#no it's not. 'the cg is worse than in the 90s' no it's not

[leatherbookmark]

i simply Do Not Think exaggeration to the point of lying for the sake of Haha Funny is. well. funny

[betaboks]

Hello Sanji

I did that thing I always do when I gain a new hyperfixation, which is to say draw them as Hello Charlotte characters. I had a wonderful time with it

extra doodles n reasonings for character assigning under the cut

Assignment reasonings 🎉 Scarlett/Ichiji: Both are redheads and also the “oldest” sibling in terms of position, though not exactly literally. They’re the ideal of what a perfect child is for their respective families and this is consistently shoved in the face of and used to torment the younger, vastly more “inferior” sibling. Q84/Niji: 90% it’s a vibes thing but he also kinda fits in tandem with Sanji as Charlotte. Q84 is the second Charlotte you meet. You expect her to be similar to the gentle Charlotte you knew before, but quickly find out she is a bully, violent, childish, petty, and willing to sacrifice people to the social machine at her own convenience. There is a lot of underlying hurt there that Niji certainly doesn’t have, but I think he’d fit well there. Florence/Yonji: They’re both kinda silly but it was mostly the limbs thing. Florence was kept in a lab and had her limbs chopped off to test prosthetics and I like the popular theory that Yonji’s arms are also prosthetics. I can also totally see Yonji eating soap. V19/Reiju: v19 is the exploited Charlotte, and the one with very little autonomy over her own actions and herself up until the whole oracle business, I thought so pairing her with Reiju, who also has very little autonomy and is exploited by her family, as fitting. Charlotte/Sanji: They’re both the “original”, not necessarily the first to be there, but the first you’re introduced to, and certainly the kindest out of all of them despite the hardships they suffer.

Little chart for taking the violences between characters as 100% the way they are in HC, which is really funny to me. I forgot when I originally made this thing but actually v19 murdered absolutely everyone on her floor EXCEPT Scarlett so it’s actually worse than the chart suggests.

And a bonus cg redraw.

I kinda hate it the more I look at it but c’est la vie

[animebw]

Short Reflection: Trigun Stampede

Serious question: do I dislike Trigun Stampede on its own merits, or do I just dislike it for not being Trigun?

It’s a question I’ve been struggling with all throughout the past few months, watching studio Orange’s modern revamp of this 90s classic. I only watched Trigun a few years ago, so I’m far from a nostalgia-blinded fanboy griping about a show not living up to his childhood memories. On the other hand, I am a huge fan of Trigun. Its unique blend of Sat AM cartoon goofiness and hard-hitting sci-fi morality play resulted in a wonderful space western extravaganza that still holds a special place in my heart. I’d argue it’s even better then Cowboy Bebop, but that’s a discussion for another day. So its possible my lukewarm feelings on Trigun Stampede are because it’s so deliberately different from the version of the show I fell in love with. And that wouldn’t be fair to it; stories get re-imagined all the time, and Stampede doesn’t deserve to be unfairly criticized just because it’s not my preferred take on the material. But still... man, this show just did not click with me. Maybe I wouldn’t be as grumpy about Stampede if I wasn’t comparing it to OG Trigun every second, but even if I went into it blind, part of me feels I’d still come away thinking it was mediocre. So let’s untangle that big ball of conflicting feelings and see if we can figure out what's going on, and whether or not this show is actually as Not Good as I think it is.

The broad strokes, at least, remain the same. It’s space, it’s a western. and Vash the Humanoid Typoon is the most wanted man in the galaxy. But when the intrepid Meryl Strife finally tracks the legendary criminal down, it turns out he’s just a lovable goofball, and the crimes attached to his name are the result of bad dudes leaving carnage in the wake of their attempts to catch him. And said bad dudes are being led by Vash’s sinister, mysterious brother Knives, who is determined to prove Vash’s pacifistic, cohabitational philosophy wrong whatever it takes. But inside those broad strokes, Trigun Stampede is steadfastly carving its own course through the series’ mythos. Characters are changed around, plot points are retooled, most of the designs are tweaked in some way, even certain character movitations and foundational lore details are altered. And, of course, instead of the nostalgic crunchiness of pre-digital cel animation, this show is brought to life with the most bombastic, slickly produced CG animation money can buy. The Stampede team wanted to create something entirely new out of this franchise, and whatever else might be said about this show, they clearly succeeded in that goal.

But of course, it’s a bad idea to change things around just to change things around. There’s gotta be a point. And unfortunately, my ultimate feeling on Stampede is that basically every change it makes is a change for the worse.

To start with the most obvious: yes, Milly Thompson’s absence is sorely felt. The goofy banter between her and Meryl was one of the most endearing parts of Trigun, and losing that chemistry is a serious detriment to the show’s charm. It doesn’t help that the guy they replaced her with, the amusingly named Roberto de Niro, is about as generic a grizzled older authority figure archetype as I’ve ever seen, and while his banter with Meryl isn’t awful, it’s definitely a huge step down. On the bright side, this season does end with confirmation that Milly’s gonna show up in season 2, so better late than never, I suppose. In a strange way, you could almost consider Stampede a re-imagined prequel that shifts around the timeline to have Meryl and Vash meet and have their first adventure before settling into their eventual status quo from the original story. And I may end up feeling kinder toward the show if season 2 is better able to capture that Trigun charm. But for now, we’ll have to wait and see on that front.

Circling back to old Roberto, though, his inclusion is actually part of a much more serious issue than simply replacing a beloved character. Part of what made Milly and Meryl’s dynamic so entertaining is how fresh it felt. They were two put-upon insurance agents grinding through low-level grunt work, facing the mundane stupidity of the world as equals. Even as they get embroiled in Vash’s increasingly cosmic affairs, they never lose that sense of down-to-earth naturalism. You don’t see that kind of energy too often, especially with a pair of female characters. Meryl and Milly were women in charge of their own destiny with their own parts to play. But with the addition of Roberto and Meryl’s job changed from insurance agent to Roberto’s junior reporter colleague, that refreshingly forward-thinking dynamic becomes just another example of the tired “experienced, world-weary dude and his naive female subordinate who still has her moral compass intact.” I have seen this dynamic everywhere; it’s in at least two other shows this season! Why mess with one of Trigun’s most entertaining dynamics if you’re just gonna replace it with what everyone else is doing?

And sadly, that’s a bit of a theme all throughout Stampede. Almost every change or addition it makes to the story and mythos results in something far less interesting and original than what it took away. Vash’s backstory, the motivation for his pacifism, Knives’ plan... so many of the specific details that make Trigun, Trigun have been watered down and made more generic than they were ever supposed to be. And because of how cramped the pacing is, the delicate tonal balance is lost as well. The original Trigun was so good at balancing the goofy, Bebopian space western antics of Vash and his pals with the heavy, dramatic space opera stuff that eventually took over the story. It gave you enough time to soak in the grit and tactility of the slummy desert planets so it felt significant when Knives and his machinations dragged Vash into darker territory. But in Stampede, Knives shows up in episode three. We only get two episodes to appreciate Trigun at its cartoony best before it’s washed away in a tidal wave of bombastic melodrama. As such, Vash, Meryl, Wolfwood and Roberto never get a chance to develop the camaraderie the old versions of them did. They’re pushed into Serious Dramatic mode before you even get a chance to appreciate them at their most human. There’s a moment in the first episode where Vash is cackling like an idiot while hanging upside-down from a scavenger’s trap, and it has more of the original’s heart and soul than anything past episode 2. That’s the Trigun I wanted to see. Not this overly dramatic slog through overblown action setpieces and overthought lore that rushes through plot points too fast for them to sink in.

On the bright side, I can at least appreciate how fantastic those setpieces look. Studio Orange has always been pushing the boundaries on what CG anime is capable of, but their work on Stampede really is incredible. The scale and complexity of this action would not be possible without the tools CG makes available, and they take full advantage of that fact. Dizzying camera tricks, dynamic use of environment, countless spectacular spins and flourishes as things grow increasingly superhuman... on a pure spectacle level, I doubt few shows will even come close throughout the year. And even outside the action, the character animation and cinematic visual language ensure that Stampede is never anything less than impressive to look at. It’s also, pretty significantly, the first time that Orange has proven they can animate human characters well. Sentient rocks and furries are one thing, but the way Vash and Meryl and all the rest move and emote never once feels like a cheap approximation of hand-drawn animation. They feel human, even when the writing helping them out. And i love how it isn’t afraid to still experiment with stuff like Wolfwood’s backstory being done entirely in painterly 2D. It’s almost a cliche to say now, but Orange really is proving once again that CG anime can be as artistically brilliant as its 2D counterpart.

Honestly, it’s kind of funny. Going into this show, the thing I was most worried about was how well Trigun would work outside the specific visual language of tactile 90s hand-drawn animation. But the translation to slick, high-budget CG is far and away the most successful change Stampede makes. It’s nothing like the original, but it’s doing its own thing superbly and charting its own path inside the franchise. That’s what I wanted from Stampede; not the same thing, but something just as good on its own merits, remixing the familiar into something new and spectacular. And had the rest of the show been as good as the animation at justifying its new take on the material, I would have very little to complain about. Sadly, it feels like every other change was a change for the worst, not for the better. Instead of creating something unique from the tools the original left behind, it stripped away what made the original unique in the first place and left something far less special in its place. I hope the second season manages to course correct and deliver on that promise. But for now, I can only lament that Stampede is a much less interesting take on a story that deserved so much better, and I give it a score of:

4/10

That’s it for the full reviews for Winter 2023. Next up? The seasonal reflection. See you then!

[adamwatchesmovies]

Teenage Mutant Ninja Turtles (2014)

2014’s Teenage Mutant Ninja Turtles marks the fifth time the heroes in a half shell appeared on the big screen. With this many strikes, I'm thinking it just can’t be done successfully. Certainly not as a live-action picture. This film’s characters are thin and uninteresting. Worse, there are so many of them they leave no room for any kind of clever plot. The attempts at humor fall flat and often make the film unintentionally creepy. Never mind the sometimes dodgy special effects. Combined together, they make Teenage Mutant Ninja Turtles feel like a trip to the sewers.

Reporter April O’Neil (Megan Fox) witnesses a group of mysterious assailants fighting back against the Foot Clan, a gang of ninjas terrorizing New York. Michelangelo (voiced by Noel Fisher), Raphael (voiced by Alan Ritchson), Leonardo (voiced by Johnny Knoxville) and Donatello (voiced by Jeremy Howard) are mutated turtles who grew up beneath the city and were taught martial arts by their “father”, an equally mutated rat named Splinter (voiced by Tony Shalhoub). Only by working together can they thwart The Shredder (Tohoru Masamune) and his minions.

This film was doomed the moment executives decided to make it live-action. With all of the technology director Jonathan Liebesman had at his disposal, the heroes previously created via rubber suits in the '90s are now computer-generated 8-foot-tall masses of muscle that just don’t fit in the real world. I know the sewer-dwelling heroes have brought many people joy since their creation but let’s not kid ourselves. They were created to be ridiculous and by failing to embrace this, writers Josh Appelbaum, André Nemec and Evan Daugherty will have you rolling your eyes. It would be too cartoonish for the turtles to be randomly named after Italian Renaissance painters so April named them as a kid. She also gave them their love of pizza. It would be too silly for Splinter to have learned martial arts from a human master so instead, he picked up his techniques from dirty books he somehow knew how to read. The attempts to clean up and make the story more realistic don't work. We paid to go see a movie named Teenage Mutant Ninja Turtles. We’re ready to suspend our disbelief and will gladly do so if the story is worth telling.

Even if you forgive the clumsy exposition, the characters are terribly written. All of the turtles are one-note. Raphael is angry and unwilling to follow the orders of his blue-bandanna-wearing brother, the one with the purple stuff is the nerdy one, and so on. If you didn't already know their names, you wouldn't bother to learn them. Then, we have Michaelangelo. Whenever he and April are on-screen together, he comments about how attractive she is. It’s supposed to be funny in a “he’s like a little kid crushing on the teacher” kind of way but you won’t laugh; instead, you’ll be scared we're about to witness a remake of Humanoids from the Deep. It isn’t just him; it’s also her useless co-star, played by Will Arnett. He’s 16 years older than she is. Seeing so many people slobbering at Megan Fox in this kind of movie makes you feel ill.

