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palmett-hoes · 5 years ago

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since the first step in achieving your goals is to state them aloud, here's a list of aftg fics/ au s that i'd like to write some day

- pre-canon fic from aaron's perspective spanning the twins' first meeting till they're drafted by the foxes and graduate high school. i'm increasingly enamored with aaron as a character as well as with an outside perspective of andrew's actions and i think it would be very interesting to look at the foundation on which their fraught relationship is built and first developed

- even more pre-canon fic. andrew's early life in foster care. yes, we all know about the most... gruesome things that were done to him, but i believe that there is plenty more that has affected and shaped him, especially in relation to my interpretation of andrew as an autistic poc. this would not be a happy fic.

- anastasia au. neil as anya, andrew as dimitri. possibly a plot amalgamation from both the animated movie and the stage show, with changes as i see fit. (no, neil is not the prince of russia). what i find most compelling about this au is the story of neil and andrew as childhood friends and then the angst of having andrew, as an adult, teaching an amnesiac neil how to act like a noble while being convinced that neil is an imposter. good shit

- art school/dance club au. the foxes attend the palmetto school of art at prestigious edgar allen university. they're considered the school's charity cases, and they are NOT friends. andrew is a studio arts major with a concentration in sculpture who works in the campus coffee shop in the mornings and frequents night clubs that employ pretty boys in the evenings. neil is attending college completely on his father's dime, PROVIDED he study what his father wants, despite his desire to study dance and music. going crazy without an outlet, neil takes a secret job as a go-go dancer. look. this may slightly possibly be a result of me having planned to party hardy this summer, then having my plans ruined by the virus :c

- 1950s High School au. the 1950s aesthetics fucking rock even though the 1950s fucking sucked. kinda wanna tackle both. plus, andrew already has that james dean bad boy fast car appeal

- an exploration of mary and nathan's relationship and history. i get that neil's parents are both super taboo and both really really awful people, but i have questions and i want to answer them

- neil never returns from baltimore. in order to keep his deals, permanently, andrew kills riko and tetsugi, and gets over 20 years in prison. when he gets out, he just wants to be alone, but it seems there's a ghost haunting him. this was conceived for MAXIMUM angst, no getting around it. i got the idea from a badacts fic and it has haunted me ever since

- post-canon sexuality exploration fic. i have a real passion for quality sex education and healthy experimentation, and neil very clearly didn't get the chance for either. yet at the end of the books he finds himself in a very intense sexual relationship. i just really want to give him the opportunity to find out how desire works for him and what he likes, on his own terms. i read a lot of fics where neil's desires seem to be completely dependent on andrew's initiaton, and while i do believe that andrew is the only person neil is attracted to and will ever be attracted to, i also want to explore how his sexuality manifests on its own. the vibe i'm going for is, uh, HornySweet (tm), but also with a lot of genuine eductional material. i want this is to be something that offers real information to its readers that may have been inaccessible for a lot of people, on topics like like sexual hygiene, maturbation, and sex toys in a non-fetishy way. this will be very very E rated, but like,, in a very earnest and goofy way because sex and sexuality is neat and cool but it's also not all serious perfect fucking. it's just,, a topic that deserves to be DISCUSSED

- mobster au. andrew, having never met aaron, takes a job for the moriyamas to track down a runaway asset. Neil. upon completion, they make andrew the butcher's apprentice, and pull neil back into the fold as a commodity rather than a person. lots of violence, lots of shady underground dealings, lots of plotting, lots of secrets.

i'm gonna put some more under the cut, ones that i don't feel as strong a drive towards right now or that i haven't thought as much about. if you (yes, YOU) like any of these, or are interested in any of these, or wanna hear more about any of these, or are even inspired to write something yourself by any of these please, PLEASE, say something in the notes, or send me a message, or an ask or anything. ANYTHING. i am stuck inside, all the time, and i am so, so lonely. i answer from hoob-gooblin

- princess bride au. come ON. princess bride is one of the most romantic AND most snarky movies of all time, and andreil literally invented love and devotion sooooooo it's a perfect match. "yes or no" vs "as you wish" kings of consent and communication and unconventional love declarations. also,, he may not be how I imagine andrew, but a young cary elwes in dramatic black pirate getup is DEFINITELY a valid andrew

- hozier au. sometimes,, i listen to an album, and imagine a fic that encompases the whole thing. nothing speaks louder to me than hozier's discography. (also, yes, i am gay). maybe a little bit inside llewyn davis. neil wanders through a small town and takes up some small jobs, but sings his heart out through twisted metaphors once a week in a hole in the wall bar staffed by a very short, dead eyed veteran

