#peter stormare icons

[nothingconsoled]

♡  THROUGH THE SOURCE LINK you will find static icons  (100x100 & 90x90)  of the cast of  [ small apartments (2012) ]  all made by me for roleplaying purposes.  a like/reblog is always appreciated as well as suggestions for new projects for me to gif or icon.   content warnings:   johnny smokes, peter and juno have sexually suggestive scenes, and johnny and peter both die on-screen though it’s pretty subtle and there’s no blood in the icons.

[ 260 ]  of  [ james caan ]

[ 52 ]  of  [ rebel wilson ]

[ 320 ]  of  [ johnny knoxville ]

[ 119 ]  of  [ peter stormare ]

[ 250 ]  of  [ juno temple ]

       ♡  YOU ARE WELCOME TO:   1) edit these as you please for personal use   2) turn them into 20x20 icons for yourself if you’re a freak like that   3) use them for a taboo plot or smut rp   4) use them as sidebar images.

       ♡  YOU ARE NOT WELCOME TO:   1) stifle your creativity and zest for life’s mysteries because internet people have strong opinions about everything 2) redistribute my work or claim it as your own.

[beautifulfaces-icons-and-gifs]

Peter Stormare on American Gods Season 2

as Czernobog on American Gods S2 E1

Information on beautifulfaces

Like or reblog.

[walkingdeadicons]

like or reblog

[ultra-violences]

He wears the smell of blood and death like a perfume.

[thehollowedartists]

Peter Stormare in Dark Summer

rp use

720p screencaps

100x100 icons

27 Icons

credit if you use them

[feasibilities]

Keanu Reeves as Tex Johnson in ‘Swedish Dicks’

[lunareffectltd]

PETER STORMARE - JOHN WICK: CHAPTER 2

56 - 100x100 - Unmarked Icons If you use please like or reblog this Please do not edit, unless you ask first Do not credit as your own

Below the cut 

[ollierachnid]

abram tarasov thing i painted digitally

[casketvamps]

follow me on twitter for more quality tweets like these

[spiderdreamer-blog]

The Batman Vs. Dracula (2005)

Looking back, I feel like the initial fandom reaction to The Batman says a lot more about Batman fans than it does about the show itself. There's a certain resistance to change when it comes to long-running iconic superheroes, a preference to stick to "what works" rather than reinventing the wheel. Not helping is that this series was coming off 10+ years of Batman: The Animated Series and the rest of the DCAU, which many (myself included) consider to be a definitive portrayal of the character and many others within DC Comics. Helping even less was the fact that Justice League Unlimited ran alongside this series' first couple seasons and was affected stupidly by the Bat-Embargo. But the other side of that is that there are many different kinds of Batmen who are equally valid in their interpretations because of the skill of the artists and actors involved: Adam West is as legitimate a Batman as Kevin Conroy, Michael Keaton, Diedrich Bader, and all the others. And so we come to The Batman Vs. Dracula, probably the strongest singular effort out of this particular telling.

On a dark night like many others, trouble brews in Arkham Asylum. Penguin (Tom Kenny) and the Joker (Kevin Michael Richardson) have escaped after hearing about a haul of treasure in Gotham Cemetery from another convict. While Joker ends up tending with Batman (Rino Romano), the Penguin manages to seemingly find the crypt with the cash stashed inside...only to accidentally awaken the ancient vampire Dracula (Peter Stormare). Dracula quickly enthralls Penguin to serve as basically his Renfield and moves towards feeding and converting others into his army (a clever kid's-movie workaround to him simply killing them). He also begins to make inroads in high society, and both Bruce and Batman have to work quickly to combat this growing evil...