As bad as the heroes are, they're as complicated as a paper on astrophysics compared to the villains. The Shredder is a nothing of a character. He’s evil for evil’s sake, complete with a “let me kill my minions for kicks” attitude and an evil plan that makes NO SENSE. The only good decision made about the Turtles’ arch-enemy is to put him in an insanely futuristic suit of armor during the climax. Martial arts or not, there’s no way the character (who by my calculations, has to be at least 80) could stand a chance against the four giant, bullet-proof, radioactive reptiles with weapons. By making him a completely CG creation, it also helps make the carnage of their big fight somewhat believable.

I could go on and on about what doesn’t work in this film. Splinter’s creepy design and his unbelievable prehensible tail, the role William Fichtner’s Erick Sack’s plays in the story, the fact that draining a four-liter canister’s worth of blood from the turtles has no effect on them, April’s worthless reporting skills, the idea of an antidote to a virus that kills within minutes, the fact that - as a mutant - Splinter’s blood should contain the same mutagen as his children but for no explainable reason doesn’t, the fact that the turtles meant so much to April as a child she couldn’t even remember their names until she watched her own video diary, and the numerous plot holes throughout. Just about the only good thing about Teenage Mutant Ninja Turtles is a comedic scene during an elevator and a long chase down a mountainside that’s actually inspired. The rest is a big headache for anyone other than 12-year-olds who are hopped up on candy and soda. (June 4, 2021)

[aquillis-main]

Ignoring Jehtt's parody for a sec

-It was 200 years of Iblis. I legit don't think there's a profit to scamming people into thinking they can save the future. 2-3 gens directly tied to the Great Disaster already are dead, and GUN seems gone too

-We already beat Iblis only to see him reincarnate again. We can already infer Silver beat him many times with no difference. In fact, he legit considers giving up in frustration

-Mephiles wouldn't even be the first suspect. Blaze's fire powers scared survivors, but Silver stood by her (sadly this is in bios)

-The intro CG cutscene notes the generational divorce from the event. No one knew where Iblis came from cuz it's been so long, only that it ravaged the planet for eons. Silver is noted to question the origin, getting nothing

So yeah, I'll take hearing this shifty stranger's new theory, cuz repeatedly killing Iblis 3 million times is doing nothing but exhaust me, regardless if I die to this stranger or not. It's not like I can make this worse (in my context)

Other things;

-Silver's reaction to Meph saying to time travel:

Not "oh yeah I immediately believe you" like 90% of parodies, it's him gauging interest after dismissing the first prompt

Even to Meph saying "Oh yeah, I can time travel" it's more dismissal (though tinged with amazement)

when Meph notes the Iblis Trigger the first time, both Blaze and him just ponder a sec before hesitating to ask if killing him would save the world, their first true mistake. But again, better than just mindlessly killing Iblis over and over

Then Meph bothers bringing articles on screen showing the Egg Carrier's crash and release of Iblis, then the Emerald showing Sonic's visage in the fire (glares slightly more angry), Blaze being perturbed cuz she knows of one, and Meph immediately time traveling them before much of anything can be said in protest

If it were me, I'd have them question how he found this info, with him revealing that he stumbled upon a Chaos Emerald that showed him the image of a blue hedgehog (which he'll show to Silver like OG, only with Sonic expressing better than wood), leading him to do research on him, and finding the article of Elise dying in a crash despite his chase. He'll then note research of time travel done in GUN logs of when they checked Eggman's base after the crash, noting the process being risky. Silver and Blaze can ask why he can't do it, which...I mean look at him, he's deformed and barely hobbling (interestingly nowhere as much as the Shadow release scene, or later twirl), likely frail as heck (we know he isn't if we the audience played Shadow's story first). He'll attract unwanted attention outside supposed fraility, vs how the powerful Blaze/Silver look a smidge more stable. They'll admit having nothing to lose/repetition, then Meph warps them

But otherwise, I feel the Silver bias is glossing events a wee bit too much, and parodies aren't helping. It's legit wanting to break useless repetition that drives most of Silver's hasty actions

"But he looks evil"

The entire world is homeless. Being remotely not brazen is an anomaly if anything (Blaze at least has an excuse)

Also what's he gonna do, jump the guy that has psychokinesis? He looks weak as hell

I still think that Silver shouldn't have jumped to follow Mephiles so easily when the latter spouted out shit about 'Chickens and eggs', especially since it seems he and Blaze just willingly follow Mephilies into his crack den of info he shouldn't have. I'm sorry, but I feel Silver just hopped on a little too quickly. If there was a scene of him and Blaze arguing with each other about going to follow, I'd buy it a lot more than it is now. However, since the cutscenes skip that moment and have Silver and Blaze immediately follow Mephiles to his crack den without thinking, it still comes across to me as Silver and Blaze being stupid, not naive.

I appreciate you trying to help clear out some aspects of this, but without the key moment of Silver and Blaze arguing about going to listen to Mephiles or not, it comes across as an idiot kid being taken by a guy with a white van to me, especially since the only time Silver stops to consider his decision is when Amy tells him to not kill Sonic and dashes off. After that, he doesn't ever really question if he's doing the right thing, and just blindly trusts the guy that showed him a vision of Sonic in fire with a really pissed off look, and not much other information besides anecdotal evidence.

[southern45acp]

Also, it's not like super cheap CG is enhancing films anyhow. There have been entire videos made about why Jurassic park from the 90's looks better than half the special effects today. I am ok with CGI I love action movies and Sci-Fi movies that make use of it to tell visual stories that were not possible before. But then you get things like the car on the train tracks from xXx State of the Union which was so poorly done it looked worse than contemporary video games.

Honestly, if CG artists unionising kills the use of CG in films, I don't see a downside.

[batsarebetterthanpeople]

No pressure on ryan coogler but he actually knows what hes doing tho. But again marvel is marvel

Yeah but like I'm pretty sure these directors don't control the budget or the hiring. Like I'm pretty sure Taika can't say "actually I want the time constraints loosened and the cg animators to be paid more" he's just got to figure out how to make a Thor movie in the wearhouse green screen rooms they give him to work with and Black Panther's not gonna be any different. Marvel has a blueprint for how to make a movie with the maximum amount of human misery they can squeeze out and they're not gonna budge for some upstart who wants to make a real movie. Practical effects are dead and costuming is endangered in the MCU and it's not because all of these directors decided that they hate film and want to crush it it's because Disney is an assembly line the machinery of capital will keep grinding whether artists are there or not.

In addition to that, it doesn't matter how good of a movie Ryan Coogler makes. Even if he some how manages to turn out an objectively perfect Black Panther movie it's still going to be received poorly because Chadwick Boseman is dead and he's not recasting T'challa. That means the characters he has to work with are Shuri, Nakia, Okoye, M'baku, and Ramonda and then whoever else he decides to introduce or minor characters he chooses to expand upon. T'challa is dead, Kill monger is dead, winter soldier moved his white ass back to America and the future of Wakanda is female. Black Panther is about to become a female super hero. It's not coincidental that the movie that made Valkyrie lesbian and Korg gay was the movie that got heat despite being better than 90% of the mcu. This movie is going to get heat because of the misogynists. They don't want to see a woman on the throne, they don't want to see Shuri or Nakia take over the mantle of the Black Panther. People like you and I are not going to watch it because, despite how cool it would be to see the girls killing it, we're sick of the MCU and the fan boys aren't gonna watch it because they hate women. And there's gonna be a million hot takes about how this is actually the movie that's killing the marvel cinematic universe, when really the decline is because the audience can feel how robotic these movies are and this movie maybe did a little worse because the fan base of Tony stans that can usually be relied upon to turn out for every MCU movie are gonna skip this one because it's about black women. They're gonna call for Ryan to be fired just like they did with Taika and it's not gonna have anything to do with the quality of the movie.

I'm gonna go to this movie, I'm gonna be disappointed through no fault of the director or the cast, because nobody can spin straw into gold, and I'm gonna watch the marvel sycophants pretend that they don't like this movie for regular reasons when both me and the marvel sycophants know it's because they hate women.

If this post breaches containment the reason I'm talking about Taika Waititi and Thor is because this ask was in response to a previous post.

[raimispiderman]

From the booklet which comes with the Spider-Man Trilogy Limited Edition Collection blu-ray!

This talks about the making of Spider-Man 2, here’s the bit about the first Spider-Man movie.

Click for a transcript:

THE EVOLUTION OF A SUPERHERO

“It was truly gratifying and even a bit overwhelming to witness how strongly moviegoers around the world reacted to Spider-Man,” said director Sam Raimi. “As a filmmaker, I always want people to really enjoy my movies, and on that level, Spider-Man exceeded my expectations.”

After the triumph of the first Spider-Man, Raimi knew he had a responsibility to follow it up with a story that justified the fans’ enthusiasm and their built-in expectations for the next adventure. “There’s great interest in this movie, following the success of the first one,” he acknowledged. “For the kids who come to see it, Spider-Man is their hero. So while the job of making this movie is to provide entertainment, it is also to create a story that shows them a moral character, someone who has to make tough choices and the right decisions in order to continue to be worthy of their admiration.”

The wealth of detailed stories and characters in the Spider-Man comic book series provided a mother lode from which to cull the plot for Spider-Man 2. “The Marvel artists and writers have done a great job through the decades – I know, because I’m a big fan myself – so there’s a tremendous amount of good material to draw upon,” noted Raimi. “Finding a storyline wasn’t that difficult. It was finding the right story, the one that made for a proper follow-up installment, and provided a logical progression for the audience and a logical growth for the character. For the, I relied on the terrific storytelling instincts of my very fine producers Laura Ziskin and Avi Arad. Together with the contributions of our great writers, we found a plot line with ideas that reverberated.”

With the storyline of the new adventure locked, Arad looked forward to the reunion of the Spider-Man filmmaking family, not the least of which was Tobey Maguire. “Tobey was so happy to be Spider-Man again and to be Peter Parker,” said Arad. “As an actor Tobey relished deepening the audience’s understanding of who Peter Parker is and who is becoming,” added Ziskin. “Peter’s a man who is transition, someone who’s struggling with the choices he is making.”

Maguire added, “The theme ‘with great power comes great responsibility’ is never lost on Peter. It’s difficult to be a young man and have to sacrifice as much as he has – presumably for the greater good – and to neglect his personal desires. The struggle continues here and it’s quite complicated, because Peter’s searching desperately for a way to achieve some balance in his life.”

 As Peter becomes more immersed in his dilemma, it creates a rift between him and the important people in his life. Though his love for MJ is stronger than ever, she has moved on with her life, pursuing an acting career, living in Manhattan and moving in new social circles. “In this film, Peter is off in his own world and not a reliable presence in MJ’s life,” explained Kirsten Dunst. “She still loves him a great deal, so it has become painful for her to be around him. Though they’ve both done a lot of growing up in the past two years, at the same time, they’ve drifted apart.”

Then, as if Peter’s life were not complicated enough, the situation moves from bad to worse – much worse. Enter Doc Ock.

Dr. Otto Octavius (Alfred Molina) is a brilliant scientist whose life work has been dedicated to experiments utilizing fusion as a new source of energy. Charming, vibrant and energetic, Dr. Octavius is introduced to Peter by Harry Osborn.

“This movie is the story of Peter’s life, which is out of balance, and Dr. Octavius who, for Peter, represents someone who has achieved that balance,” explained Raimi.

“Peter sees Octavius as somebody who has mastered both his gifts – in this case science, through which he can serve the good of mankind, while also maintaining a personal life, a loving relationship with his wife Rosie (Donna Murphy). This leads Peter to the conclusion that it’s possible to have both.” Dr. Octavius, with the support of his wife, has been working diligently in his home laboratory, trying to perfect his groundbreaking fusion theory. But when a demonstration of his creation goes horribly wrong, Dr. Octavius undergoes a terrible transformation – evolving into the powerful, multi-tentacled Doc Ock.