- prince and the pauper au. on a stealth recon mission in enemy territory, andrew encounters a local lord who happens to have his face. in a moment of desperation to save himself from arrest, andrew knocks the lord out and assumes his identity. he returns to the castle just in time for prince moriyama to arrive with a shifty-eyed, red-headed handservant in tow. lord aaron of columbia, meanwhile, wakes up on a ship manned by crown traitor and fugitive kevin day, calling him by a name he's never heard before, and then he's in the hands of the guerilla rebel forces that have been attacking the kingdom. i watched barbie princess and the pauper as a child and that movie fucking slaps

- little mermaid/beauty and the beast/bride of the rose beast/ladyhawke au. in a last ditch attempt to escape his father, neil trades his voice and his tail for legs and washes ashore on a small kingdom with horrible secrets. because he cannot speak, read or write, prince aaron employs neil to serve the monster in the catacombs, the prince's twin brother. the twins are under a curse that turns them into terrifying monsters, andrew by day and aaron by night. aaron's affliction is a secret, as is andrew's humanity. this is such a hodgepodge idea lol. did neil also have to be a mermaid for this to work? no. is he? hell yeah

- new york private school/twin swap au. aaron wins a scholarship to a prestigious school that will guarantee him a future, but then he relapses. convinced he just needs a little more time to get clean, he makes a deal with his volatile new brother, andrew, to stand in for him at the school just until he can his shit together. neil and ichirou moriyama have been raised together their entire lives, always under the knowledge that ichirou will inherit the family empire with nathaniel as his right hand. they hate the idea, but they have no way to escape, and now neil is being harassed by ichirou's bitchass estranged brother at their stupid, fancy private school. LISTEN, we as a fandom do NOT take enough advantage of the twin swap possibilities presented to us. pathetic

- post-canon fic where ichirou, realizing that the life of a mob boss is a lonely one, decides that he needs... a friend. however, because of the nature of his work, he can't just make friends with anyone, so he decides to make friends with neil. without consulting neil first. cue a lot of very weird, very awkward coffee dates where neil is convinced he's about to be disposed of, and ichirou just wants to know about his cats. the thing i like about ichirou is he’s a complete blank slate. i can make him a good guy, a bad guy, an ally, the Big Bad

- Kill Bill au. mary survives a bullet to the head and wakes up from a coma over a year later. with nothing left to lose, she sets out to single-handedly dismantle the wesninski circle. good thing she used to be its top assassin

- single dad andrew au. except look, look, stay with me here, okay, aaron is his son, and he's adopted nicky and kevin. LISTEN. STAY WITH ME. JUST THINK ABOUT IT. tbh the idea comes from my interpretation of the andrew/neil/kevin dynamic as distincly parental, then extending that interpretation to andrew's protection over the rest of his family.

- fashion au. andrew is a fashion designer and photographer who frequently works with allison reynolds. one day she brings around a short, twitchy assistant who looks like she just plucked him out of an alley. somehow, he becomes andrew's muse. i watch a lot of fashion competition shows

- ghibli. either howl's moving castle (andrew as sophie, neil as howl) or spirited away (?). maybe both idk

- legally blonde au. legally blonde is so good guys

#aftg #fic #fic ideas #aftg fic #the foxes #neil josten #andrew minyard #andreil

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doomonfilm · 4 years ago

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Ranking : The Coen Brothers (1954/1957 - present)

Directing a film can be one of the most vast, task oriented and stress inducing undertakings imaginable, which makes it odd that more directing duos, specifically sibling duos, do not exist. Sibling duos like the Wachowskis, Hughes, Farrellys, Safdies and even the Zellners have made names for themselves, but one set of siblings easily towers above the rest : the Coen brothers. With nearly 20 films under their belt, and nearly as many stylistic varieties and storytelling approaches found within, it is hard to argue the impression they have left on moviegoers worldwide over the past nearly four decades they’ve existed professionally. With such a stellar record of films under their collective belts, I’ve decided to do the most stress-inducing task of all : rank these films from least to most favorite.

18. Intolerable Cruelty (2003) For a duo with so much distinct style and flair for storytelling, this film feels the least like a Coen Brothers film. If anything, this feels like a script that sat on a shelf in pre-development hell, possibly for years, only for someone considering themselves a bit of a ‘maverick’ or ‘forward thinker’ to discover it and think that a dose of Coen Brothers magic could save it. Even with the star power of George Clooney and Catherine Zeta-Jones behind it, this one feels a bit too ‘by the numbers’ to stand out from an oeuvre that nears perfection.

17. Hail, Caesar! (2016) I’ll be completely honest with you all... I don’t remember much about this film. I remember enjoying it, but I don’t remember being blown away by it. I remember enjoying the colorful display of old Hollywood, and it’s always refreshing to see George Clooney lean into roles that border upon slapstick. For as much as I found this film not all that memorable, however, it stands above Intolerable Cruelty simply because it does not trigger bad memories.