Despite my opening paragraph being in the interest of fairness, it's not as if The Batman doesn't have some genuine underpinning flaws. While the character designs by artist/producer Jeff Matsuda (just coming off Jackie Chan Adventures at the time) are certainly distinct and memorable in their anime flavorings, they often lack a certain humanity that the DCAU or contemporaries like Teen Titans held, often concentrating on extravagant grotesqueries for the villains in particular. And the writing was often more juvenile and less sophisticated, lacking a sense of genuine threat or atmosphere (one smells whiffs of executive meddling in this). But the show did improve after those early growing pains, and I would say seasons 3 and 4 averaged out to "pretty good", benefiting in particular from the introductions of stalwarts like Batgirl and Robin and having a number of very solid episodes. It also did have some legitimately compelling takes on the Rogues Gallery, such as an aged-down Poison Ivy as a friend of Barbara's, the Riddler eventually revealed to have been born out of betrayal and abuse, Clayface taking the usual role of Two-Face as a tragic figure who was once Bruce's friend, a quietly intimidating Hugo Strange, and a genuinely novel read on Harley Quinn.

While they are absent here (the continuity of the film is unclear, but given the police blame Batman at first and try to violently arrest him, it seems to take place in the first two seasons, pre-Gordon), it does make up for a number of those aforementioned weaknesses. While the writing is still on a less meaty level than a film like Mask of the Phantasm or Return of the Joker, there do exist some potent character beats like Bruce's disquiet at initially thinking the Joker is dead after a seemingly fatal encounter and his pity at his nemesis' eventual vampirizing. Gotham feels a lot more properly gothic, with gloomier tableaus and color palettes on display. The fight scenes have a lot more genuine danger courtesy of sequence directors like Sam Liu (who's become the reliable workhorse architect of DC's DTV movie line) and Brandon Vietti (later the director of Batman: Under the Red Hood and co-producer on Young Justice), benefiting from the DTV format's higher rating. Dracula is genuinely formidable in the way he's able to toss Batman around, and an early brawl with Joker has him feeling far more dangerous than usual. The horror lands with genuine effectiveness, particularly creepy imagery involving essentially vampire x-ray vision, Bruce's nightmares about his parents' death (though I think I've had a lifetime of seeing Martha Wayne's pearls fall on the pavement), and a standout scene in a blood bank.

The voice acting was also a mixed bag at first, with Rino Romano in particular being compared unfavorably to Conroy's definitive hear-it-when-reading-the-comics performance. And while he's not my favorite, I look upon his take a lot more kindly now; he was always a pretty good Bruce Wayne, getting plenty of meat to chew on here with both that and an abortive romance with Vicki Vale (Tara Strong, solid as ever). Plus, as Batman, he gets some genuinely badass line deliveries, especially at the end. Richardson had the daunting, looming ask of taking on the Joker after Mark Hamill codified the character in animation, and he took to it with gusto. Always one of the strongest performers on the series, he has a lot of fun here with going even wilder and manages to be genuinely unsettling in spots. Kenny has the bulk of the comic business here, alternately simpering and sleazy, and you know you're in for a good time when that's what he's being asked to do; at one point, he leers at an image of Vale and exclaims "Nice jugulars!" The real surprise is Stormare, who tones down his Swedish accent and usual predilection towards hamminess in voiceover to offer a more coiled and aristocratic menace for Dracula, which works quite marvelously. (It's also kind of funny to hear this in light of his role as Godbrand in Castlevania and how here, he wishes to resurrect his bride Carmilla, when the relationship is...quite different on that series). If there's a weak link, it's Alastair Duncan as Alfred, a fine actor who never quite managed to hit the right balance of warmth and snark for the stalwart butler in my opinion, though he gets a couple good quiet moments here.

I can't say even now The Batman is my favorite version of the character or holds up as well as some of its on-the-air contemporaries. But given that we've had far more varied and colorful takes on the property since, it's easier now to see it as of a piece with those rather than having the unenviable task of following up a series that redefined the American action landscape. And Dracula shows what it could have been all along, if it'd been given the chance.

