a coma* And one year’s subscription to AnAn. *Pi fans go: “YamaPi showah… chunyuu!”* Lulzzz)

Between the two, Kame is by far a more natural and versatile actor than his pink-loving seishun amigo; he does drama and comedy better than YummyPi my little Gummi Bear, who really can’t do much but… be himself. That’s why I’ve always thought that Yamashita Tomohisa’s best dramas — Lunch Queen, Stand UP!, and natch, NwP — worked so well because they just let him be his weird, spacey and endearing self — unlike the more recent ones which sucked the sweet, the warmth, the life out of the boy and left this… sleepwalking six-pack with deep-fried hair in his place.

And so, such has been my own “self-revelatory odyssey” that went from knowing nothing about these two boys a little over a year ago, to recoiling from the first photo of theirs (see above) that I came across (and it also made me go, “Egads, these kids look weeeiiirrrrd!” — sounds familiar? well hello-oo E.G.’s KimuTaku Space Odyssey, lol), to acquiring Nobuta wo Produce (I’d heard good things about this netizen hit, but left it on the back burner because of… said photo), to finally giving in and watching the damn drama. And just like my experience with Pride, the rest is history, my embarrassing (and at times, downright incomprehensible) Kame/Pi fangirly devotion lovingly smeared all over this blog. It’s too late to take it back, to act more dignified and unsullied by this dark, guilty pleasure of mine. But, hey — if Nobuta and Akira could live with their weird little selves, I suppose so can I.

And to end this review with the wise words of a Green Day song:

“Another turning point, a fork stuck in the road Time grabs you by the wrist, directs you where to go So make the best of this test, and don’t ask why It’s not a question, but a lesson learned in time It’s something unpredictable, but in the end it’s right. I hope you had the time of your life…”

To Shuji, Akira and Nobuta, I hope you had, and continue to have, the time of your life… because you sure as heck gave me mine.

#nobuta wo produce

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faithandfairies · 8 years ago

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(via https://www.youtube.com/watch?v=5nS3YhH7it8)

You know, this conversation with Snow reminds me of the one in 3x18. The one that led to Regina starting a relationship with Robin in the first place.

I knew the moment she kissed him in this episode that she realized she made a terrible mistake. That she wasn’t feeling it. She looked scared, all wide-eyed, but not in a good way.

I will say it again, I truly believe that in season 3 Regina realized that she had feelings for Emma. And having to be without Emma for a year, alongside being without Henry, I’m sure only drove it home.

Then Emma was the only person in the entirety of Storybrooke to believe in her (innocence) only to essentially take it back later.

She told Emma that it was obvious she and Hook were exchanging yearning looks and doey eyes.

(x)

Emma’s response was that she didn’t yearn. And Regina said that Hook sure did. Now I’m wondering if Regina wasn’t also projecting. She did say she and Hook were a lot alike.

What’s also interesting is that Regina starts “going after” Emma in 3x17. Right after the episode that involves her fight with Zelena. Her first confrontation in Storybrooke with Zelena. It’s interesting that Zelena is also the one who ends up throwing both a wrench in Emma and Hook’s not yet existing relationship and who ends up essentially ruining Regina and Robin’s.

Why?

Because Dorothy is actually a lesbian icon. Or at least, in one of the movies, the actress who plays her, Judy Garland, was known to be a lesbian and it was a big deal I believe. The story has also been used with lgbtq characters before. In the TV Show, Lost Girl, Bo, a bisexual succubus, goes through a traumatic experience and it basically attracts a bug which bites her and leaves her in a coma. If I’m not mistaken the thing that gets her out of the coma is a kiss with the bug disguised as her best friend, Kenzi. Her entire journey in the coma is about knowing herself, facing parts of herself, and eventually accepting the kiss and the truth of the trauma she endured. Bo and Kenzi never become and item though, although Bo does end up with a woman on the show. The show made it clear from the start that Kenzi was straight. Even so her and Bo’s relationship is the best thing on the show. She’s pretty much the only person Bo would move heaven and earth for, and does. Like Regina did for Emma, Bo basically goes to another realm to get Kenzi back. Which is unheard of in Bo’s world, given Bo is a succubus, supposedly above humans, and Kenzi is a human. But what made me bring up this episode is that Bo’s entire dream-comaworld after the bug bite is basically Oz, where she is Dorothy.