16. Burn After Reading (2008) This film is what Intolerable Cruelty wanted to be... a property that is a hair closer to by the books, but full of a screwball approach that heralds to a forgotten era of film while using an incredibly stacked cast. Of all the Coen Brothers films I’ve seen, Burn After Reading feels like the property that all involved enjoyed making the most. Like many of the Coen Brothers films, the cast on this one is mega-stacked, and from top to bottom, everyone involved shines in roles that go against their standard types, or amplify the most off-beat aspects of their performing ability.

15. The Ballad of Buster Scruggs (2018) The fact that Netflix was able to pull the Coen Brothers for a film is a win in itself, and with the duo choosing to do an anthology piece, Netflix was primed to maximize on their investment. While highly entertaining, however, the anthology nature of the property leaves it feeling a bit unfocused and disjointed at times... none of these stories really had enough meat on the bone to be expanded into feature-length films of their own, but for some reason, all parties involved passed on the opportunity to make a multi-episode serial rather than a film comprised of multiple tales. While using variance in storytelling methods and visual styles may work for some less talented directors, in the case of The Ballad of Buster Scruggs, it feels more like snack-sized bites in the place of true sustenance.

14. The Ladykillers (2004) On paper, this film should have been a disaster. The Coen Brothers generally opt for original stories, so the fact that they chose to adapt such an obscure 1950s property for the modern day was strange, especially in light of the fact that most every element with the exception of Tom Hanks’ character was given a modern update. Somehow, despite all of this oddness, The Ladykillers managed to capture a sense of the classic Coen Brothers slapstick comedy that they famously established themselves with early on in their career. Tom Hanks is given the green light to go completely ridiculous, and to much of the viewers’ delight, he does so with great aplomb. His supporting cast shines, the comedic turn brings new energy to the story, and the southern gospel setting brings a rich sense of spirituality to an otherwise run of the mill film.

13. O Brother, Where Art Thou? (2000) The Coen Brothers were essentially household names by the turn of the 20th century, but O Brother, Where Art Thou? propelled them into a legendary status. The grassroots mix of The Odyssey and the Robert Johnson crossroads legend took on a life of its own, leaving behind a soundtrack that birthed an entire generation of folk and bluegrass enthusiasts, as well as a film that showed the world George Clooney’s comedic chops. Much like The Ladykillers, O Brother puts viewers deep into the unfamiliar territory of Southern ‘discomfort’, with the African-American experience playing a major role in the narrative. Of all the Coen Brothers films one could use to introduce a stranger to their catalog, this one may be the best, as its infectious nature and stunning look leaves an impression on most anyone who has the pleasure to view it.

12. True Grit (2010) The Coen Brothers had already covered a wide bit of genre ground within their first three decades, but surprisingly, they’d not done a true western up to that point (though many argue that No Country For Old Men is a modern take on the western). Therefore, when it was announced that their first western would be a remake of the iconic John Wayne film True Grit, many were surprised, and curious if they could pull it off. Not only did they pull it off, but in my humble opinion, they made a version that more than holds its own against the original. For the handful of big name and seasoned actors that signed on, it was the breakthrough performance of relative newcomer Hailee Steinfeld that outshined all. While The Ballad of Buster Scruggs was a fun revisit to the world of the western, True Grit was the kind of achievement that makes me want more traditional westerns from the duo.

11. The Man Who Wasn’t There (2001) Listing the Coen Brothers films is by far the most difficult ranking I’ve done to date, and the first film that really gave me trouble in terms of placement was The Man Who Wasn’t There. Personally, I find this film to be captivating and nearly flawless... Billy Bob Thornton’s detachment is rich and intrusive, which makes it all the more sinister when he does choose to exude even a hint of passion about something, be it positive or negative. The black and white photography, in league with the tone of the film, puts me in the mindset of films like In Cold Blood, and some of the sequences in the film stand out as some of the most iconic in the world of Coen Brothers films, especially the car crash. For a classic-style film noir, a genre that anyone with half a brain knew was a slam dunk for the Coens, the duo went above and beyond to both modernize and wholly embody the style. One of several Coen Brothers films that sits with you long after the final credits have faded away.

10. Inside Llewyn Davis (2013) If this isn’t the darkest comedy in the Coen collection, it’s certainly giving the number one contender a run for its money. The intimacy of this film is unmatched within the broader collection of Coen characters, excluding The Dude, but the difference between Llewyn and The Dude is the personality equivalent of the difference between oil and water. You may marvel at Llewyn’s talent, but all the while, the film is screaming at you that “THIS IS A CHARACTER YOU SHOULD NOT ROOT FOR”. The symbolism found in the film is minimal while being incredibly effective in how it punctuates Llewyn’s personality and character, and the story structure is an equally subtle swerve that baits you into paying deeper attention, only to realize that the setup was the punchline the entire time.