[nothingconsoled]

do I accept gif/icon requests?   not at the moment.

do I accept gif/icon suggestions?   yes,   always!

this post serves as a collection of direct links to all the fc resources I’ve uploaded to this blog.   you’re welcome to like this post to check back in later for more!   you can also view my gif packs here if you prefer to see example gifs,   and  here  is the side - blog where I reblog other people’s resources.  (If you’re struggling to find posts on tumblr I suggest searching using  this helpful site).   

my gif packs

William Fichtner,   Finding Steve McQueen (2018)

Alun Armstrong,   Possum (2018)

Richard Brake,   Perfect Skin (2018), The Dare (2019)

Robert De Niro,   Cape Fear (1991),  Heat (1995),  Being Flynn (2012)

Jessica Lange,   The Gambler (2014), AHS S1E1 (2011), Cape Fear (1991)

Jane Seymour,   Lake Effects (2012)

Laurence Fishburne,   Standoff (2016)

Lily Rabe,   Finding Steve McQueen (2018)

David Bradley,   The Lodgers (2017), Harry Brown (2009), Roy (2021), Edmund the Magnificent (2019), and Broadchurch S1E1

Michael Caine,   Youth (2015), Harry Brown (2009)

Scott Turner Schofield,   The Conductor (2018)

Bradley Cooper,   The Hangover III (2013)

Alex Blue Davis,   NCIS (2017)

Drew Barrymore,   Boys on the Side (1995)

Cameron Diaz,   In Her Shoes (2005)

John Goodman,   10 Cloverfield Lane (2016)

John Gallagher,   10 Cloverfield Lane (2016)

Dame Judi Dench,   Notes On A Scandal (2006)

Joaquin Phoenix,   [ gif icons ]   Joker (2019)

Paul Dano,   Being Flynn (2012)

Josh Brolin,   Labor Day (2013) *(accidentally deleted this. kill me. I’ll try to find a backup of this somewhere and repost it. rip.)

Jaz Sinclair,   When The Bough Breaks (2016)

Jonathan Rhys Meyers,   6 Souls/Shelter (2010)

Dermot Mulroney (gif icons),   The Wedding Date (2005), and the Griffin & Phoenix (2006).

both

Tilda Swinton (gif icons & static icons),   We Need To Talk About Kevin (2011), Burn After Reading (2008), Constantine (2005), Thumbsucker (2005)

my icon packs

Keeley Forsyth,   The Devil Outside (2018)

Juno Temple,   Small Apartments (2012)

Peter Stormare,   Small Apartments (2012)

Johnny Knoxville,   Small Apartments (2012)

Rebel Wilson,   Small Apartments (2012)

James Caan,   Small Apartments (2012)

Billy Blair,   Whitetail (2021)

James Jordan,   Home (2020)

Kathy Bates,   Bad Santa II (2016), Home (2020)

Jena Malone,   The Public (2021)

Richard Brake,   Bingo Hell (2021)

Daniel Grogan,   Recipe For Abduction (2021)

Barabra Hershey,   The Manor (2021)

Sean Whalen,   Employee of the Month (2006)

Matthew Rhys,   The Americans S1E1

Noah Emmerich,   The Americans S1E1

Dax Shepard,   Employee of the Month (2006)

Danny Woodburn,   Employee of the Month (2006)

Doug Jones,   Pans Labyrinth (2006)

William Fichtner,   Finding Steve Mcqueen (2018)

Alun Armstrong,   Possum (2018)

Rosamund Pike,   Return To Sender (2015)

Richard Moll,   Lake Effects (2012)

Lara Flynn Boyle,   Twin Peaks: S1 (1990) & S2E1-4

Jacob Wysocki,   Loosely Exactly Nicole: S1E1-4 (2016), Fat Kid Rules The World (2012)

Nicole Byer, (pt one two three four)   Loosely Exactly Nicole: S1E1-4 (2016)