(x)

Bo Dennis

Bo and Kenzi (Using this as an opportunity to shamelessly promote this show because it’s awesome)

(x)

Oz was also used on Supernatural, where Charlie, a lesbian, and Dean and Sam’s honorary sister leaves for Oz with Dorothy. I think it’s also revealed that Dorothy herself is gay, only I’m not sure.

(x)

Charlie and Dorothy on Supernatural

Not to mention that on OAT Dorothy is with Ruby.

So that’s why I think it’s interesting that Zelena’s arrival marked an important time in Swan Queen’s development. That she threw a wrench in every relationship these two women had with men, I mean, Robin, Hook, hell, Walsh was one of her minions. And...that she’s still here.

But in 3x17 none of that matters. Hook lies and Regina notices it. And tries to show Emma. She hopes to catch Hook in his lie so that Emma can decide for herself before she starts anything with Hook, not to. Only Regina didn’t count on Ariel not being Ariel. But Zelena. Just as she didn’t count on Marian not being Marian, but Zelena. I swear Emma and Regina’s relationships parallel each other so much it’s not even funny.

The interesting thing with Regina trying to use Ariel’s whereabouts to catch Hook in a lie is that Ariel’s story is the definition of “The truth will set you free.”

It’s the episode where Ariel tries to tell Eric who she is, while being fully exposed as who she is, but she loses her voice. Because Regina takes it from her.

It’s where Regina tells Ariel that there’s nothing worse than not being able to tell the one you love how you feel. That it’s even worse than telling them and being rejected. I’d call it Regina’s truth in Ariel’s title episode. Something she tries to change in 3x17.

Ariel’s is also the episode where Emma essentially closes her romantic chapter with Neal, saying she’ll always love him but that it doesn’t mean she wants to be with him. Where that truth literally sets Neal free.

It’s also where Emma first kisses Hook. And when asked about why she kissed him and how it was she says “I don’t know. I was feeling good.”

It’s interesting then that they revisit this, Ariel’s story and the importance of the truth, in 3x17, where Regina is clearly trying to prove Hook is lying. The question is, to what end? It would certainly “set Emma free”. In the sense that that moment was a defining moment for her. It’s the moment she literally decides to see the best in Hook. Only it’s based on a lie. So without that foundation I doubt there would have been a Captain Swan.

Then I think in that same episode, 3x17, Emma and Regina’s “I can show you the world” moment happens. Now they have been paralleling Aladdin and Jasmine in earnest.

Not to mention that Regina fully accepts the invitation to be part of the family. While Hook refuses.

In the end, Regina’s plan to get Emma to see the truth fails.

But in 3x18 she seems to try again. There is this awkward exchange between Emma and Regina as Emma talks about getting ready to face Zelena. Coincidentally, that episode is also about the hurt the truth can cause. How the truth essentially destroyed Cora’s life. Even the secret that Snow told which destroyed Regina’s life sort of comes back up. The thing is that they made Cora out to be a victim, when it was her own doing. She lied and then when asked for the truth she lied again. Only for the truth to be outed by someone else.

Later Regina and Snow have a heart to heart, after Emma makes it clear she still sees Regina as the Evil Queen. The person who wouldn’t hesitate to hurt her family if the opportunity presented itself. Or who would at least feel no sympathy for her family if they were to get hurt at someone else’s hands.

Regina then goes after Robin. And starts their relationship with a kiss.

I genuinely think that at that point she was already in love with Emma. She just didn’t believe they stood a chance. And so she went after the sure thing, was okay with settling for the sure thing.

Now, I believe, things are different. I don’t think Regina wants to settle. I don’t think it’s just now and because it’s a different Robin that she feels nothing for him.

I think she realized in the season 4 finale, in the AU, that she didn’t want to be with Robin. She literally chose death over being with Robin in that AU.

She made it clear that her happy ending wasn’t a man. But then Emma tried to give her what she wished for, what Emma thought she wanted, her happy ending with Robin. Just like her other half tried to give Emma what Emma thought she wanted. What Emma wished for.

The thing is, the entirety of season 5 it was clear that Regina’s heart was no longer in her relationship with Robin. Even though she held onto it. I think she did it because she was trying to fulfill Emma’s wish that she be happy with Robin. Especially given what Emma gave up to make it happen. She wanted to believe.