9. The Hudsucker Proxy (1994) I’m a sucker for a Coen Brothers comedy, especially the ones that play like human cartoons, and one of their absolute best was The Hudsucker Proxy. The writing on this film is so tight that it would absolutely pop if it were any tighter. The entire A Christmas Carol-esque approach to the story makes it a wonderful moralistic tale that makes people laugh so much that they often don’t realize they are being taught a lesson about morals, integrity and self-respect. Tons of familiar character actors fill the frames, everyone tasked with supporting roles fit firmly and comfortably into the created world, and the man trio of Tim Robbins, Jennifer Jason Leigh and Paul Newman are functioning on genius levels of performance... especially Jennifer Jason Leigh. While not quite a holiday movie, there is enough of a holiday sense that it could be shoehorned into a seasonal viewing, but any time set aside for this gem is the right time to watch it.

8. Barton Fink (1991) In my humble opinion, this may be the strongest end to end performance from John Turturro in his long and storied career. As clear-cut fans of film, it is always a pleasure to see the Coen Brothers explore the world of film, and by using this approach, they are able to tell a bold, brash and haunting tale about the issues that come with assumptions about character and talent. The takes on Hollywood and the indifference of those in power, especially when it comes to assisting young and promising talents that may one day usurp them, and powerful. The real bow on the story, however, is the larger than life presence of John Goodman, who goes from being a slightly aggressive and overbearing sense of support to a literal madman by both name and action. For a film that mainly consists of individuals talking to one another about passion, talent and secrets, there is a kinetic energy that feeds the forward momentum of this movie, and for that, it stands out in the Coen collection.

7. Miller’s Crossing (1990) It’s not surprising that the Coen Brothers could make a compelling and memorable gangster film, but I don’t think that anyone expected a film as vicious and dark as Miller’s Crossing. For a duo that generally relies on nuance and contemplation to get their points across, this film certainly proves that they are more than capable of excelling in the direct approach as well. The era-specific costuming is outstanding, the murky city areas stand in stark contrast to the woods of the titular Miller’s Crossing, and the sheer volume of bullets are a stark reminder of the Prohibition-era story we are viewing. Gabriel Byrne shines in his lead role, bringing a world of fury, deceit and mistrust in tow with him. The iconic hat blowing in the wind serves as not only the biggest memorable moment from the film, but possibly also the single moment of peace and beauty found in a film that holds up a dirty mirror to a dark world.

6. A Serious Man (2009) Of all Coen Brothers films, this is easily the most underappreciated and slept on of the bunch. I’m a sucker for movies that embrace Murphy’s Law, and when mixed with the parable nature of the Book of Job, we are presented with a darkly comic and relatively unique version of the hero’s journey. The way that the personal, professional and philosophical problems pile up on Michael Stuhlbarg’s Larry are meant to be felt by the audience, and the way that his bad luck boomerangs out into the world during the film’s resolution must be seen in order to be believed. The way that destiny and chance dance around one another in this film is narratively breathtaking, and for such a subtle film, it is a truly remarkable achievement.

5. No Country For Old Men (2007) When you think of the Coen Brothers, you don’t necessarily think of evil incarnate, and yet, the duo succeeded in capturing a character in the form of Anton Chigurh, the closest thing to the Terminator that the duo has ever created (to my knowledge). The story is a wonderful, subtle tale of how the times can change into something we don’t recognize before we recognize the change, but it is easily Javier Bardem’s iconic performance that gives this film all of its power and ominous energy. His unyielding forward momentum, his disdain for obstacles in any form, and his disregard for human life are enough to instill real fear into those who partake in viewings, and his presence will more than likely haunt you far beyond completion of the film. A true modern-day masterpiece that would have been higher, if not for...

4. Blood Simple (1984) What a powerful debut, and one that not only hinted at, but outright put the spotlight on the promise of the Coen Brothers when it came to stark visuals and stunning storytelling. For such a simple, small scale story, the tangled web that is woven is a slippery slope of deception and distrust that leaves little to no survivors in its wake. The scale of the film is deceptively small, but the quality shines in every aspect that it can. Seeds are placed that pay off wonderfully, and the color palette presented gives the film the feeling of a Technicolor film-noir. Much like A Serious Man, Blood Simple deserves to be talked about and held up much more than it is by fans of film.

3. Raising Arizona (1987) What a wonderfully ridiculous movie about something as simple as the trials and tribulations of navigating love, marriage and parenthood. The most hilarious aspect of this film, in my opinion, is how it feels like a living and breathing cartoon, both in terms of the character performances and the outrageous events that take place within the world of the film. Nicolas Cage is operating on a completely different level, Holly Hunter is equal parts charming and hilarious, Trey Wilson is wonderfully over the top, John Goodman and William Forsythe bring excess hilarity to the wild proceedings, and Randall “Tex” Cobb is downright iconic in terms of his ridiculous character. The pacing of the film is breakneck and feverish, the comedy hits never stop coming, and the utter charm emanating from the midst of the caper presented is infectious. As a second film, this could not be any more different than Blood Simple, and yet somehow, it connected so vividly with viewers that it remains a must-watch film to this day.