In Spider-Man 2, the talented and versatile Molina brings this powerful adversary to terrifying life. “He is a formidable enemy for Spider-Man,” said Arad. “He can climb walls faster and better than Spider-Man. In fact, there’s nothing Spider-Man can do that Ock cannot counteract.”

Doc Ock, one of the most popular villains of the Spider-Man comic book series, first appeared in “The Amazing Spider-Man #3,” which was published in 1963. He immediately became one of Spider-Man’s most formidable foes. According to comic lore, each of Ock’s limbs can move at speeds of up to 90 feet per second and strike with the force of a jackhammer. The extremely powerful tentacles enable him to lift a vehicle off the ground, pulverize bricks, claw through concrete walls and hover above his victims by rising into the air.

The filmmakers were eager to attract Molina for the central role. “We needed someone who brought a palpable reality to the part, and who was also sincere, had a great sense of humor and personal warmth,” said Raimi. “Alfred is a brilliant actor, and what he’s brought so effectively to the character of Doc Ock is the sense of him as a misunderstood man who has turned into a beast.”

Molina confessed, “I’ve always been a Marvel Comic fan because their characters are so interesting. They have problems. They’re very realistic.” From him, the mechanics behind the role of Doc Ock was a true education. “It was mind-boggling, the breadth and the imagination that went into how each of my character’s actions – flying across the room, crashing through a plate glass window, smashing a taxicab – was to be executed. It’s a unique way of filming that’s not like anything most of us get to do really. It’s a very particular way of working, and absolutely fascinating.”

J.K. Simmons also returns in Spider-Man 2 as Peter’s gruff boss at the Daily Bugle, J Jonah Jameson. “I fire Peter several times in this movie. Every time I see him, I fire him,” laughed Simmons. “And then I re-hire him because there’s always some pressing need for his services.”

Principal photography on Spider-Man 2 began on April 12, 2003, in New York City, where the production spent approximately three weeks shooting at various locations in Manhattan, Queens and Brooklyn, as well as on a Yonkers stage. From ground-level street shots to rooftops high above the city, the filmmakers efficiently utilized the time they spent in New York, giving them the opportunity to expand on the city’s unique environment, which had lent such vibrancy to the first Spider-Man.

“In the first film we established New York as a character in the movie. With Spider-Man 2, we went even further,” said production designer Neil Spisak. “We used a lot more of the city, including [photographic] plates of real buildings and real streets. Improvements in technology over the past three years enabled [visual effects designer] John Dykstra and I to marry existing buildings to scenery buildings to CG buildings even better than the first time around. It’s a much more complete experience.”

“We got more of a feeling of New York in this movie,” added Ziskin. “The movie is being shot in widescreen, which is appropriate because this is a different story, so it required a different approach.”

Production began on the campus of Columbia University in uptown Manhattan, which served as the university Peter Parker attends while he struggles with the responsibilities of his academic workload and his superhero duties. The rooftop of the Hotel Intercontinental, across from the Waldorf Astoria, was the location where Spider-Man contemplates his next move, while downtown, in the Wall Street area, another rooftop served as the “launch-pad” for the Spydercam camera, as it dipped and swooped over several blocks to replicate one of Spider-Man’s high-stakes aerial journeys through the city.

“We executed one of the longest wire shots the Spydercam has ever done,” said executive producer Joseph M. Maracciolo. “The Wall Street shot was around 2,400 feet. I’m an ex New Yorker, so I didn’t find the location shoot particularly daunting. But there are always difficulties when you’re doing wire work in New York, including the placement of the cranes on the buildings, the movement of the cast, crew and equipment, and of course, the crowds.”

“It was a challenge for us to move our production to the tops of buildings, but we couldn’t have been happier, because rooftops are Spider-Man’s world and that is his view of the city as he swings through it,” noted co-producer Grant Curtis. “It was breathtaking to see the world from 70 stories up – a world unto itself. You can’t fully really appreciate the beautiful architecture of New York’s skyscrapers from ground level. We showed some of that in the first film, but we wanted to show more of Spider-Man’s vertiginous world, and I think we really captured that with this film.”

In Spider-Man 2, Doc Ock sweeps Aunt May off her feet – literally – and takes her up several stories of a tall building. Rosemary Harris performed her stunts in a variety of harnesses, but only after she had managed to talk the filmmakers into letting her give her stunt double a rest. “I was a bit miffed at first, because my wonderful stunt double was going to do a lot of these harness maneuvers,” recalled Harris. “So I asked Sam and Laura, ‘Why not let me have a go at it?’ At first they were reluctant. But I begged them to at least let me try and they finally relented.”

Returning to Los Angeles, Spider-Man 2 shot on several stages on the Sony Pictures Studios lot in Culver City. Stage 15 was home to the Daily Bugle offices, as well as Peter’s tiny apartment and Dr. Octavius’ elaborate home laboratory. On Stage 29, the Osborn mansion, where Harry Osborn now lives, was recreated. Stage 27 housed MJ’s apartment set, a giant spider web, the interior of the Planetarium, the massive clock tower set as well as various other set pieces. A series of elevated trains were built on Stage 14, where Spider-Man and Doc Ock match wits.

One of the most elaborate sets for Spider-Man 2 was the pier set, designed by Spisak and built over the course of 15 weeks on Soundstage 30. “In contrast to Dr. Octavius’ lab, which was part of his apartment – a streamlined, organized and clean space – the pier is a maniacal, decaying, decrepit space,” explained Spisak. “It follows his character development in terms of his becoming a wilder, more dangerous and more formidable adversary for Spider-Man.”

The set, approximately 60 feet wide by 120 feet long and 40 feet tall, was constructed over a water tank and enhanced by several different components, including CG/plate work and miniatures.

“Before we built the set, we created an exact ¾ scale model of it, about 7 feet long and 4 feet wide, from drawings and blueprints. The model was extremely useful to the carpenters, who could take measurements to help them construct the full-sized pier, as well as for the miniatures team, so they could ascertain the dimensions, textures and materials that were used,” explained art director Tom Wilkins. “We shot plates down in San Pedro, where we panned from a real pier to the water. In post-production a New York background was added. We also built a miniature pier – interiors and exteriors – to complete the composition on the East River.” The art department team designed a 136 foot by 40 foot-high vinyl backing to represent Ock’s view of Manhattan through a large window at the end of the pier set. Wave machines were rigged in the water to create movement under the pier.

The production then moved to the Universal backlot for two weeks of shooting. Several city streets were transformed into a variety of New York neighborhoods including the exterior of the Lyric Theatre where MJ performances in an off-Broadway production of Oscar Wilde’s The Importance of Being Earnest. Ari’s Village Deli and Bakery became the site of an extremely complex scene involving a quiet conversation between Peter and MJ, which is interrupted by Peter’s “spider sense” – and a car careening through the plate glass window, followed by the arrival of Doc Ock.

“It was a great luxury to be able to build that set from every aspect, so that we could do everything we needed for the scene,” said Spisak. “The walls were made of french plate so that when the car smashed through it, the buildings around it were protected. We were able to design what we thought it should look like visually, then as tricks, gags and stunts became clearer, we were able to add them to the set before it was completely finished.”

“The deli was a full, 360 degree set, with a kitchen, deli counters, pastries, ceiling fans and chandeliers,” added art director Steve Saklad, who worked closely with Spisak. “We dressed the exterior streets so that you could look out of the window and see the intersection of Lafayette Street and Astor Place. It required an enormous amount of signage, billboards, street dressing, trees and traffic lights.”

For Raimi,  “The diner was a complex technical scene, because it brought together so many different departments, each relying on the other to fulfil their function  and communicate with each other so that each individual shot would work. We utilized mechanical effects and the stunt department had to take an automobile, spin it and flip it through the deli window, with the prop department providing the breakaway items. What made it even more complex was that we had to fly Doc Ock in, using something we dubbed the “walk rig.”

The “walk rig” was created for Doc Ock, because the character not only moves himself, but his tentacles move him around as well. When he walks on the tentacles, they support his weight, so a device was constructed to harness him and move him through space as if the tentacles were supporting him. The visual effects department also created “virtual” tentacles where practical ones weren’t feasible.

When he was in full costume, Molina’s tentacles weighed between 75 to 100 pounds, depending upon the action required for the scene. Each of the tentacles was fully articulated. In their expanded, 13-foot length, each upper tentacle consisted of approximately 76 individual pieces Each vertabra was handmade, hand molded, sanded, individually hand painted, chromed, then painted again and assembled by hand. The entire collection of Doc Ock tentacles, bases, heads and wrists, if laid end to end, would be taller than a 20-story building.

Academy Award winning costume designer James Acheson welcomed the opportunity to further explore and improve upon the already classic Spider-Man costume for Spider-Man 2. “Creating the Spider-Man suit for the first film was a real challenge since we were designing for a kind of Cirque du Soleil acrobat, someone who had a unbelievable kinetic spiraling ability,” he said. “So the suit had to be extremely flexible. For the new installment we made several improvements, though you’d have to be a real enthusiast to spot them. The colors are slightly different, and we have made subtle changes in terms of the movement inside the costume’s hood. We also adjusted the eyepieces of Spider-Man’s mask as well as certain aspects of the spider design on the front and the back of the suit.”

For Spider-Man 2’s Doc Ock, Acheson and Raimi spent close to a year collaborating with Spisak and visual effects designer John Dykstra and working with Edge FX in what began as a series of “group think” sessions, according to Raimi. “I needed John Dykstra’s input, because it was John who was going to have to handle Doc Ock’s movements in CG, so he had to be involved in designing the character, along with Jim, who was going to determine the look of the character,” recalled Raimi. “Part of the look determined the movement, and what the arms look like began to govern how it functioned. Neil was involved because Ock had to be a part of Neil’s world in the film. A great interdependence developed among the department heads in order to achieve the complex nature and physicality of the character,”

“The challenge with Doc Ock is to visually create a believable world, focusing on a man with four tentacles growing out of his back,” said Spisak. “Now, that can be a tough swallow. So, in creating Ock and his world, we needed to design and play it so that everything was credible. Ove the course of several months, it became clear what was physically possible for Ock and what would have to be achieved via CG. We conceptualized the look and only then did we deal with the physical limitations, rather than letting them stop us at the beginning.”

Added Dykstra: “It was a huge challenge to make Doc Ock come to life. His tentacles had to meet several criteria. They had to be appropriate with regard to the world Neil had created for Spider-Man and Ock. The components of the costume – the texture and the weight – had to bed something an actor could actually wear. Since using the tentacles wasn’t always practical, we had to create ‘virtual’ versions with Edge FX. In the end, integrating the tentacles into the story was a marriage of all those components and the collaboration of everyone involved.”

Spisak and his team designed and dressed more than 100 sets and locations for Spider-Man 2. “There are probably 10 enormous sets, while some are simply street corners. We covered eleven blocks in downtown Los Angeles and used many rooftops, streets and buildings in New Yorj City,” noted Spisak. “This is certainly the biggest film I’ve ever done.”

Spisak worked with director of photography Bill Pope on the color palette for the sets, and they pored over research and location pictures to inspire them for the story’s lighting requirements. “In the first film, Peter Parker was younger, less aware and just beginning to discover his new powers. That was reflected in the overall look of the movie,” said Spisak. “With this film, he has been Spider-Man for a while, so his frustration over how to deal with his life versus his duty is more complex. That’s reflected in the color palette and the tone of this film – it’s a little more sophisticated, more complicated and deeper, in terms of color and look.”

Among the tools Dykstra and his team utilized to achieve the shots presenting Spider-Man’s point-of-view, while he is soaring over the city, was Earl Wiggins’ Spydercam. During the New York portion of the shoot, the specialized camera was launched using a remote-controlled computer suspended on a cable from a Wall Street-area rooftop more than 30 stories in the air, which recorded what DSpider-Man saw as he swung over the city. The camera traveled along a line suspended over four blocks, dipping down into the street and over the tops of several blocks of vehicles and background art that had been placed for the sequence.

“We were dropping the camera and moving it up and down over the course of the shot to follow Spider-Man’s trajectory as he swings through the arch, releasing a web, and shooting a new web as he swings into the traffic below,” explained Dykstra.