And now Regina is trying to rekindle that “flame” with a Robin who doesn’t even remember her. Who isn’t even the Robin she remembers. So they don’t even have the little bit of history they had anymore. The love Robin had for her no longer exists, which I imagine makes pretending and holding on a hell of a lot harder.

And now she doesn’t owe it to Emma to stay with Robin. Emma is no longer the Dark One. And as I said, I think Regina is no longer willing to settle. Even though I think she wishes she did feel something for Robin. Enough to want to be with him, because I’m sure it would make her life a lot easier. Only she doesn’t and she can’t change how she feels.

I think she truly has moved on from Robin. I think she did so completely when she followed Emma to the wish realm. But at the same time she didn’t have closure. I think she loves Emma. The look on her face when Emma saved her doesn’t lie. It’s plain as day.

(x)

But maybe she felt guilty for how she feels. Given how miserable Robin was in the wish realm. And how Emma is building a future with Hook.

But now not even that’s enough to make her settle for Robin.

Another thing that stood out this episode is that when Regina originally met the real Robin, she opened up to him immediately. She chose to, I believe, because he was meant to be her soulmate. If she couldn’t trust him who could she trust? So she chose to trust him with her heart, her plan, her doubts and fears. That isn’t Regina. Regina is closed off. She doesn’t open up easily. Here we see that, directed at Robin, finally.

He asks her about her and Robin’s story. And she doesn’t offer him an explanation. While she does open up to him, it’s the bare minimum. He points to her hearts and she tells him what they are. But she doesn’t elaborate. This is Regina. She doesn’t open up easily and if you want to know you have to work for it. Like her family did. She has no trouble opening up to Snow or Emma. Or at least, she may, but she feels safe enough to do it anyway. But we’re finally seeing how Regina, without the Queen’s hostility, reacts to someone who is a total stranger to her. Even one who seems to want to know her.

And truth be told, she doesn’t seem to want to know him. He tries to kill someone and she doesn’t even ask him why. Just makes him promise not to do it again.

All of this tells me Regina knows, knew before she kissed him, that he isn’t what she truly wants. The kiss just confirmed it.

#ouat #swan queen

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The Weekend Warrior 6/4/2021 - THE CONJURING: THE DEVIL MADE ME DO IT, SPIRIT UNTAMED, CHANGING THE GAME, ALL LIGHT EVERYWHERE, GULLY and More

So yeah, I can happily say that the Weekend Warrior is back to where it began and where I like it to be, which is primarily a weekend preview about box office. I’ll still do a number of reviews each week, but that was never the plan when I started this column… are you sitting down? Nearly twenty years ago, this coming October, in fact.

Anyway, this past weekend, the extended Memorial Day one, ended up being quite a boon for the box office, which had been struggling ever since theaters slowly reopened last Fall, joined by New York City and Los Angeles this past March.There had been a couple strong weekends, but it took the might of the sequel, A Quiet Place II, and Disney’s prequel, Cruella, to really kick things into overdrive and mark the start of a real summer movie season where we finally had a box office where the top 10 grossed more than $100 million for the first time since March 2020.

With that in mind, we come into June with two new wide releases, both of them franchises, but one of them a much bigger and more lasting one. THE CONJURING: THE DEVIL MADE ME DO IT (New Line) is the third movie following the case files of supernatural investigators Ed and Larraine Warren, as played by Patrick Wilson and Vera Farmiga. The first two movies were directed by James Wan before the series branched off into a number of spin-offs, including three movies about the haunted doll, Annabelle. This is the first movie with “The Conjuring” in the title in five years after The Conjuring 2 also opened with over $40 million and grossed $100 million total domestic.

The third movie in the initial franchise branch follows another case of Ed and Larraine Warren, this one involving a young man in Brookfield, CT named Arne Johnson (Ruairi O'Connor) who becomes possessed by a demonic presence while helping the Warrens with an exorcism on the 8-year-old brother of his girlfriend. When he brutally murders a friend, he’s sentenced to the death penalty, and the Warrens need to find out how he got possessed and prove this to the court to spare his life.

This one is directed by Michael Chaves, who also directed The Curse of La Llorona (which was sort of tangentially connected to the series), and I’ll write more about the movie in my review below, but if you like exorcism movies and the Conjuring movies, then this is a good one.