2. Fargo (1996) What is there to be said about Fargo that has not already been said? For a duo with more iconic films to their name than some directors have completed films, Fargo was an immediate signal that the limits of the Coen Brothers’ creativity and skill had not even began to show its full breadth. Within less than five years of release, the film was already heralded as a classic (of all-time, not just modern day), the mystery surrounding its possibility of being based on a true story built a world of intrigue around the movie, and it has gone on to create a universe of its own in the form of an FX TV show that recently wrapped its fourth season. There is not a wasted role in this film, and to this day, any movie fan worth their salt will happily bust out their version of a Minnesota accent that is almost certainly based on one of the many memorable characters that inhabit the world of Fargo. Numerous actors, including William H. Macy, Frances McDormand and Steve Buscemi, all found breakout success in the wake of this wonderful film.

1. The Big Lebowski (1998) Was there ever any doubt for this placement? For everything that Fargo did in terms of success within the world of the film industry, The Big Lebowski did that and more for the worlds of the counter-culture and cult film fans. The story we are presented with is so simple, yet so ridiculous in its journey, that it almost insists on viewers revisiting it over and over. Like many Coen Brothers films, nobody cast in the film is wasted or misused, and due to these stellar performances, the film finds itself as one of the most quotable in recent memory. Much like the performances of the cast, the writing does not waste any words or opportunities, often referring back to itself in extremely subtle and nuanced ways that present themselves over time, and to hilarious effect. Nobody would have expected a film of this nature to have a fandom, and yet, the legions of fans for this film are unique to that of the Coen Brothers catalog in the sense of their dedication, devotion to and love of the movie. While not everyone’s cup of tea upon first viewing, The Big Lebowski is truly an example of the gift that keeps on giving.

If the Coen Brothers never make another film, they’ve already created and achieved more in their journey that most filmmakers can dream of. Many of their films could honestly be considered works of art, and nearly all of them are compelling with an ability to leave deep and lasting impressions. If you are unfamiliar with the Coen Brothers, do yourself a favor and check out their work, as it may bring a new sense of invigoration to your love of film.

Editor’s Note (12/10/2020) : Inside Llewyn Davis added to the number 10 position, all films ranked lower adjusted accordingly.

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brucespringsteen · 6 years ago

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2, 14 and 28 💫

❤️

Favorite movie of all time? east of eden or inside llewyn davis 🤧

Are you a fan of country music? Yes unfortunately 🤠 pulls up that pre 9/11 country music post

Do you believe in ghosts? Yes i done seen one before 👻 i think. but energy is real

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pennyserenade · 3 years ago

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17 and 20 for the fanfic asks!

fanfic asks - x

17. What fanfic tropes do you gravitate to writing for?

I think one trope I gravitate to writing for the most is friends to lovers. I'm a huge lover of pre-developed relationships, and this trope allows for the characters to have a certain amount of knowledge of one another before they dive head first into a relationship. I really like mutually requited pining too. There's something cruelly divine about two characters loving one another so much, but just not making it all the way for certain reasons, be it their own beliefs or distance or what have you.

20. What feedback makes you the happiest to hear?

The feedback that makes me happiest to hear is that what I write resonates with the reader or that it moved them in some way, especially when the story is sad. I love so much art - be it movies, books, fanfic, or paintings - because of the way it made me feel/makes me feel. Mitski's "First Love/ Late Spring" is one of my favorite songs because it guts me so wholly every time I listen to it. I love Inside Llewyn Davis, despite the fact that its such an incredibly miserable movie, because, at least to me, there's a lot of comfort to be found in knowing you're not the only person in the world who's felt this bad, and that it's also incredibly likely you'll make it out of it. I think being seen, especially in those ugly moments of life, is important.

I also really enjoy when someone tells me I've got the characterization of a character down. That makes me very happy to hear

#theorgansolo #cass tag.

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tilbageidanmark · 4 years ago

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Movies I watched this week / 8

Tales from the Far Side II (1997) is the second anthology of Gary Larson animated shorts. Scroll to 34:00 for a fun rendition of “Crazy”.

There’s also Part One.

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First watch: Porco Rosso, a beautifully animated, early Miyazaki about a daredevil pilot pig in pre-fascist Italy.

Miyazaki Dreams of Flying.

✴️

... ”The world is full of complainers. But the fact is, nothing comes with a guarantee. I don’t care if you’re the Pope of Rome, President of the United States, or even Man of the Year – something can always go wrong. And go ahead, complain, tell your problems to your neighbor, ask for help – watch him fly. Now in Russia, they got it mapped out so that everyone puts for everyone else – that’s the theory, anyway. But what I know about is Texas��and down here…you’re on your own...” Blood Simple (Re-watch).

The Coen Brothers interviewed by Guillermo del Toro, discussing their films from Blood Simple to Inside Llewyn Davis.