“One of the successes of the first film was the empathy the audience had for the main character. He was very sympathetic,” Dykstra said, “This movie explores the character in greater depth, and in terms of the visual effects, we’re hoping to give audiences an event more intimate sense of what it’s like to be Spider-Man. In the first film, we get to fly with him. The idea here is to make the flying sequences poetic enough and evocative enough that you will get an even stronger sense of what it’s like to fly like Spider-Man.”

That approach is reinforced by Raimi, said Ziskin, “One of the really striking aspects about Sam is that he is the audience for this film. He makes the movie for the audience, identifies with the characters and is always aware of the rhythms and how each sequence will play – both to him and the other members of the audience. That makes him the perfect director for this kind of material. Also, he’s at a point in his directing career where he’s at the top of his game. He is brilliant technically, but also works extraordinarily well with the actors. Ultimately, his personal connection to Peter Parker and the other main characters is a great gift to the audience.”

“These are tough, scary times and during such periods we look to heroic stories to give us hope,” noted Raimi. “Maybe that has something to do with why the audience was so taken with Spider-Man when he first appeared two years ago. With Spider-Man 2, I truly hope that audiences will feel that they’re seeing a love story, that they’re participating in another episode of Peter Parker’s life and are seeing the challenges and conflicts he faces and how he overcomes them. I hope it will leave them feeling uplifted and exhilarated.”

[fandomregression]

okay i've decided in my head akxdjckamxmf

jon's a regressor he has the Vibes. and ive noticed most ppl in the fandom are in agreement on this which is wonderful news

sasha is also a regressor but she is a big sib to jon and kinda leads the way if they're both regressed. this is how they ended up making mug cakes in the break room and almost blowing up the microwave ("you said 60 minutes!!" "might'a said 60 seconds" "sasha you're 'posed to read better than that!!" "well YOU typed 90 anyway!")

martin is a flip and the only one who can get jon to calm down if he's having a tantrum but also will talk your ear off for an hour abt spiders and bugs and cutey-crawlies (jon does not think they are cute. neither does tim wkdnxnakxfj)

tim is a cg and he's very tired. its even worse for him when all three are regressed at the same time (not common but its happened) and he's trying to keep these three from destroying the institute. he's a very good cg tho and loves all of them a lot but. they are exhausting. he's *this* close to putting on baby sensory videos and leaving them locked in the archives so he can get a breather sometimes akxkfkakzkfvj

(and then there's elias, who walked in one day to fuss about a complaint he'd gotten about jon and discovers that there are as many empty sippies in the archive as there are empty tea mugs, and there's a pacifier attached to a stuffed fox thrown on a chair and he decides yknow what not my circus not my monkeys. even though it is his circus and they're very much his monkeys)

i've started listening to the magnus archives and!!!! cg tim stoker yes pls

[thefloatingstone]

Where do you reccomend to pirate sailor moon? You've made me wanna watch ^^

Oh my oh my! This is a very no-no question!

Honestly, I am obligated to say that all 5 seasons have been released on DVD and Blu Ray and are easy to find on Amazon etc etc and that doesn’t help people like me where amazon doesn’t deliver!

You can also IN THEORY watch them on the VIZ website? But again that’s not something I can access from my country!!!

https://www.viz.com/sailor-moon

There’s probably also an official youtube channel where you can legally watch the episodes or something I don’t fukken know because apparently I’m not allowed to do things legally.

SO! Other places you can watch Sailor Moon if you live in an ass-crack country like me and literally cannot access it legally despite being willing to u_u

For the 90s anime!

This is the most iconic of the Sailor Moon media! And the one most people know and are familiar with. It’s usually the first thing people think of when they think of “Sailor Moon”. There’s 200 episodes spread across 5 seasons (the first season, R,S, Super S, and Sailor Stars)

This site has all episodes both dubbed and if you scroll down a little you get the subbed versions as well.

DO NOT WATCH THE DUB!!! This is the original 90s dub and it’s.... not good....

https://sailormoonepisodes.com/

as well as

https://gogoanime.so//search.html?keyword=Sailor%20Moon

You can also find torrents of the show. I haven’t updated my files in a long time but there’s probably been a Blu Ray version uploaded somewhere. I recommend checking Nyaatorrent

For the movies!

If you want to starts with the 3 movies instead just to see if you’d like the show, none of them are as good as the show but it’s how I first got into the whole thing so they can’t be THAT bad! The first one is the most iconic but the second movie (S) is probably acknowledged as the best of the three. They’re kind of disconnected from the show so you need to know very little going in and it doesn’t spoil anything in the show itself nor do you need to watch the movies to watch the show.

You can find the movies subbed here

https://gogoanime.so//search.html?keyword=Sailor%20Moon%20movie

For the manga!

The source material that most adaptations are based on (although most modern versions tend to rely a little more on the 90s anime as... let’s be honest... the anime had much better ideas in a lot of places) There are several places where you can find the manga, however, unlike a mass manga website, I recommend a Sailor Moon specific site which will have given much more care to the translation of the material.

The best place I’ve found is the ever reliable Miss Dream

https://missdream.org/sailor-moon-scanlations/sailor-moon-manga-scanlations/

For the Live action series! (PGSM)

I was a fool for ever thinking the live action series would be bad just because the effects are terrible and the CG is laughable and they made Luna a plushie. It’s turning out to be a GREAT version of the story! I wouldn’t start with this one at all, but I really do HIGHLY recommend checking it out because it’s writing and characters are far better than they have any right to be in all honesty.

PGSM has never seen an official translation.

You can find fan subbed episodes at both Miss Dream as well as Sea of Serenity. They have different translated versions of the show so you can pick which one you like. (I’m watching the Miss Dream subs but I’m following a blog whose watching the Sea of Serenity subs and both are good)

https://seaofserenity.net/drama/downloads/

https://missdream.org/fansubs/pretty-guardian-sailor-moon/

For the Crystal Reboot!

I actually don’t recommend this one, but I’m gonna mention it anyway because it DOES have its fans. (but again... I... I don’t recommend this one at all X’D)

It’s only done the first 3 seasons of the story and honestly only season 3 is considered passable to me. Season 4 is gonna be released next year as a movie (or 2 movies? It’s unclear).

The reboot was supposed to be a manga-accurate adaptation rather than the 90s show which did a lot of its own thing (for better and worse). However, poor animation quality, weird changes to the story, and making the girls lose a lot of their personality and turning Usagi into someone who is more a damsel in distress than anything, it’s not a great version of the story. I’m only mentioning it out of obligation tbh.

Although apparently Season 3 isn’t so bad. But still :/

You can watch the official release on Crunchyroll

https://www.crunchyroll.com/sailor-moon-crystal

You can also find subbed episodes at the bottom of

https://sailormoonepisodes.com/

as well as

https://gogoanime.so//search.html?keyword=Sailor%20Moon

For the Stage Musicals! (Sera Myu)

The Stage Musicals are a funny thing, being not canon to any of the other versions. Sometimes they tell stories from specific arcs in the manga, sometimes they tell story that don’t feature anywhere else, sometimes they’re about the Sailor Senshi fighting Dracula and Adam’s first wife Lilith who want to turn the world into vampires. Dude I don’t even know XD

I wouldn’t recommend starting here either, as these are more like fun bonus content than anything else.

HOWEVER, the Musicals have something that none of the other versions had, which is “La Soldier” which all Sailor Moon fans are required by law to lose their shit over.

(La Soldier is BRIEFLY in the anime but it was not used to its full potential)

I don’t know if they newer musicals still use La Soldier tho.

You can find fansubbed versions of the Sera Myu shows at Miss Dream

https://missdream.org/fansubs/sera-myu-fansubs/

And Sea of Serentiy

https://seaofserenity.net/

Sea of Serentiy has the more detailed break down of the musicals by year, distributor, and theater/idol group.

I am the least knowledgeable about Sera Myu so I’ll have to leave that over to them. Little to no Sera Myu shows have been released with official subs.

-

There is also the ice show but that’s been delayed to next year because of the... troubles.

And there’s a bunch of other stuff too like the SNES game and drama CDs and stuff but I think that starts getting off topic.

I know this is a super long explanation to a simple question but I wanted to be thorough because although the 90s anime is generally the go-to, there are people who prefer other versions more.

[deltaengineering]

Thought on Evangelion 3.0 + 1.0 ??

This is going to ruffle some feathers (it seems to be beloved pretty much across the board), but I hated it. It's ultra long, extremely tedious and requires a level of interest in Shinji's sads that I simply can't muster anymore in the 2020s. Ironically that is also the reason that I'm fine with the one thing that's somewhat contentious, the ending, because who cares that Shinji ends up with Mari or whatever. Or what Mari is or whatever. It's all very whatever, but hardly the worst part.

It may be relevant that I'm not an OG Eva superfan. I think it's an important and interesting show and honestly quite good all in all, but it also has a ton of issues, one of which is that you really need to empathize with a couple of fucked up teens to get the most out of it. I didn't do that fully even in the 90s, and then Rebuild started coming out and I thought "well this is unnecessary", and then it took almost a decade and a half to complete and I thought "get to the point already", and then it got to the point and I thought "well, that was pointless". These movies are not different enough to add much of substance (the tons of fanservice that make up the bulk of them are not substantive), and the slight adjustments in overall direction are something I'm not a fan enough to appreciate. In the end it was mostly just Eva again, but worse. I'm also not much of a continuity wanker, so as far as I'm concerned the Rebuild characters are just different characters altogether which makes me care about them even less.

I mean, these movies do look good, but that's not enough to save the tedium of 5 fucking minutes of launch sequence because Eva is the show with long, technobabbly startup sequences I guess, or near catatonic Shinji hanging around in a village while Rei does a bunch of generic "what is hoo-man" type stuff and then tragically turns into Tang (at least that was a genuine laugh). The quiet stuff is technically fine, but there's just way too much of it. In fact, if 4 at least had more eyecandy action I wouldn't be bored – I do think the best part of the movie is the dumb pointless action setpiece in Paris, but hey, at least something happens there. If "Eva-like things with a budget" is what you're here for, the Rebuild movies do deliver, but 4 is not the best there because there just isn't much action and what there is is spinning CG robots on a red background. 2 and even 3 are better on that front, and my favorite scene in Rebuild is from 1 (the Ramiel fight).

And then there's the lore, which is also just a bunch of vague shit. Not that that's new to Eva, but in the glitzy remake it ends up feeling a lot less genuine and more like "please imagine something good here and then write it down on a fan wiki". That was a huge issue with the ending of 3 and it doesn't improve in 4.

So overall, my opinion of 4 is that I was annoyed with Rebuild going in and then it expected me to take Rebuild more seriously than ever. That could not go well under any circumstances and in fact it went particularly poorly. If this movie was a crisp 90 minutes I could have gone with "not my thing, but they tried", but at 2 1/2 hours all good will is gone eventually.

[youcantfiremebecauseiquit]

idk if u care but crispin gray recently had an interview about his entire career and it kind of changed my perspective of queenadreena…idk if for better or for worse lol. it was weird to see him so dismissive of a lot of his catalogue w katie except for ‘love your money’ just because that was the only remotely chart successful song. i get you want to be able to sustain yourself but jeez him and katie really had a weird back and forth relationship

Sorry i'm replying late, i've seen the interview pop up on Youtube but honestly i was too invested in university shit recently & generally not in the good mood for that but i'm planning to watch. How did it change your view on Queen Adreena, did he say something mean specifically on QA or Katie? I mean i gotta watch it but honestly? Not surprised in the slightest. A few years ago he was asked to describe fave songs he recorded throughout the years and he listed more of Daisy Chainsaw ones than anything else, with Love Your Money as number 1. The differences in their points of view are real something, Katie Jane absolutely HATED Love Your Money, same as Daisy Chainsaw. Kinda apparent he wanted bigger fame but DC dropped fast and QA failed to live up to their predictions.

i had a time when i liked to dig up old Queen Adreena interviews that are lost in the old internet & generally not available for years (which i planned to post on is-she-suffering but my investment in that site is... varied in its intensity). Also that was back in the days when i wrote Queen Adreena book during manic phase and tried to sell it but lost motivation Well since i don't do anything with that knowledge anyway i'll put what i know here as i love fan discussions

So they sure had/have odd back and forth love-hate relationship & that's the reason why their career went how it went. There's been a huge tension between them at some point. I'm sure you know she had a major mental breakdown (probably schizophrenic episode) after Daisy Chainsaw, or even beginning before her leaving, and then she went into isolation and lived with an old woman in Lake District for awhile. She left Daisy Chainsaw cause Crispin didn't want her to come up with her own songs (all of DC was by Crispin except for Lovely ugly brutal world by KJ).