There are a couple things in play with the latest “Conjuring” movie, the first one being the fact that it’s opening on the second weekend of the super-strong A Quiet Place Part II. While John Krasinski’s horror sequel should continue to do strong business with probably $25 million or more, the question is whether strong word-of-mouth might take away from potential business for the new “Conjuring” movie. At this time, it’s hard to imagine there isn’t enough theaters and screens to handle two big horror sequels, although people who finally got out of their house to see A Quiet Place Part II might feel more comfortable about returning to theaters, and a “Conjuring” sequel is a good follow-up.

On the other hand, the “Conjuring” is a franchise that has started to peter out with only 2018’s The Nun, which tied directly into the events from The Conjuring 2, actually opening even better than the original two movies with $53.8 million. It was followed by the less-connected The Curse of Llarona and Annabelle Comes Home, both which grossed less than $100 million domestic. And those were both in the “before times.” Although A Quiet Place Part II should still be going strong, it’s likely to drop from the people rushing out to see it last weekend. Another problem this Conjuring faces is that it is available to watch on HBO Max, which to many, could be the way to see it, essentially cutting into its opening weekend potential.

I think The Conjuring: The Devil Made Me Do It should be able to capitalize on the return of theaters and the popularity of other movies about demonic possession in general to make just a little over $26 million this weekend, although it’s likely to be a very close race for the top spot at the box office against A Quiet Place’s second weekend, depending on how far it falls.

Mini-Review: I have to admit something before getting into this review. I actually lived not too far from where the original true story on which this movie was based took place when I was 16. Being quite an impressionable teen at the time, I was fairly familiar with the actual case. Because of that, this Conjuring probably connected with me in more ways than the others, but also, I think that having had experience directing the first two movies allowed James Wan to step back and just act as producer (and co-plotter) in order for Chaves to really shine as a director.

The movie starts with the Warrens in the midst of an exorcism for 8-year-old David Glatzel (Jullian Hillard), who has been possessed and is violently tearing up the house before Ed and Larraine do their thing. David’s older sister Debbie (Sarah Catherine Hook) is dating Arne, who bravely calls for the demon to take him instead. In the midst of being attacked by the possessed David, Ed has a heart attack that puts him in a coma, so he’s the only one who realizes that Arne has been possessed. Days later, Arne repeatedly stabs and kills a friend of his.

I don’t want to go too much further into where the movie goes from there, other than it’s almost like a procedural mystery movie where the Warrens end up investigating another case of a missing girl that might tie into what’s happening with Arne. The film cuts between Arne in prison and the Warrens trying to solve that other mystery.

Wilson and Farmiga are great as always but they really up the game of everyone around them including 8-year-old Hilliard, who is already a genre superstar, but really creates a lot of the terror in the opening sequence, which ties closer into the overall story than other prologues in the previous movies. I especially liked how the Warrens are clearly older now and much more vulnerable to the demons they’re trying to beat. Farmiga even gives Larraine an older woman’s hairstyle, more akin to a woman of her age in the ‘80s.

But the real selling point for this new “Conjuring” movie is that it once again uses everything possible to create some insanely great scares, and not just the hokey jump scares we see in far too many horror films. As with Wan on the first two movies, director Chaves and his team brilliantly use sound and lighting to create the eeriest situations for the Warrens to enter, and boy, is it effective at making you wonder when the next scare is coming.

As much as I enjoyed the first two “Conjuring” movies and appreciated them for the amazing work Wan and his team did in creating scares, The Conjuring: The Devil Made Me Do It offers new layers and levels to what Ed and Larraine do, including a particularly apropos nemesis that makes me that there might be a lot more cases to be explored in such a manner.

Rating: 8.5/10

The animated SPIRIT UNTAMED (DreamWorks/Universal) is more of an anomaly, because it’s a new movie in a series that began with the early DreamWorks Animation movie, Spirit: Stallion of the Cimarron from way back in 2002 (back in my first year doing this column!). It opened over Memorial Day weekend against the second weekend of Star Wars Episode II and the fourth weekend of Sam Raimi’s original Spider-Man, and yeah, it got demolished. The movie opened with $17 million, which isn’t really bad for 2002, but it also went on to gross $73 million domestic, which is great. In 2017, DreamWorks Animation brought the animated horse back for the Netflix animated series, Spirit Riding Free, and obviously, that did well enough that they wanted to return Spirit to theaters.