✴️

I think though that out of the 18 Coen brothers films which I’ve seen many times, cinematically, The Story of Job, A serious man is the most accomplished one. I love all of them, but this one is so rich, subtle and tight: The first 8 minutes which are a parable in Yiddish (?!), the Grace Slick hallucinations, Fred Melamed as Sy Ableman (!), The Goy’s teeth, The Mentaculus, and so much more. I wrote about it here.

✴️

I haven’t seen the original Rocky in 45 years: It’s actually a very decent, well-told love story, not just a rags to riches American Dream cliche. And it won the 1976 Oscar for Best Picture against All the President's Men, Bound for Glory, Network and Taxi Driver.

"Yo!", The Rocky series most memorable phrase.

✴️

Another film I haven't seen in so many years, The Exorcist, also stayed fresh and current, what with the long prologue in Iraq, Max von Sydow made to look “old” and Mike Oldfield’s Tubular Bells theme.

✴️

Another first for me: Adam Sandler’s Happy Gilmore, which I never bothered to see before, but which was very funny in parts. I saw that they will make a sequel now.

✴️

Source Code, a 2011 science fiction time loop thriller with Jake Gyllenhaal. Directed by David Bowie’s son. Not as bad as it sounds.

✴️

Sound of metal: A drummer becomes deaf suddenly, and his journey of discovery takes him to unpredictable places. I liked Riz Ahmed’s intensity @ Nightcrawler, and he’s low-key and powerful here too.

Best film of the week.

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80 year old Pelé Reminisces about his 60′s glory days in a glossed-out bio.

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Always a good re-watch: Syriana - convoluted, multiple, parallel storylines, Steven Soderbergh-inspired geo-political thriller where none of the participants understand what they are involved in. Corruption is how we win... The nail-pulling torture scene thought was too gruesome.

✴️

Projection: 85 Years of the Projection Booth in Movies

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Miss Americana: I never heard any of Taylor Swift’s music or read about her before.

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First watch: David Lynch’s surrealist lesbian doppelgangers fantasy / postmodern neo-noir Mulholland Drive. Sorry but I didn’t get it at all...

✴️

"That'll be the day!" - John Ford’s The Searchers: Racist and utterly primitive ideology: I don’t understand how it was exalted for so long as one of the greatest films. Long two hours between the first and last frames.

✴️

I care a lot seems like a real movie about a sociopath con-woman, but it’s a scam of a movie itself. There’s nothing about it worth caring, and the sleek way it tells the story doesn’t work at all. 2/10

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Throw-back to the art project:

Mulholland Drive Adora

Taylor Swift Adora

Adora with Pelé

Adora in The searchers.

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(My complete list is here)

#movies

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nitrateglow · 7 years ago

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A response to Rob Ager’s “WHY POST-MILLENNIAL MOVIES ARE SO BAD“

After reading his borderline conspiracy theory take on A Clockwork Orange, I told myself I would avoid Rob Ager’s other work. I lied. A few weeks ago, YouTube recommended a 50-minute video by Ager in which he outlined why he thinks modern cinema sucks. I thought this would be good for a laugh and clicked it. Surprisingly, what he had to say intrigued me-- not because I agreed with all of it, but because I could see where he was coming from at times. I recently read his print version of this video, hoping he would go more into depth-- he really doesn’t.

I’ll give credit where credit’s due and say I think there is validity to some of his points (mostly non-distinct musical scores, ideological conformity, length, dominance of spectacle, internet piracy and streaming’s effect on box office numbers); however, I feel like much of this is personal taste. I don’t care for the common aesthetic of a lot of modern Hollywood blockbusters and I too cannot stand an endless stream of mumbled dialogue—but this all feels like cherry-picking. And badly argued cherry-picking at that.

Let’s start with how Ager begins the print version of his argument:

If you are of the opinion that post-millennial movies are generally as good as movies of the preceding half century of annual film releases then there's no purpose in you reading this article. It is written for readers who already agree that post-millennial movies are comparatively poor and who wish to gain a little more insight into why it is the case. Each major argument in this article could be made with a lot more detail along with extensive movie examples, but it would result in the article being a very long read. Meanwhile, I'm not particularly interested in attempted counter arguments from people wishing to persuade me, against my experience, that good movies haven't become a rarity. I may, further down the line, produce in depth articles and videos that expand on certain basic arguments made in this article. Thanks and enjoy.

Basically, “Don’t argue with me because I’m right.” A great way to make yourself seem non-biased and open-minded.