They almost split up as Queen Adreena after Drink Me. The material for The Butcher and The Butterfly was written at different times, originally it was meant to be called Atom Bomb at Bikini but it was constantly delaying and they eventually recorded everything they've got live. So that's obvious right? But i was surprised to find out they were writing songs separately. Some of them (i forgot which though) were written by Katie Jane and Pete Howard's sons band (they're even credited) + some with Melanie Garside, Richard Adams + some other musician. Katie Jane didn't like it. They intended it to be their last album at the time. She also hated live at ICA show but they released it cause they were broke

But that's a digression. I just wanna say that at this point they were done with each other but kept pushing it. Katie had her own art projects and stuff, Crispin started Dogbones with Nomi and i just remember how vaguely pissed at Katie he waas in the interviews. Like he stressed that Dogbones is his number one priority and if Katie wants to do something with Queenadreena, she must wait til Dogbones have a break first or something, and it sounded oddly bitter.

RaCH and Djinn era are just so weird, they had opportunities but let them go in a way. I don't think many people know but they were huge demand in Japan. They entered album charts and were interviewed by 11 magazines and 6 (!)TV stations there (wtf happened to that material i want to know???). But they only played 5 times or less.

Katie said she considers the band dead but they decided they can try to play for a couple more months. But aside from that she 100% lost the interest in the band around Djinn. There's an interview where she says "the overall image is Crispin but the shape will change again at rehearsals". And you can hear it, it’s more blues rock than anything. IMO it's their worst production wise. Instruments are fine but Katie's voice is so badly produced that sometimes i find some songs fucking irritating, cause they didn’t cut out her breaths and the vocals are TOO LOUD, to the point of distorting. As if she stands too close to the mic. The album is fine but it feels unfinished.

And here we come back to Crispin... here's what he said after the QA split:

Why the Dogbones started? “I needed to work more than the previous band I was in was working, the previous band who shall remain nameless, haha… um… Queenadreena. I wanted to work more than the singer of Queenadreena wanted to work… so that’s why it started. Fine by me… but I really like to be in a band, I’m not a solo project kind of guy. The last album (‘Djin’) did come out in the UK, but it was so low key because Katie kind of disappeared so there was little point in promoting it. Personally it’s my favourite by far so it was a shame but there you go… So here are Dogbones, it’s not been an easy ride but we are trying very hard.

Ok so the bitterness is kinda apparent isn't it. I think there were two reasons why they argued so much, first musical differences. Katie at some point lost interest in loud rock music for some years and went the folk way in Ruby Throat. I have a theory that Taxidermy and Drink Me are more influenced by Katie Jane and Butcher and Djinn are more Crispin. During first albums i think Katie more actively took part in music composition and choosing arrangements. She wrote lyrics, melodies but also composed a lot of songs on some little electronic keyboard thing and 4 track (Heavenly Surrender, Pray for me, My Silent Undoing, all Lalleshwari +more). Plus she wanted more peaceful/dreamy sound on Taxidermy than full on rock, Crispin complained about it in some 00's interview, that he'd like it to be more rock. Then there are 2 versions of Drink Me, the original has rough and alt versions of songs (it was sold by Katie and it's leaked on FB and probably YT). Crispin Gray apparently really hated the final Drink Me. Now next album is The Butcher & The Butterfly and it's more standard blues rock, no more crazy dreamy things of previous albums etc., Djinn is even more blues rock but darker. Djinn was his favourite at some point while KJ hated Butcher, not sure about Djinn. So i think they had different views on where they should go, Katie made her weird simplistic creepy tunes (like Lalleshwari) and folk melodies adding that strange things to noise rock. Crispin probably wanted blues & rock.

Other than that, i’m convinced they are bitter exes, lol. There’s been rumours about them dating during Daisy Chainsaw for years, plus Katie had a history of dating band members. Crispin wrote X-ing off the days about her. I don’t know if they dated again in Queen Adreena. Then there’s this interview, timeline is unclear, either The butcher & the butterfly or later:

„Katie writes all the songs herself and often looks for melodies and structure with the drummer. With Crispin - her husband or ex-husband, which is not entirely clear to me - for almost three years she has no longer been in a room. "Sometimes we send him a letter with a new song and that's all we can do. All we have are our lungs and our musical talent and we have to do with it. It is repugnant difficult life, I know most of the time how I should deal with it." But Queenadreena will still remain even exist? "I think so, we are now pretty busy and I see where the ship aground.”

I always wondered what exactly happened after Djinn, i’ve seen Katie Jane say „i think they gave up on me” while others said she disappeared. Other times CG said there’s no bad blood between them but at the same time there’s been some weird tension.  As of recent i thought they reconnected somehow through the internet and had a good relation but who really knows.s

I get why Crispin gets irritated when people compare everything he does to „stealing from KJ” but honestly, he gave them good reasons, at least in the 90’s. I can believe Starsha Lee singer isn’t copying Katie cause she’s from Brazil or something and she didn’t know Queen Adreena before. But everything else… Crispin’s problem is that he doesn’t know what he wants. He spent 90’s chasing something, tried singing himself, had girl singer replacements and even one KJ copy. Dogbones was ironically his most original non-Katie band, even with all their grunge influences. In a way he wants to be a frontman and at the same time doesn’t. Idk if he’s very controlling, but Daisy Chainsaw shows he valued his songs/lyrics first & in Queen Adreena he had to step back a lot, cause Katie’s condition was she would be in charge of the lyrics. I don’t think he realizes how strongly Daisy Chainsaw issues affected Katie, i mean from her own words you can read that aside from media attention/hate, her being unable to write lyrics had a role in her breakdown. I think she now let go but for years she hated remembering Daisy Chainsaw and she felt kind of worthless cause she was only somebody else’s mouthpiece. I’m not trying to say he’s cruel or anything, but i firmly believe rock lyrics writers should sing their own songs or else there are problems.

They both were writers-composers with different vision and i have impression they struggled a lot while shaping their songs, cause they both stuck to their ideas. Hence 2 versions of Princess Carwash maybe. Katie once said that he „gets terribly upset with her” cause she writes her songs on a simple wind organ and uses a few chord buttons only. Clash of writer ways/personalities/egos and at some point they had to let go.

Maybe he prefers music/bands where he was 100% in control including lyrics (note he wrote/sang some lyrics in Dogbones too). Daisy Chainsaw achieved bigger success US and UK wise as they were offered to play Top of The Pops, and they’re more well liked/remembered by „general alt public”. Queen Adreena however is way more valued as a cult band, with cult following and admiration in UK & France. Most people think Pretty Like Drugs and other QA songs are his best work and he probably finds it irritating cause truth is, he never managed to be more successful than Daisy Chainsaw/Queenadreena. Love Your Money is ironically the least Crispin Gray/DC/QA sounding song in my opinion. I kinda find it irritating that he downplays Queen Adreena cause it was probably his best work in this band but whatever

So yeah sorry for the word spill, that’s what i can think of it right now but as i said, i haven’t watched the interview yet, it’s just this kind of treatment is in a way consistent for him

[snkpolls]

SnK Episode 65 Poll Results (for Anime Only Watchers)

The poll closed with 98 responses. Thank you to everyone who participated!

Please note that these are the results for the Anime Only Watchers’ poll. If you wish to see the results for the Manga Readers’ poll, click here.

Anime only watchers, beware of spoilers if you venture over to the manga readers’ poll results.

--

RATE THE EPISODE 94 Responses

Although a bit muted compared to last week, the response to this episode was still overwhelmingly positive, with 96.8% of people giving it a rating of 3 and higher. MAPPA’s on a roll!

Amazing!!!!

i just wanna see more!! 20 minutes is not enough. its too good

Awesome episode! Great pacing and the cgi was not too noticeable.

WAAAAYYYYY TOO HYPE

WHICH OF THE FOLLOWING MOMENTS WAS YOUR FAVORITE? 93 Responses

Mikasa and Levi took the spotlight this week! 30.1% of viewers felt most hyped up by Mikasa’s “explosive” reintroduction to the anime, while 22.6% were stoked to see Levi take on Porco to save Eren. 18.3% were most hyped by the Survey Corps taking on the Jaw Titan and the subsequent cliffhanger.

THE CGI CONTINUES TO BE A POINT OF CONTENTION. BE HONEST, HOW DO YOU FEEL ABOUT THE EXECUTION OF CGI SO FAR THIS SEASON? 93 Responses

Just under 50% of responses seemed to indicate that they thought MAPPA was doing very well with the CGI utilized. A little over 15% stated that although it was not their favorite, they understood that it could be a lot worse. Other responses (in order) were being neutral about the CGI, not liking it, but understanding the need for its usage and folks who adamantly rejected 3D animation. 

I actually prefer CGI titans because of the way their movements looks, it looks almost slower, to me it fits very well with how the big titans are. Im not an anime guy at all so ive never seen cgi in other anime but i really like the way Mappa's CGI looks, it blends in very well. I dont like CGI people though, the shot with Jean throwing the marly soldier off the rooftop i didn't like very much.

I feel horrible saying this believe me... but I really vibed with the CGI up until this episode. I think maybe because it's the first time its been used on humans (OPM) rather then titans. I'm not massively put off though, I really apreciate the efforts this episode must have taken. TY Mappa

The episode is great no doubt, my only concern is the CG personally, as a 3D artist myself, I think I would prefer an all 2D medium like the battle at Stohess. Using 3D is fine as long as it blends seamlessly to the background, like kengan ashura, it's not perfect but bearable.

I honestly think that 2D will always 100% be better than cgi but I can understand why mappa is using cgi

It was fine in the other episodes, but in this episode, it looked overused and bit bad

HOW WAS EREN’S ROOFTOP SWAN DIVE? 94 Responses

When it came down to Eren’s swan rooftop dive (“Like a fallennn angel…”), the majority seemed to be impressed, with 68% giving it a score of 4 or higher. It was not a monolithic opinion however and many seemed also rated it poorly. Do better, Eren!

WHICH RETURNING CHARACTER’S ENTRANCE WAS YOUR FAVORITE IN THIS EPISODE? 94 Responses

The Survey Corps has returned! Of these reappearances, viewers most enjoyed Mikasa’s (48.9%), Levi’s (31.9%) and Sasha’s (14.9%) the most. Jean and Connie got a little less love, though we’re sure people were still happy to see them!

WHICH RETURNING CHARACTERS HAS THE BEST GLOW UP? 93 Responses

It would appear that the slight plurality sees Mikasa as having the best glow up out of the cast, followed by (in order) Eren, Sasha, Connie, Jean, Floch and Levi. The Old Captain doesn’t like to change up his style, we suppose. 

Eren didn't have a glow up- he had a glow down.

Mikasa can stomp on me please god

OF ALL THE ORIGINAL CAST, WE STILL HAVE NOT SEEM ARMIN, HANGE OR HISTORIA YET. WHICH OF THE THREE ARE YOU MOST LOOKING FORWARD TO SEEING NEXT? 93 Responses

In relation to the previous question, we still haven’t seen 3 major members of the cast. Armin, Hange and Historia. When we asked which of the three you were most looking forward to seeing next, the slight majority (52.7%) expressed their excitement for seeing Armin again, followed by 11.8% wanting to see Hange most. Some others have also expressed their desire to see Historia again. 17.2% simply could not choose and 10.8% stated that they simply didn’t care about the 3 characters.

WHAT DID YOU THINK ABOUT THE WARHAMMER TITAN? 90 Responses

The Warhammer received an overwhelmingly positive response, with the majority expressing much excitement over both its design and powers. 15.6% noted that the design was a bit too creepy for their liking, but the powers were awesome. And on the flip side, 10% noted the Titan’s design was rather cool, in contrast to its rather OP ability. A select few did not enjoy either aspect. 