I’m not going to review Spirit Untamed, because honestly, it’s not really my kind of movie, but I did enjoy it, and I think a lot of younger girls who dream of having their own ponies will love it as well. It’s just a very well crafted film, directed by Elaine Bogan that goes into a lot of nice places while staying away from some of the typical animated movie tropes -- i.e pratfalls and body humor for the youngest of kids. It’s just a sweet and exciting young person’s adventure that I would recommend to parents for sure.

This is an extremely hard movie to gauge in terms of the interest that might bring families out to theaters. Presumably, the Netflix series is popular enough, but people are learning that movies like this will eventually be on VOD and streaming. In fact, DreamWorks Animation’s NEXT movie, a sequel to the hit The Boss Baby will be both in theaters AND on Comcast streamer Peacock at the same time. Spirit Untamed will probably be available on VOD in 18 days as is the case with most Universal films post-pandemic.

I’m not sure how many theaters this will get (maybe 2,000?), so I think Spirit Untamed might still be able to pull in $4 million this weekend, but maybe it’ll surprise me and do better. Even though little girls still love horses, I’m not sure it’s enough for their parents to buy tickets rather than wait until this is on streaming.

Oh, you know what? It’s a new month, and that means that I might as well bring back a section that has lapsed in the past year …

REPERTORY!

Yes, a lot more movie theaters in New York and L.A. have now reopened, so I’ll see if I can fit in some repertory offerings in the column each week.

Exciting news at my own local theater, the Metrograph, as they’ve just announced a Metrograph TV APP, available on Fire TV, Apple TV and others. This means that you can now become a Digital member ($5/month; $50/year) and you can digitally stream Metrograph programming directly to your TV set. (Me, I’ve been using mirroring from my computer for the past year.) If you’re a member you can watch Lisa Rovner’s fantastic doc, Sisters with Transistors, which I wrote about before. If you get on board now, you’ll be able to watch the Metrograph’s upcoming “Whole Lotta Herzog” series, which features two months of the German filmmaker’s work including some quite obscure little-seen offerings as well as a number of true classics like Aguirre, the Wrath of God and Nosferatu The Vampyr . If you’ve missed some of Herzog’s great work, now’s a great time to be a Metrograph member. Oh, yeah, and the theater will be reopening its theaters to in-person audiences in September!

Uptown at Film at Lincoln Center, they’re finishing off “Open Roads: New Italian Cinema 2021” and showing JIa Zhangke’s latest film, Swimming Out Til The Sea Turns Blue, in its theater. Okay, fine, neither is repertory but we’re glad to have FilmLinc back!

Back downtown, Film Forum is showing Jacque Deray’s 1969 thriller La Piscine, starring Alain Delon & Romy Schneider, and Fellini’s 8 ½ only in its theaters, and similarly cool stuff streaming, so yeah, nice to have them back as well. Also, a new 4k restoration of The Ladykillers, starring Alec Guinness will open at Film Forum this Friday.

A few blocks away, the IFC Center continues to show George Romero’s long-lost 1973 film, The Amusement Park, which is also available this week on Shudder.

Okay, I think that’s enough repertory. Let’s get back to the new movies.

This week’s “Chosen One” is Michael Barnett’s documentary CHANGING THE GAME, which is now playing on Hulu, a full two years after it premiered at the Tribeca Film Festival in 2019. This is an amazing and quite timely film about a trio of teen student athletes. First up is Mack Beggs, a 17-year-old transgender boy from Dallas, who by Texas rules or law has to compete in the girls’ wrestling division, because he was born female. Part of his transition involves taking steroids, so he quickly becomes the state champion, beating all the teen girls he takes on, although he’d much rather be wrestling boys, because he is a boy. Living in Connecticut, transgender runner Andraya Yearwood is allowed to compete against other girls, but even that is deemed unfair (mostly by the parents of other girls) since Andraya is much bigger and stronger than her competition. Lastly, there’s transgender skier Sarah Rose Huckman whose state of New Hampshire requires student athletes to get gender confirmation surgery in order to compete in the class of her choosing. The catch is that one has to be 18 to get said surgery.

These are three really interesting entries into the ongoing debate about whether transgender youth should be allowed to play sports. Beggs is a particularly interesting case because he WANTS to wrestle against boys but isn’t allowed to. Sarah Huckman doesn’t have quite the challenge of Andraya, because she is diminutive and better at passing as female. She’s also pretty amazing as an activist, fighting against the discriminatory laws of her state, in such a way that she really creates some inspirational moments even if Beggs gets a lot of the attention in Barnett’s film.