For his first argument, Ager claims he could come up with more numbers of great films in the past as compared to anything made after 2000. His definition of great movie is laid out as features that “had rewatch value or at least being movies that somehow pushed the boundaries of cinema in some memorable way.” This is SUPER subjective, especially when Mr. Ager puts movies like Oliver! or Halloween 3 on his great movies list. Once again, we all have different ideas of what is or isn’t a “Great Movie,” and a movie doesn’t need to be groundbreaking or brilliant for me to give it a 10/10—but Ager is claiming precious few new movies have rewatch value. Now I know I mostly prefer pre-1980s movies and am severely behind on anything made after 1990, but hell, even I can come up with several 21st century films I think have rewatch value (to name a few: Spirited Away, The Life Aquatic with Steve Zissou, Lost in Translation, Moon, Ida, The Prestige, The Dark Knight, Super, Inside Llewyn Davis, The Neon Demon, Marie Antoinette, Black Swan, Hot Fuzz, The Tale of Princess Kaguya, The Wind Rises, Millenium Actress, The Game, Frances Ha, Up, LOTR trilogy). Also, Ager seems to mostly ignore foreign movies and animation; the whole world isn’t Hollywood.

I taught a college freshman composition course earlier this year and above all, I wanted my students to leave that class knowing one thing: if you are going to make an argumentative claim, you must back it up with sufficient evidence. Without evidence, the claim is useless, empty. Mr. Ager does not seem to realize this. He claims the protagonists in most modern Hollywood movies are morons, but he only cites Drive as an example—and even then, he doesn’t state why he thought the hero there was dumb. He calls Christopher Nolan boring, claims The Revenant was a terrible movie, and that most of Tarantino’s post-2000 movies are poor—all valid responses, mind you, seeing as art is subjective (what moves you might bore the hell outta me and vice-versa), but he never states WHY. He claims many movies are miscast these days—but never cites enough examples to convince me this is a trend. He says in the preface that if he did name examples, “the list would be too long,” but sometimes length isn’t a bad thing, especially when you are at the risk of making VERY sweeping generalizations. As a result, many of his arguments lack credibility; it feels like hearing your grandpa complain about movies he doesn’t watch. And considering how Ager claims he turns most modern movies off “after 20 minutes,” I have to wonder if he’s even qualified to talk about modern cinema as a whole at all.

I reiterate: he does have his points and I sympathize with his frustration with big Hollywood movies (part of the reason I barely go to the cinema outside of revival screenings is because I’d rather not pay ten bucks to see forgettable Hollywood schlock), but he’s being a touch—well, unfair, to put it nicely.

However, one point he made particularly interested me. Ager claims that in a world dominated by mass media, art has become “redundant” in conveying themes and messages:

Art tends to thrive when free speech is stifled. It provides an alternative means of expression for what isn’t allowed to be spoken. But with the onset of the internet there is now massive scope for anybody to say what they want to say to however many millions of people are willing to listen. This sort of puts a lot of artistic expression on a bit of a back burner. Isn’t it easier to just state your thoughts clearly in words instead of wrapping them in fiction? It’s not a total redundancy though because verbal statements are confined to the limited logic of language. Human experience has facets for which we don’t yet have sufficient words to describe and this is where art can still strike a chord with people.

Mass media has had a big impact on our lives, sure-- but the idea that art serves no moral function of any kind now does not sit well with me. What do you guys think? (Particularly you @aclockworkfilmsnob, considering you’re an aspiring filmmaker and all.)

Here’s the article, if anyone’s interested in reading it for themeselves:

http://www.collativelearning.com/Why%20movies%20so%20bad.html

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locke-writes · 8 years ago

Text

Just A Bunch Of Movies That People Should See One Day

Alright so I went way overboard but when I set out to make a list of films people should check out I’m gonna take it a little to seriously. That being said here’s a shit ton of films that I think everyone should check out if they can. I’m definitely missing a lot but every single one of these is in order by year of release. So here it goes.

Tagging: @daveeddiggsit @skyeethefallenangel @myminddoesmindactually @aryn-the-wolfheart @princessmeegz @ohbelieveyoume @seekret-fanfic @wosushi @thatgirlwhosalwayssinging @miamorbarba

To start here are some classic films (1900-1930). If you’re a film major (or someone into cinematic history) at one point you’ll watch these or will probably be told to watch these. I’ll bold my personal favorites for anyone who isn’t into cinematic history.

Fire! (1901)

A Trip To The Moon (1902)

The Great Train Robbery (1903)

Rescued By Rover (1905)

The Cameraman’s Revenge (1912)

Gertie the Dinosaur (1914)

The Cabinet of Dr Caligari (1920)

Dr Jekyll and Mr Hyde (1920)

Nanook of the North (1922)

Nosferatu (1922)

The Hunchback of Notre Dame (1923)

Battleship Potemkin (1925)

Metropolis (1927)

Steamboat Willie (1927)

The Passion of Joan of Arc (1927)

Blackmail (1927)

These are some classic Pre and Post War films. (1930-1950)

City Lights (1931)

M (1931)

Freaks (1932)

A Farewell To Arms (1932)

Modern Times (1936)

La Grande Illusion (1937)

Gone With the Wind (1939)

Mr Smith Goes To Washington (1939)

The Wizard of Oz (1939)