Would probably enjoy it more if it belonged to someone that likely is not going to be just cannon fodder

HOW DO YOU FEEL ABOUT THE NEW UNIFORMS? 92 Responses

The Survey Corps returned sporting new uniforms to much fanfare. 30.4% of respondents really enjoy the upgrade, finding the suits to be badass. 23.9% couldn’t find the words and just settled for pure hype. 20.7% enjoy the new uniforms just as much as they enjoy the classic uniforms. 12% felt it was a much needed upgrade, though 10.9% don’t care at all about the uniform change.

I like both but I prefer the old design

EREN SAYS TO MIKASA, “YOU GUYS ACTUALLY CAME.” THIS IS FOLLOWED UP BY MIKASA ASKING EREN TO COME HOME. DOES THIS INSINUATE THAT EREN WENT TO THE MAINLAND ON HIS OWN? 90 Responses

The circumstances of the Survey Corps’ presence on the mainland continues to be a mystery. When we asked about whether Eren was there alone or not a few episodes ago, the majority believed that he was either there alongside the Survey Corps or was sent there by them. Overall, the feelings seem to be the same (that Eren came alongside the Survey Corps). 45.6% think that Mikasa’s words may have some other meaning and that things are way too planned out to be coincidence. 18.9% believe that Eren did go rogue, while 15.6% think that Eren didn’t necessarily go rogue, but wasn’t working with them for a while either. The remaining 20% have already been spoiled on this particular plot point.

THE ATTACK ON LIBERIO SEEMS TO PARALLEL THE BREACH OF SHIGANSHINA. HOW DO YOU FEEL ABOUT THIS EVENT IN COMPARISON? 92 Responses

Now that both sides of the conflict have had their rude awakening, we asked how you guys felt about the two events comparatively. 33.7% feel that both attacks were tragic, but still feel more empathy toward the Eldians on Paradis than they do toward those who were raised on Marley. At a tie, 22.8% of respondents felt that the victims of the Liberio attack got what was coming with them, while another 22.8% felt about the same amount of sympathy for the victims on both sides. 10.9% feel this is way worse than what happened in Shiganshina and feel more sympathy for the victims in Liberio. 

I am yet to know the goals behind this attack.

Marley did this countless times so I don’t feel bad for them. I kind of feel for eldians tho bc they are brainwashed from a young age to give up their lives for a country who doesn’t give a shit about them. 

Honestly they deserve what Eren is doing to them. Excluding Falco, no one outside of Paradis has earned my sympathy, even with the additional context.

SADLY, UDO AND ZOFIA DID NOT SURVIVE THE ATTACK ON LIBERIO. HOW DO YOU FEEL ABOUT THEIR DEATHS? 91 Responses

Udo and Zofia have joined the ranks of characters who tagged along with the main cast for a while only to be killed off for character development. 25.3% anticipated at least one of them to die, but not both. Another tie on this poll, 24.2% stated that they were disappointed and was hoping to see more of them, while another 24.2% didn’t care about them at all. 14.3% are happy to ditch the focus on them in favor of more familiar characters, and 8.8% feel pure and utter devastation. 

Good riddance Warrior scum

Sad but allows for Gabi’s development 

sad but okay. death is common in this anime.

EREN AND FLOCH’S LAST INTERACTION IN S3 WAS A VERY TENSE ARGUMENT. NOW IT SEEMS FLOCH IS DEDICATED TO EREN’S CALL TO ACTION, SHIFTING THE “NECESSARY DEVIL” STATUS FROM ERWIN ONTO HIM. WHAT DO YOU THINK THEIR RELATIONSHIP IS LIKE NOW? 91 Responses

Eren and Floch were anything but BFF’s at the closing of season 3. Now Floch seems to be wholly devoted to Eren’s cause… What changed? 28.6% believe that nothing has actually changed in terms of their relationship, but that Floch simply just latched onto Eren’s fight in need of a new devil. 23.1% feel that they still aren’t friends, but are in more comfortable “ally” territory. 15.4% aren’t sure what to make of it. Smaller handfuls feel that they either grew to become friends and/or co-conspired to attack Liberio together. 22% are already spoiled on the details. 

Floch is easily persuaded...and annoying 🤷‍♀️

WE SEE GABI GRAB THE GUARD’S FUN AFTER WITNESSING SASHA KILL HIM. WHAT DO YOU THINK MIGHT HAPPEN? 90 Responses

Gabi moves headstrong into the fight, wanting to play her part in defending her hometown. A large chunk of anime only viewers have been spoiled on future developments for her character. But for those still in the dark - 24.4% feel that she will successfully kill a member of the Survey Corps. 21.1% aren’t sure what to expect, while 10% think she will only manage to injure someone in the Survey Corps. Smaller amounts feel she won’t be successful in any capacity or may even die herself.

ADDITIONAL THOUGHTS ON THE EPISODE?

Epic episode, survey corps come back, OH YEAH, but I wished they didn’t use CGI on humans and bettered the CGI on Titans.

It really makes me sad how Eren is continuing the cycle of revenge by killing innocent Marleyan civilians, but it makes sense for his character. 

Real cool ep but w h e r e a r m i n

It sucks that I like the warriors and the Corp bc both of them are victims in different way so seeing them have to go head to head sucks. They all deserve better

SO great I loved it! However, I missed Reiner, Falco, and Zeke. I hope they're okay :-) RIP Udo and Zofia :-(

I think I need more dialogue between the old crew to really settle back in with them. I kinda believe that Mappa's still trying to 'click', they obviously can't just get it right immediately. Other then that I loved the titan scenes, more than ODM scenes 😔

This was a great episode and I was literally vibrating in my seat from excitement! I think MAPPA is doing a great job with the animation and the music works really well with the action. Can’t wait for the rest of the season!

I miss wit studio

Willy seems to have his first daughter really early, he looks like 30 !

I’d say the episode as a whole is a solid 8-9/10, the cgi in some parts really ruins the moment for me

WHERE DO YOU PRIMARILY DISCUSS THE SERIES? 88 Responses

Thanks again to everyone who participated!

[just-absolutely-super]

Finally got around to watching the Sonic movie (after much debate) so here’s some thoughts on it:

The Good

One thing I will say is that the story itself was good. It’s simple but not in a bad way. I enjoyed the themes they were trying to explore in regards to Sonic’s isolation and desire to belong and make friends. It’s cheesy for sure, but the kind of cheese I very much enjoy.

Going into Sonic’s character...I’ll admit, I actually thought he was quite cute and charming (even if his realistic CG appearance is unsettling at times). He seems more child-like than his game counterpart imho but for this universe it makes a lot of sense (especially since he spent 10 years alone rather than saving the world). I also like the little touches they made with his character design like how where he runs so much his shoes and socks get wear and tear.

Ben Schwartz did an amazing job voicing him too. I thought he capture the spirit of Sonic with his sass and carefree tone. There were also times where he kinda reminded me of Jaleel White’s Sonic voice from the 90′s.

it’s such a shame i couldn’t completely enjoy it because every time he opened his mouth I heard Dewey Freaking Duck

The human characters weren’t bad either. I thought I’d get annoyed with them, but I thought James Marsden’s character was a good foil to a more naive and hyperactive Sonic.

I also like Maddie (Tom’s wife) even if she didn’t really do a whole lot in the film. I just appreciated that she and Tom were already married and we didn’t have to deal with a forced romance plot for them because it’s already said and done lmao

The “Bad”

Putting the quotations because it’s not exactly bad imho--just really weak

While I didn’t mind the human characters, they really were the weakest part of the film for me.

Tom’s story about whether or not he should stay a small-town cop never really felt like a weighted issue to me. He never looked like he was struggling with the decision to move onto a new chapter in his life; and even when Sonic got mad at him about leaving Green Hills, he still didn’t really look like a big decision like a job change really effected him. So when he ends up saying he wasn’t going to move I was just kinda like......okay so?

ngl there were also parts where Marsden’s acting felt wooden whenever he was interacting with Sonic but I’ll chalk it up to him not knowing how to act around someone who isn’t there.

Agent Stone’s character was also a head tilter for me. I kinda get what his purpose was as Dr. Robotnik’s lackey, but overall it was just weird to see him show up for more comic relief. It would have made more sense if Robotnik had a robot sidekick instead like how he does in other media.

Also I’m really not sure why Maddie's sister hates Tom so much other than they just really wanted the typical, “the girl’s family hates her husband for dumb reasons,” trope. It felt unnecessary and out of place imho

Next on the list of weak things is the reason Sonic had to leave his home world (unsure if it’s really an alien planet or another dimension).

While I do like the aspect that he had to leave because his speed is so coveted that others would want to capture him/kill him for it....but why were the Echidnas the one hunting him down?

Unless the power of his super speed came from Chaos himself, I don’t see why they would go on a manhunt for him and (possibly) kill his mother figure for it? It just doesn’t make a lot of sense to me.

Finally, the the biggest part of this: Dr. Robotnik (as he is referred to in the movie) aka Eggman

So let me start out by saying that I love Jim Carrey. Like he just makes me happy every time I watch him in a movie. He’s like, a comfort actor if that’s even a real thing.

But I could not separate the actor from the character in this movie.

It really was just Jim Carrey...being Jim Carrey.

There were times where I could see Eggman’s character (his arrogance, belittling others for not being as smart as he is), and at the end I could definitely hear Jim Carrey replicate Mike Pollock’s signature Eggman voice...

But in the end, he just wasn’t Eggman to me. Hell, even the reason for his nickname doesn’t make a lot of sense!

Like watching this entire movie I kept wondering how they would incorporate eggs into Robotnik’s character. Jim Carrey is super skinny, so it can’t be his body type that would garner the nickname. I couldn’t think of any egg-related anecdotes that would be used if you’re calling someone crazy. So what’s the reason he’s called Eggman?

His drones

Yeah...that’s it. It’s because his drones are white and kinda ovally I guess? Jim Carrey referred to them as his “eggs” once when he’s introduced and it’s never brought up again until the climax where Sonic said, “your eggs are impressive Mr. Eggman,” and I’m not lying, I had to pause the movie and rewind because I did not catch why Sonic was suddenly referring to him as Eggman now. It’s just that random to me.

I mean granted it’s not necessarily a bad way to use Eggman’s canon name...but it definitely seemed like the writers went over and beyond trying to figure out a way to include it in the story because we have to call him Eggman SOMEHOW!

Final Conclusion

It’s not a bad movie. I’ve definitely seen worse. Really, the only time I really enjoyed it was when Sonic was on screen and interacting with everyone and everything around him. Everything else was just kinda bland though, but that’s just me. Overall, I’d say it’s worth at least a watch or two.

Rating-wise, I’d give it 3/5

I might check out the sequel but it’ll only be once it comes to streaming services like this one.

[calocera]

SPOILERS FOR CATS 2019, here’s my hot takes and opinions

be warned, THIS IS LOOOONG

First off my overall opinion, i LITERALLY cannot say whether it was good or bad, like lots of critics say it just...is beyond that. It’s VERY fun and that’s all I can bring myself to say, I have LOTS of problems with it but I can’t even say that they make the movie bad. It is definitely worth watching

OPINIONS ON CHARACTERS:

Victoria: she’s good! I appreciate that they kinda left her personality blank other than her innocence since that’s pretty much how she always was, still not super thrilled with her as a main character but franchesca did the best she could

Munkustrap: I loved him! he was more of a main character than I would have expected, but they STILL cut all the charm from his lines... why do I love him then? Robbie fairchild did AMAZING background acting, whenever he was in frame he was always doing something SUPER munkustrap-y and making cute dad faces. he was dealt bad lines but he worked around it best he could. Also his legs were normal so...epic fail

Mistoffelees: 😒😒😒😒😒🤢🤢🤮 disappointed but not at all surprised...he was just a Woobie, a softboy uwu nice guy. I felt like I was seeing fanon 2013 loki in cat form. THEY MADE HIS SONG A SADBOY PITY PARTY SONG...WHY WOULD YOU MAKE THE 11 O’CLOCK NUMBER SLOW AND SAD???? Where is the smug little shit who’s vague and aloof yet confident and joyous? He was murdered by his evil homophobic shadow clone. I’m not even gunna indulge the fact that him and Victoria were a thing, I’ll go over that later. He also just constantly looked like the crying cat meme his eyes were so red and watery it was horrifying, yet somehow he wasn’t the worst character , that leads us too.....

tugger: what.the.fuck.did.you.do.to.this.boy. HE GOT THE TREATMENT I EXPECTED FOR MUNKUSTRAP! HE WAS DEMOTED TO BACKGROUND CHARACTER! not only did he not sing mr. mistoffelees, he literally did nothing other than his song, he never interacted with ANY characters besides jenny in 1 scene. I know cats has no set main characters but he’s undoubtedly one of the most important characters and he’s like...the least important named character in the movie. ALSO Jason Derulo was not sexy at all. There was NO hip thrusting NO sexy meowing NO glamrock, he was just an asshole and if I hadn’t already seen the original I would have either completely forgotten about his character or though he was the worst character. I’m so fucking angy I cannot express.