But the way Barnett tells these three stories is what makes it such an important one about a very complex issue, including interviews with the three kids’ parents and immediate families, all of whom are quite supportive even as their kids garner ridiculous amounts of hate from other parents.

This is the thing. Transgender boys and girls should have equal rights with their peers, and that includes playing sports. They’re already forced to go through a lot due to their gender dysphoria, so to have to, on top of that, deal with scorn and derision from jealous over-competitive parents whose own kids aren’t able to achieve the same level of competition, I mean it’s just bullshit. This movie really hit me hard in the gut, because I have close friends who have transitioned who are constantly dealing with hatred and scorn and to have politicians in states like Texas and Florida and other places making their situation worse, it just kills me. THESE ARE KIDS, FOR FUCK'S SAKE!

I’m quite shocked that it took so long for someone to release Barnett’s film, but this also couldn’t be better timing to add to a conversation where there’s just too many people in this country who do not or will not try to understand what trans kids are contending with on a daily basis. Changing the Game is the perfect conversation starter, and a great way for people unable (or unwilling) to understand the trans struggle to see it from a fresh, new perspective.

One of the fairly high profile docs out of this year's Sundance Film Festival was Theo Anthony’s ALL LIGHT, EVERYWHERE (Super, LTD), a really intriguing movie that seems like science fiction at first but actually is an in-depth look into surveillance cameras, taking a particularly detailed look at the Axon body camera system used by many police, cameras triggered by the use of officer’s weapons.

It takes a little time to understand what Anthony is trying to achieve with what is essentially a thesis paper done via cinema verité-style documentary (not my favorite), but it pulls you in with its look at the history of surveillance and footage that might seem disparate at first but comes together as the movie comes along.

I found this to be a particularly compelling film, especially with the music, which is a bit of a musical cacophony, though it seems to work with the robotic female voice-over that tells us what we’re watching. (Something that tends to lack in most cinema verité films.) As you can tell from the image above, the film is fairly avant garde with a lot of gorgeous images that might not necessarily fit in with the subject, but it does add to the overall narrative about surveillance and vision. I thought it was funny that my first reaction to this was similar to my reaction to last year's Oscar-nominated Time, because I went into both movies not realizing they were documentaries.

Ultimately, the film does become kind of scary because we have heard so much about the importance of body cams on police, but Anthony’s film shows how unreliable that footage is as evidence in a case. While All Light, Everywhere is a very different movie from what I was expecting, it shines a focused light (sorry for the pun) on a piece of technology that we’ve become so reliant on to achieve justice but is still clearly quite flawed.

A couple other docs that I wasn’t able to find the time to watch, both involving sports, are Graham Shelby’s CITY OF ALI (Abramorama) and Chase Ogden’s SUPER FRENCHIE (Greenwich). The first one is pretty obviously about boxing great Muhammad Ali, but it deals specifically with the week after his death when the people of his Kentucky hometown and the rest of the world came together to celebrate the greatest boxer of all time. Super Frenchie is about professional skier and base jumper Matthias Giraud, who takes on bigger challengers and more dangerous stunts just as he is about to start a family. These both sound great, and I’ll do my best to watch and write about them once I do.

Actually, I watched Super Frenchie just as I was finishing up this column, and it’s pretty great if you love amazing footage of fantastic skiing stunts. I’ve seen quite a few great docs in this vein -- Free Solo comes to mind -- and I generally liked this one, too, especially since it covers quite a long span in Giraud's life and gets into him becoming a father. I actually would have loved to see this in a movie theater, but you can, since it’s opening in theaters Friday as well as Virtual Cinema and TVOD, so lots of opportunities to watch it.

Next up is Nabil Elderkin’s GULLY (Paramount Home Entertainment), which hits theaters on Friday but then will be on Digital and VOD on Tuesday, June 8. This one also premiered at the Tribeca Film Festival in 2019, oddly enough, and it ALSO follows a trio of teenagers, but this is a narrative film, not a doc, but it very well could be a doc with the honesty it handles its subjecet.