Brandon Scott (pt one two),   Loosely Exactly Nicole: S1E4-5 (2016)

Stanley Weber (pt one two),   Not Another Happy Ending (2013)

Sam Coleman,   Leatherface (2017)

James Bloor,   Leatherface (2017)

Lili Taylor,   Leatherface (2017)

Naveen Andrews,   Sense8: S1 (2015)

Helen Mirren,   Collateral Beauty (2016)

Octavia Spencer,   Gifted (2017)

Cate Blanchett,   Notes On A Scandal (2006)

Keiynan Lonsdale,   Love, Simon (2018)

Jonah Hill,   Acceptance (2006), Grandma’s Boy (2006)

Amy Aquino,   Bosch: S3 (2017)

Claudia Doumit,   Timeless: S2E1 and E3 (2018)

Nathan Page,   Miss Fisher's Murder Mysteries (2012-2015)

my screencaps

Sid Haig,   Spider Baby (1967)

Danny Woodburn,   Employee of the month (2006)

[beautifulfaces-icons-and-gifs]

Peter Stormare on American Gods Season 2

as Czernobog on American Gods S2 E2

Information on beautifulfaces

Like or reblog.

[walkingdeadicons]

primeiro episódio de prison break é a minha religião

 like or © prisinbreak

[alicejohnn9087]

“Fargo” is Coen Brothers’ Magnum Opus

Nobody expected the 1996 film “Fargo” to be a super hit. The 90s was the time for Star Wars, rom-com, and other pop culture stuff. Darkness and violence were looked down upon and were seldom considered to be the crowd pullers. So, when Coen brothers released their film on March the 8th, 1996, even they had very minimal expectations with it.

The director duo Ethan and Joel Coen had made three films before “Fargo” all of which were box office bombs despite receiving rave reviews from the critics. The “dark” and “violent” themes of the films though impressed the critics, but the film failed to attract more than a few people to the theaters.

“Fargo” also had a mark of Coen brothers’ noir style with its themes hovering over cruelty and black comedy. The film wasn’t expected to be any different than preceding failed films.

So, when William H. Macy starrer exceeded the expectations, everyone was surprised, even Coen brothers themselves couldn’t believe the box office numbers.

“Fargo” is still considered as their greatest achievement not only in the financial aspect but also in terms of artistic creativity. Even though they did create other brilliant films afterwards like “No Country for Old Men” but to this day, “Fargo” is arguably the best film they have ever made.

The film is a paragon of crime thriller with interwoven facets of black comedy, making it one of the most iconic and rare films of the 1990s. The plot threaded through a subliminal concept of evil and how it can debauch a weak mind.

The protagonist Jerry Lundegaard played by perpetually underrated actor William H. Macy is the steerer of the plot. His need or greed for more financial power draws him to an unscrupulous path which gradually leads him to an illegal pursuit.

His tryst with illegal affairs starts small as he obtains a loan for the cars he has never bought and asks his father in law to give him money to buy a piece of land he never intends on buying.

He shows his most satanic vice when he hires two hitmen to kidnap his wife in order to force his father-in-law to pay the ransom in which he intends on getting a share off.

The most intriguing characters of the film were the kidnappers, Carl Showalter and Gaear Grimsrud (played by Steve Buscemi and Peter Stormare respectively).

Showalter is the most-sane of the two and is rather a careless fool than anything evil. The horror part of the film was the character Grimsrud, a psychopathic criminal who has no sympathy for human lives and could kill anyone without flinching.

The best performance in the entire film came from Marge Gunderson (played by Frances McDormand); she is moral, witty, sharp, and pregnant. The fact that her pregnancy became irrelevant as the film went on tells us that Coen brothers had envisioned the character to be beyond the limitations of womanhood.

Marge Gunderson’s exceptional investigative skills was a noteworthy resistance to the cunning and deceitful mind of the protagonist.