Girzzabella: ngl I expected better. Her acting was great but with the horrible effects I couldnt get invested but I’ll touch on the effects later. Her singing was good, but I expected it to carry the movie and it wasn’t at all the best song in the movie, I’d say she’s about as good as I expected she’d be but the movie itself was more enjoyable than I expected so she was less significant

Old d: she was fine, she LOOKED the part definitely, she didn’t have as large a presence as ken page but I wouldnt expect that of her. Her singing wasn’t the greatest though, her voice is fine by it’s just NOT suited to old d’s songs. I would have preferred she play a female gus bc her voice is very sweet and frail, not at all built for belting like her songs required.

Macavity: he’s just...eh. He’s basically a comic relief villain which sucks. He does practically nothing besides kidnap people, say a cheesy line, and act like a caricature of a 90s cartoon villain (and not one of the fun ones) like theres a scene where he poofs away and when he does it he goes, MACAvityyyyyyy and fades away its so unintentionally funny but it just makes him so lame as a villain. not to mention he doesnt even die at the end or get any satisfying conclusion he just gets stuck on top of a statue and his powers suddenly stop working (for some reason??)

Bombalurina: fuck that, I am simultaneously glad she only was in the macavity number bc fuck off Taylor Swift but also disappointed bc she deserved so much better.

Bustopher: 😟 never in my darkest nightmares did I think I’d see bustopher Jones deepthroat multiple crayfish but here we are. Somehow THIS was the most sexual song, I cannot begin to name the fetishes checked off by this performance bc itd hit word limit. Let me just say that I said multiple times out loud, “damn bustopher kinda a freak with it 😏😏” like I CANNOT stress how weirdly sexual it gets. And ofc its all otherwise just haha funney fat guy eat food and burp and fall down. He also breaks the fourth wall a few times which like, fuck you

Jenny: exactly what was shown in the trailer. Unfunny fat jokes and slapstick humor. Also they focused WAY too many shots on her cat pussy and I wish I was making that up. Also of note is that the cgi on the rats and cockroaches are drastically worse than the rest of the movie, like not just bad designs the effects are BAD. also they translated they whole gumbie cat fur-shedding as her wearing fake skin over her outfit which would be fine but UHH the fake fur is skin tight??? so it literally looks like shes ripping off her skin and she does it multiple times its fucking terrifying

Mungojerrie and rumpelteazer: meh, they are fine as characters, not quite as energetic as I would have liked but they didn’t massively fuck anything up? The song was horrible, they went against the beat for...some reason? Like it’s a song with a very distinct rhythm and they split up the lyrics so weirdly. I liked that they followed through with the lore of them working for macavity

Skimbleshanks: YES YESSSSSSSSSS HOLY FUCKING SHIT 💗💕💖💞💜😳😳😳😳😳😳😳💜💛🧡💚💖❤️💗 i absolutely CANNOT express how good skimbleshanks made me feel. He looks like a leather daddy with his chains and suspenders and hat and stache, I hate that I’m saying this but uh...mr skimbleshanks sir😳 we were actually screaming it was so fucking good. Watching this movie was worth it just for skimble. Unironically. I’m listening to the song as we speak. It was kinda weird that they moved the tap dancing to this song but that’s more of a detractor from Jennie’s and a plus side to skimbles since it’s good tap

Gus: good! Ian did a good job of course, no one doubted that he would.

Growltiger and griddlebone: not racist but still absolutely horrifying. One of the worst parts of the movie, I actually got squeamish looking at griddlebone a few times that’s how bad she looks

Everyone else: not that good. I couldn’t tell who was who, all their personalities were annoying, I’m on imdb as we speak trying to figure out who even was supposed to be who. Demeter is completely butchered and jemima just isn’t there, doesn’t sing her part, it all sucked man.

Tech talk:

CGI: okay so here’s the thing, the effects are good. GREAT even, the issue is how fucking horrible the designs are. The lack of cat nose, mouth, and hairy cheeks makes them all look disgusting. Also the feet. Holy fuck why do they have feet. THERES A FUCKING SCENE WHERE TUGGER GRABS VICTORIAS FOOT AND SNIFFS IT. IT LASTS LIKE 5 SECONDS. Old Deuteronomy, Gus, and Cassandra (bc she was already bald) are the only characters I’d say look anywhere close to decent, grizabella looks okay in profile but head on it’s all horrible again. its really such a shame bc the sets are gorgeous! i really hope this movie gets some form of recognition for its sets.

the editing and directing was DOGSHITTTTTTT there are SO many scenes where characters just teleport or parts where people are singing and no ones mouths are moving its really distracting

Other things:

it’s OBVIOUS that the critics calling this movie horny have never seen the original. I’d definitely say the movie is LESS HORNY than the play. It IS however waaaaaaay more uncomfortable with its hornieness, so I’d say in that regard YES, the horny stuff is much more gratuitous and off putting despite there being an overall smaller amount than the play. ie everything bustopher jones does

They changed a BUNCH of lyrics for some reason?? Like they cut verses which I understand but there are like a handful of lyrics in almost every song they just...change. like...okay? All changing lyrics is gunna do is make people who knew the songs frustrated when they can’t sing along

the dancing was incredible! shame the cg just fucking invalidates all of it bc your mind doesnt register it as real people doing real moves

OKAY THE FUCKING CATNIP SCENE so when taylor swift showers everyone in catnip they all just fucking start moaning and go FULL HORNY its TOO MUCH like misto full on does an o face like eyes rolled back mouth open  and munkustrap is like ass up panting i still havent processed it im fucking terrified to encounter it again. they cut the orgy? yet added THIS??? k

WHY did they take 2 of the most iconic characters who FREQUENTLY interact and just

a. Never even have them make eye contact

b. Make 1 a background character

c. Completely change the personality of the other one

On the topic of Victoria/misto: I am just still at a loss as to why they thought it’d be a good idea? They completely removed Plato and for what? This? Pathetic. It’s worth noting the weirdly munkustrap has WAYYY more chemistry with both Victoria AND mistoffelees then they did with each other (there’s a part where it looks like misto and munk are about to kiss for some reason?? munk ALSO gets all touchy feely with skimbleshanks???) anyways munkustrap king moments

tldr; its worth watching, the best parts were the sets, the dancing, skimbleshanks, and munkustrp fucking CARRIES the weight of the world with his face acting. the worst things were a big fat tie between bustopher, tugger,misto,jenny,growltiger and griddlebone, and the godawful design choices

[weekendwarriorblog]

The Weekend Warrior 4/23/21: MORTAL KOMBAT, DEMON SLAYER, TOGETHER TOGETHER, STREET GANG, SISTERS WITH TRANSISTORS

Ugh. Trying to maintain this column as a weekly entity during the final few weeks of the longest Oscar season ever has been really hard, and I’m not sure that will change once the Oscars are over either, because I look at the number of movies being released both theatrically and streaming over the next few weeks, and it makes my head hurt. Sorry for the kvetching, it just is what it is.

There are two big theatrical releases this weekend, Warner Bros’ MORTAL KOMBAT and DEMON SLAYER THE MOVIE: MUGEN TRAIN from FUNImation Entertainment, both which have already been released internationally. I also probably won’t be able to watch or review either before this column gets posted.

Mortal Kombat seems like the easiest sell being that it’s based on the popular Midway Games video game franchise introduced in the early ‘90s that led to a series of films, books, comics and you name it. It was a very popular fighting game that had over a dozen iterations including one in which MK characters fought against DC superheroes.

The very first Mortal Kombat movies opened in 1995, right amidst MK-mania, and it was directed by one Paul W.S. Anderson, his very first movie in a long line of video game-related movies, including a number of Resident Evil and the recent Monster Hunter. There are a lot of people who love those games, and yes, even people who love that and other movies, but to others, who may have been too old to get into the games when they came out, the whole thing about different fighters fighting each other just looks kind of studio. Even though I’m interested to see what producer James Wan brings to this reboot, I just don’t have much interest otherwise.

Unfortunately, and this is pretty daunting, Warner Bros. wasn’t sending out screeners to critics until Wednesday with a review embargo for Thursday night at 7pm, which is never a good sign, and yet, it continues Warner Bros. continuing the trend of being one of the only studios that screeners EVERY movie to film critics rather than just making them pay to see it on Thursday night or Friday. I hope to watch it and maybe add something Thursday night, time-permitting. Not sure you heard but the Oscars are Sunday.

As far as box office, Mortal Kombat opens on Friday but also premieres on HBO Max, and I’m not sure there will be as much urge to see MK on the largest screen possible, as there was with Godzilla vs. Kong. Because of that, I think the cap for this one over the three-day weekend is about $10 million but not much more and probably more frontloaded to Friday than we’ve seen in some time.

Mini-Review: As you can imagine from my statement above, I don’t hold the Mortal Kombat games or other iterations in any particular high esteem, so I’m basically jumping into this movie, directed by Simon McQuoid, just as a movie and not necessarily as a video game movie.

It starts off promising enough like a samurai movie with a flashback where we watch Hiroyuki Sanada’s hero sees his wife and son be killed by Joe Taslim’s character that will later become Sub-Zero. The general principle seems to be that there’s a world where people from other worlds fight each other to gain complete control. The hero is Lewis Tan’s MMA fighter Cole Young, presumably a popular character from the game? He is also soon attacked by Sub-Zero presumably because he’s marked with a dragon tattoo that deems him a champion of these fights, but he needs to find someone named Sonya Blade (Jessica McNamee) to help him get to the “Mortal Kombat.” At the same time, he meets the movie’s most entertaining character, Kane,

played by Australian actor Josh Lawson, mainly because he swears constantly and cracks wise -- he’s a bit like Wolverine, actually, and he’s actually the best part of the movie.

Otherwise, everyone and everything is always so deadly serious that everyone else we meet just doesn’t have much impact, because frankly, none of these names or characters mean jack shit to me. Sure, some of them sound vaguely familiar but I was more interested in the great Asian actors who turn up including Tadanobu Asano’s Lord Raiden, who is gonna claim Earth if its champions lose at Mortal Kombat. And Sub-Zero basically just shows up and tries to kill everyone.

As with far too many action movies, the action itself is great, the writing and acting not so much.

As it goes along, things become more epic and fantasy-driven but that also makes the dialogue seem even worse. Similarly, the fight choreography is pretty great, but the movie still leans way too heavily on visual FX to keep it more interesting for anyone not too interested in MMA… like myself. When all else fails, they can show off Sub-Zero’s cool ice powers every chance possible as well as the other’s powers, but some of them (like Lord Raiden) just made me think of this as a rip-off of the great Big Trouble in Little China.

The thing is I’m not a fan of the video game nor of MMA, so Mortal Kombat really doesn’t have much to offer me. The whole thing just seems very silly, just like almost everything from the ‘90s. (How’s THAT for a bad take?)

That said, I thought the final battle was great, and I enjoyed some of the gorier aspects of the fights, too, and it all leads to my favorite part, which is the three-way fight between Cole, Sub-Zero, and… actually I’m not sure if it’s a spoiler or not, but it’s a pretty cool fight that almost makes up for some of the dumber characters introduced earlier on. (LIke that guy with four arms. I know he’s a character in the games, but I didn’t even care enough to look up his name.)