It follows three young L.A. friends -- Kelvin Harrison’s mute Jesse, Jacob Latimore’s Calvin and Charlie Plummer’s Nicky -- kids who are constantly getting into serious trouble and in danger of ending up in the system. As we watch them committing crime and complete chaos, it’s counterbalanced by Jonathan Majors’ Greg, a longtime friend of the boys’ families, who himself is being released from jail and trying to stay out of the life that put him there. There’s also Terrence Howard as an enigmatic street poet, who doesn’t seem to serve much purpose until the end, while Amber Heard plays Nicky’s mother, who seems to be a stripper or prostitute of some kind, I couldn’t really figure it out.

I can definitely tell why critics might not like Elderkin’s work, because he comes from the world of music video and has a kinetic style of filmmaking that keeps things moving, which might not be the case in normal indie dramas, which might involve a lot of dialogue vs. just showing these three kids and their lives. These are all kids that have been damaged by familial relationships and society as a whole, who have pretty much been left to fend for themselves. The thing is, and this might be another issue that other critics had with the film, is that Calvin and Nicky are especially unlikable due to the violent crimes they get up to, and at one point, the movie reminded me a bit of a modern-day real world A Clockwork Orange. By the way, Kubrick’s A Clockwork Orange is one of my top 5 favorite movies of all time.

What Elderkin has going for him is this amazing cat. This is earlier work by Harrison, an actor who is quickly becoming the dramatic actor to keep an eye on, and the same can be said for Jonathan Major. I’ve long been a fan of Plummer and this is a very different role from the nice guys he’s played in the past. Latimore also gives a really exciting performance, as well, and the only one who disappointed me a little was Heard, who at times gets a bit out of control with her performance.

Gully is a tough and challenging film, but it’s one with such a strong message delivered so well by Elderkin and his cast, that it bums me a little this might not be seen by a very big audience, competing with so much other content right now. Maybe it’s not quite as strong narratively as other films of its ilk -- Monsters and Men comes to mind as an improved version of this -- but it’s a compelling character study that ultimately delivers what’s intended.

Hitting Shudder on Thursday is Damien McCarthy’s Irish horror film CAVEAT (Shudder), starring Jonathan French as Isaac, a drifter who is hired to look after a psychologically troubled woman whose husband committed suicide in an abandoned house on an island. Once he gets there, he learns that he’s forced to wear a chain securely fastened to the basement floor to prevent him from going into certain rooms, but he soon finds out that there’s a lot more to that one simple “caveat.”

I’m always excited for a new weekly Shudder movie, and this one looks quite fantastic with a tone that makes it feel sort of period while in fact being quite modern. The way the premise is set-up is certainly quite compelling, and I wanted to see where things go, especially after the opening where we see a sullen woman walking through the house with a toy rabbit that bangs on its drum mysteriously. For some reason, I assumed that this movie would involve ghosts or spirits or something similarly scary, but no, it’s just a guy chained to the basement trying to solve some mystery of the house’s dead inhabitants. This ended up being quite disappointing even though it started from such a good premise, but it’s one that never goes quite far enough in terms of scares.

Jonathan Rhys-Meyers and Dominic Cooper star in Michael Haussman’s EDGE OF THE WORLD (Samuel Goldwyn Films), a period drama set in 1839 with Rhys-Meyers playing Sir James Brooke, whose adventures in 19th century Borneo were the inspiration for films Lord Jim and The Man Who Would Be King. When Brooke’s ship is attacked by pirates, he teams with local princes to seize a rebel fort, agreeing to be crowned Rajah, as he joins his new allies.

I’m not going to review Haussman’s film at this time, because I wasn’t able to give it the full attention that it deserves, but it’s a pretty gripping film on par with James Gray’s The Lost City of Z and other films about explorers. It’s a beautiful film with some great action and an amazing score, and honestly, I wish I had more time to give it the attention it deserves, but that’s what happens when you’re trying to run a site full-time and continue to write reviews for this column. Some things just slip past me or don’t get the time they deserve.

It will be available on Digital and On Demand starting Friday, but honestly? This would be a great visual movie to see in theaters.

Other movies (and new series) out this week, include:

UNDER THE STADIUM LIGHTS (Saban Films/Paramount) FLASHBACK (EONE) BAD TALES (Strand Releasing) MONUMENT UPHEAVAL (Abramorama) SWEET TOOTH (Netflix)

That’s it for this week. Next week… In the Heights and Peter Rabbit 2: The Runaway!

#The Weekend Warrior #The Conjuring: The Devil Made Me Do It #Spirit Untamed #Movies #Reviews #Changing the Game #Gully #All Light Everywhere #Streaming

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