Frances McDormand’s performance was hyped up by the fans during the time of its release and the heaps of acclaim eventually led her to win the Best Actress Award at the 1997 Oscars. Coen Brothers also got nods in the Best Adapted Screenplay category. They have won a total of 14 Academy Award nominations among which they have won four times, apart from winning the Best Adapted Screenplay for Fargo, they won three major awards for “No Country for Old Men”- Best Adapted Screenplay, Best Direction, and Best Picture. “No Country for Old Men” also saw a Spanish actor Javier Bardem winning the Best Supporting Actor Award in recognition of his menacing role of Anton Chigurh.

“Fargo” is one of the memorable pop culture icons from the ’90s, the footprints of which can still be seen today. It could easily be seen in the list of top 10 films released in the ’90s alongside cult films like Pulp Fiction, The Usual Suspects, Heat, Matrix, Fight Club, and Star Wars: The Phantom Menace.

Source : https://getsetuplist.com/fargo-is-coen-brothers-magnum-opus/

[tabruzzis]

I literally only just discovered Peter Stormare‘s twitter and it’s fucking GOLD, I s2g, I’m laughing and crying over every second tweet

[pigballoon]

John Wick: Chapter 2

(Chad Stahelski, 2017)

If the first John Wick seemed to be a tremendous recreation of the seemingly lost art of simple, no nonsense uber violence made iconic in the 80s American action cinema then this follow up reminded me at least of the John Woo driven Hong Kong action films that closely followed them. The originals very Western-like mysterious man of myth vibe replaced with more focus on codes of honour and duty, more Samurai-like if you will, more Eastern.

Indeed, Chad Stahelski’s follow up to his 2014 debut is an all together slicker, sicker affair, the visuals are glorious to behold, and the action scenes much more detailed in their choreography. Like its predecessor it’s one of those films that is unlikely to convert the uninitiated, but for anybody that is already into this kind of thing, it’s a tremendous exponent of its form.

Keanu Reeves’ quiet, movie star dignity, and this time around seemingly more brilliantly deadpan delivery of one liners are again major reason for that. So too the once again starry lineup supporting him, from the veterans bringing the touch of class from Ian McShane and Laurence Fishburne to the great Franco Nero, and Peter Stormare both sadly underused, to the returning Lance Reddick in continued fine form, newcomers Ruby Rose and the very un-Common Academy Award Winner Lonnie Lynn both put to strong use in their great back and forths with Reeve, and in maybe the movies most powerful and poignant moment a terrific small turn from Claudia Gerini. On villain duty Riccardo Scamarcio is delightfully devilish, from the look in his deep eyes to the timbre of his voice he’s just baiting you from the off to beg for his comeuppance.

They all help propel the movie along, and propel they do. Chapter 2 is a longer film than its streamlined, to the point original, clocking in at about 2 hours long it never for a second really feels that long, picking up in the almost immediate aftermath of the first film this second chapter is a non-stop, continent spanning roller coaster of a thrill ride that like most sequels builds on its predecessor, but does it without becoming overly garish, overstuffed, and generally unbearable. The strength of the cast has to take a lot of credit for that, as does the (it’ll either be corny or fascinating depending on your point of view) expansion of the world building in Derek Kolstad’s screenplay, delving further as it does into the shadowy world that these characters occupy, and allowing moments of thoughtful, mortal ponderance in amidst all of the madness, with greater focus on the strict adherence to an orders codes of duty, touched on in the first film here expanded on, with the bulk of the films plot built around it.

All in all I’m not sure I’d say that this film is quite as good as its economical elder brother, but that’s not saying much. It is a sequel that does what all good sequels should do, take you further down the rabbit hole that you’ll have glimpsed into the first time around, bringing a lot of the first efforts strengths, but tweaking things in a way that ensure the entire thing doesn’t feel like just a lazy repetition of the successful formula. Say what you like about the John Wick movies, but lazy and uninspired they ain’t.