Wuthering Heights (1939)

The Grapes of Wrath (1940)

The Great Dictator (1940)

Citizen Kane (1941)

The Maltese Falcon (1941)

Casablanca (1941)

Arsenic and Old Lace (1944)

Double Idemnity (1944)

Hamlet (1948)

Just some quintessential classics from the Golden Era of Cinema. Or so it’s called. (1950-1980)

Strangers On A Train (1951)

Julius Caesar (1953)

The Caine Mutiny (1954)

On the Waterfront (1954)

Rebel Without A Cause (1955)

12 Angry Men (1957)

Vertigo (1958)

Psycho (1960)

West Side Story (1961)

La Jetee (1962)

Lawrence of Arabia (1962)

The Birds (1963)

Bye Bye Birdie (1963)

The Sword In the Stone (1963)

Dr Strangelove (1963)

The Graduate (1967)

2001: A Space Odyssey (1968)

Chitty Chitty Bang Bang (1968)

Easy Rider (1969)

Midnight Cowboy (1969)

A Clockwork Orange (1971)

1776 (1972)

The Godfather (1972)

Young Frankenstein (1974)

Monty Python and the Holy Grail (1975)

One Flew Over The Cuckoo’s Nest (1975)

Taxi Driver (1976)

Animal House (1978)

Alien (1979)

Apocalypse Now (1979)

And finally here are some modern classics (and some films which will soon be considered modern classics) (1980-2016)

The Elephant Man (1980)

The Shining (1980)

An American Werewolf In London (1980)

Blade Runner (1982)

Tootsie (1982)

The Outsiders (1983)

1984 (1984)

Amadeus (1984)

The Black Cauldron (1985)

The Breakfast Club (1985)

Blue Velvet (1986)

Ferris Bueller’s Day Off (1987)

The Princess Bride (1987)

The Untouchables (1987)

Beetlejuice (1988)

Dangerous Liaisons (1988)

Rain Man (1988)

Bill & Ted’s Excellent Adventure (1988)

Dead Poet’s Society (1989)

Glory (1989)

Edward Scissorhands (1989)

Flatliners (1989)

Goodfellas (1990)

Barton Fink (1991)

The Silence of the Lambs (1991)

Chaplin (1992)

Of Mice and Men (1992)

Reservoir Dogs (1992)

In the Name of the Father (1993)

The Nightmare Before Christmas (1993)

Schindler’s List (1993)

Clerks (1994)

Natural Born Killers (1994)

Pulp Fiction (1994)

Quiz Show (1994)

Empire Records (1994)

Seven (1995)

The Usual Suspects (1995)

Fargo (1996)

Primal Fear (1996)

A Time To Kill (1996)

Trainspotting (1996)

Gattaca (1997)

Wag the Dog (1997)

Can’t Hardly Wait (1998)

Rushmore (1998)

The Truman Show (1998)

Velvet Goldmine (1998)

Being John Malkovich (1999)

eXistenZ (1999)

Fight Club (199)

Galaxy Quest (1999)

The Talented Mr Ripley (1999)

Spring Forward (1999)

Almost Famous (2000)

American Psycho (2000)

Donnie Darko (2001)

Equilibrium (2002)

Danny Deckchair (2003)

Kill Bill Vol 1 (2003)

Timeline (2003)

Dear Frankie (2004)

Garden State (2004)

Corpse Bride (2005)

Hitchhikers Guide to the Galaxy (2005)

V For Vendetta (2005)

The Prestige (2005)

Marie Antoinette (2006)

August Rush (2007)

No Country For Old Men (2007)

Zodiac (2007)

There Will Be Blood (2007)

Juno (2007)

Lars and the Real Girl (2007)

Charlie Bartlett (2007)

The Curious Case of Benjamin Button (2008)

RocknRolla (2008)

21 (2008)

Definitely, Maybe (2008)

Moon (2008)

District 9 (2009)

Brothers (2009)

The Road (2009)

The Trotsky (2009)

Inception (2010)

Easy A (2010)

The King’s Speech (2010)

Midnight In Paris (2010)

Warrior (2011)

We Need To Talk About Kevin (2011)

The Ides Of March (2011)

Hanna (2011)

Moonrise Kingdom (2012)

Lawless (2012)

The Hunt (2012)

Seven Psychopaths (2012)

Prisoners (2013)

Locke (2013)

Inside Llewyn Davis (2013)

Interstellar (2014)

Room (2015)

The Lobster (2015)

Chappie (2015)

Me and Earl and the Dying Girl (2015)

Silence (2016)

Brimstone (2016)

Captain Fantastic (2016)

Yeah. I went way overboard. But like I said. I love movies and I know I left a lot out. This list would have been way longer.

#movie recs #movie recommendations #I MAY HAVE TAKEN THIS A LITTLE TO SERIOUSLY #BUT I LOVE MOVIES SO WHO CARES

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