It’s perfectly fine that they decided to go Rated R with the movie since most of the nostalgia for this movie and franchise will be towards older guys, but at times, the CG blood is so hinky it feels like the decision to go R-rated was made well after it was filmed.

Even though I went in with the lowest of expectations, I still found most of Mortal Kombat kinda trite and boring, maybe something I’d appreciate more as a teenager but not so much as a grown adult. But what do you expect for a movie based on a video game that’s just a bunch of “cool fights”?

Rating: 5.5/10

And yet, Demon Slayer could be the surprise breakout of the weekend, considering the theatrical success FUNimation has had with theatrical releases of the My Hero Academia movies into theaters in 2018 and 2020, and the hugely successful Dragon Ball Super: Brolly, which grossed $31 million domestically after a surprise $20.2 million in its first five days in roughly 1,200 movies. In fact, it made $7 million its opening Wednesday in January 2019, and FUNimation is hoping that Demon Slayer will have a similar success by opening it for a single day (Thursday) in IMAX theaters before Mortal Kombat takes over on Friday.

Demon Slayer has already grossed $383.7 million internationally compared to Mortal Kombat’s $10.7 million, and you cannot ignore the huge popularity that anime has seen over the past few decades. In fact, a bunch of screenings for Demon Slayer in NYC have already sold out, although you have to bear in mind that these are 25% capacity theaters. Even so, I still think this can make $4 to 5 million on Thursday and another $7 to 8 million over the weekend, depending on the number of theaters. Yes, it will be quite frontloaded, and I’m not sure what the cap is on theaters and how that will affect how it does over the weekend, but expect a big Thursday and a more moderate weekend but one that might give both Mortal Kombat and Godzilla vs. Kong a run for the top of the box office.

Also hitting theaters before streaming on Netflix (on April 30) is THE MITCHELLS VS. THE MACHINES, the new animated movie produced by Chris Miller and Philip Lord, following their Oscar win for Spider-Man: Into the Spider-Verse. It’s a little weird to open a new animated movies, presumably in select theaters, when such a hugely anticipated animated movie like Demon Slayer is opening, but Netflix won’t

The movie itself is directed by Michael Rianda and Jeff Rowe, and it involves a family named the Mitchells, whose eldest daughter Katie (voiced by Abbi Jacobson) is leaving home for college, so her father (voiced by Danny McBride) decides that he’s going to drive her there and use it as the chance for a cross-country family trip. Meanwhile, it’s set up how the world becomes overrun with robots when a tech giant creates a new personal assistant.

I wasn’t sure whether I’d like this even though I’m generally a fan of all of Lord/Miller’s animated movies including both Cloudy with a Chance of Meatballs movies. It took me a little time to get into the family and the general premise. In some ways it reminded me of Edgar Wright’s The World’s End where it’s trying to merge these two disparate genres, but when they actually merge, it just doesn’t work as well as it may have seemed on paper. That worry is soon expunged, because Rianda finds ways to integrate the two ideas over time.

On the trip, the Mitchells run into their perfect family neighbors, the Poseys -- voiced by Krissy Teigen, John Legend and Charlyne Yi -- and you’d think they might be a bigger part of the movie then they actually are. I’m not sure I would have liked doing the family-vs.-family thing so soon after last year’s Croods movie, but I did love the dynamics of the Mitchells being a very relatable imperfect family with Danny McBride being particularly great voicing the family patriarch. It even has a really touching Pixar’s Up moment of Katie’s father watching old home movies of them together when she was younger.

In general, the filmmakers have assembled a pretty amazing voice cast that includes Conan O’Brien, Olivia Colman, Fred Armisen and Beck Bennett. Actually the weirdest voice choice is Katie’s younger brother Aaron, voiced by Rianda himself, and it sounds like a strange older man trying to be a kid, so it doesn’t work as well as others.

What I genuinely liked about Mitchells vs. the Machines is that it doesn’t go out of its way to talk down to overly sensitive kiddies or skimp on the action while also including elements that parents will enjoy as well, and to me, that’s the ideal of a family film.

While some might feel that The Mitchells vs. the Machines is fairly standard animated fare, it ends up being a fun cross between National Lampoon’s Vacation (cleaned up for the kiddies) with Will Smith’s I, Robot, actually, and yet, it somehow does work. It’s a shame that it’s really not getting a theatrical release except to be awards-eligible.

Next, we have two really great movies I saw at Sundance this year and really enjoyed immensely…

So as I mentioned, I first saw Nikole Beckwith’s TOGETHER TOGETHER (Bleecker Street), starring Ed Helms and Patti Harrison, at Sundance, and it was one of my favorite movies there with Helms playing a middle-aged single guy named Matt, who hires the much-younger Anna (Harrison) to be his surrogate, because he wants a baby. It’s a tough relationship thrown together due to each of their respective necessities.

Part of what drives the movie is how different Matt and Anna are, him being quite inappropriate with his suggestions and requests but not really having a working knowledge of female anatomy, pregnancy, delivery etc, but being really eager to raise a child and having the money that Anna clearly does not.

While I was familiar with Helms from The Office, The Hangover, etc. I really didn’t know Patti Harrison at all. Apparently, she’s a stand-up comic who hasn’t done a ton of acting, comedic or otherwise. That’s pretty amazing when you watch this movie and see her dry sardonic wit playing well against Helms’ generally lovable doofus. What I also didn’t realize and frankly, I don’t really see this as something even worth mentioning, is that she’s a trans woman playing a clearly CIS part, and she kills it. I certainly wouldn’t have known nor did it really affect my enjoyment of the movie, yet it still seems like such a brave statement on the part of the director and Harrison herself. The thing is that Harrison isn't just a terrific actress in her own right, but she brings out aspects of Helms that I never thought I would ever possibly see. (If it isn't obvious, I'm not the biggest fan of Helms.)

The movie has a great sense of humor, as it gets the most out of this awkward duo and then throws so many great supporting actors into the cast around them that it’s almost impossible not to enjoy the laughs. There’s the testy Sonogram tech, played by Sufe Bradshaw from Veep, who tries to maintain her composure and bite her tongue, but you can tell she’s having none of it. Others who show up, including Tig Notero, Norah Dunn and Fred Melamed. Just when you least expect it, Anna Conkle from Pen15, shows up as one of those delivery gurus that make the two of them feel even more awkward.

What’s nice is that this never turns into the typical meet cute rom-com that some might be expecting, as Beckwith’s film is more about friendship and companionship and being there for another, and the lack of that romantic spark even as chemistry develops between them is what makes this film so enjoyably unique. Beckwith’s sense of humor combined with her dynamic duo stars makes Together Together the best comedy about pregnancy probably since Knocked Up.

Another great Sundance movie and actually one of my two favorite recent documentaries AND one of the best movies I’ve seen this year is… you know what? I haven’t done this for a while so this is this week’s “CHOSEN ONE”!! (Fanfare)

(Photo courtesy: Robert Fuhring/Courtesy Sesame Workshop)

Marilyn (Mad Hot Ballroom) Agrilo’s STREET GANG: HOW WE GOT TO SESAME STREET (Screen Media/HBO Documentaries) is a fantastic doc about the long-running and popular PBS kids show that’s every bit as good as Morgan Neville’s Mr. Rogers doc, Won’t You Be My Neighbor? Which was robbed of an Oscar nomination a few years back.

Let me make something clear on the day I’m writing this, April 21, 2021, that this is my favorite movie of the year, the only one I’ve already given a 10/10, and the end of the year might come around, and I have a feeling it will still be my #1.

You see, I was raised a Sesame Street kid. It’s not like I didn’t read or play outside or not get the attention of my parents or family, but there was so much of my happy, young life that I could attribute to my time watching Sesame Street, and when you watch Marily Agrilo’s amazing doc, it all comes rushing back. There is stuff in this movie that I haven’t seen in maybe 50 years but that I clearly remember laughing at, and there’s stuff that got into the mind of a young Ed that influenced my love of humor and music and just outright insanity. Sure, I loved The Muppet Show, too, but it was a different experience, so to watch a movie about the show with all sorts of stuff I had never seen or knew, that’s what makes Street Gang such a brilliant documentary, and easily one of the best we’ll see this year. Of that I have no doubt.

From the very origins of the show with Joan Cooney developing a show that will be entertaining and educational to the kids being plopped down in front of the TV in the ‘60s and ‘70s, so they can learn something, it’s just 1:46 of straight-up wonderment.

Besides getting to see a lot of the beloved actors/characters from the show and many of the surviving players like Carol Spinney aka Big Bird/Oscar, you can see how this show tried to create something that wasn’t just constantly advertising to young minds.

More than anything, the show is a love letter to the bromance between Jim Henson and Frank Oz, and you get to see so many of their bits and outtakes that make their Muppets like Burt and Ernie and Grover and, of course, Kermit, so beloved by kids that even cynical adults like myself would revert childhood just thinking about them. Then on top of that there’s the wonderful music and songs of Christopher Cerf and Joe Raposo and others, songs that would permeate the mainstream populace and be remembered for decades.

The movie is just a tribute to the joy of childhood and learning to love and sing and dance and just have fun and not worry about the world. I’m not sure if kids these days have anything like that.

It also gets quite sad, and I’m not embarrassed to say that in the sequence that covers the death of Mr. Hooper, I was outright bawling, and a few minutes later, when Jim Henson dies in 1990, I completely lost it. That’s how much this show meant to me and to so many people over the decades, and Brava to Ms. Agrilo for creating just the perfect document to everything that Sesame Street brought to so many people’s lives. This is easily the best documentary this year, and woe be to any Academy that doesn’t remember it at year’s end.

The other fantastic doc out this week, though I actually got to see it last year, is Lisa Rovner’s SISTERS WITH TRANSISTORS (Metrograph Pictures), which will play at the Metrograph, both on demand and part of its Digital Live Screenings (available to join for just $5 a month!). This is an endlessly fascinating doc that looks at the women of electronic music and the early days of synthesizers and synthesis and some of the female pioneers. It’s narrated by Laurie Anderson, which couldn’t be the more perfect combination.

The movie covers the likes of Suzanne Cianni; Forbidden Planet composers Louis and Bebe Barron, who created the first all-electronic score for that movie; the amazing Wendy Carlos, who electronically scored one of my favorite movies of all time, Kubrick’s A Clockwork Orange; Delia Derbyshire, who was also the subject of Caroline Catz’s short, Delia Derbyshire: The Myths and Legendary Tapes, which tragically, I missed when it premiered at the SXSW Film Festival in March. Derbyshire was also famous for creating the iconic theme to “Doctor Who” while working at the BBC Radiophonic Workshop in the '60s. Others who appear in the movie, either via archival footage or more recent interviews are Pauline Oliveros and Laurie Spiegel, who I was less familiar with.

The point is that as someone who was a fantastic for electronic music and synthesizers from a very early age and for someone who feels he’s very familiar with all angles of music, I learned a lot from watching Rovner’s film, and I enjoyed it just as much a second time, because the footage assembled proves what amazing work these women were doing and rarely if ever getting the credit for what they brought to electronic music, something that still resonates with the kids today who love things like EDM.

An endlessly fascinating film with so much great music and footage, Sisters with Transistors can be watched exclusively through the Metrograph’s Live Screening series, so don’t miss it!

Hitting Shudder this week is Chris Baugh’s BOYS FROM COUNTY HELL (Shudder), which I didn’t get a chance to watch before writing this week’s column, but Shudder in general has been knocking it out of the park with the amazing horror movies it’s been releasing on a weekly basis. This one involves a quarelling father and son on a road who must survive the night when they awaken an ancient Irish vampire.

Also hitting theaters and streamers and digital this week:

THE MARIJUANA CONSPIRACY (Samuel Goldwyn Films)

MY WONDERFUL WANDA (Zeitgeist Films)

WET SEASON (Strand Releasing)

CRESTONE (Utopia)

VANQUISH (Lionsgate)

BLOODTHIRSTY (Brainstorm)

SASQUATCH (Hulu)

SHADOW AND BONE (Netflix)

And that wraps up this week. Next week? No idea… I know there’s stuff coming out but I probably won’t think about it until after THE OSCARS!!!! On Sunday.