#the cinematography is IMPECCABLE

[mikimeiko]

The Lost Flowers of Alice Hart | Miniseries (2023), Sarah Lambert

[huccimermaidshirts]

🥹🥹🥹🥹🥹🥹🥹

[lemotmo]

Let's go season 8! She has answered quite a few things today but this one covers the most detail. I'm so excited!!

Q. Buck and Eddie not having a single scene without the other and Tommy not getting any scenes without the presence of Eddie in some form or fashion is a choice.

A. It was a great four core episode. I absolutely understand why Oliver liked the episode so much. Everything about that episode gives me so much hope for this season. The dialogue. The way everything was framed, the camera work, the cinematography was impeccable and I hope that continues as the season goes along. A beenado (I for one will not miss all the bee jokes, lol) was not an easy premise to pull off successfully and they did a wonderful job of making it fun but also work from a story perspective. That wasn't easy to do and the fact that they managed to do it so well gives me so much hope for the rest of the season.

Tommy isn't allowed to have scenes without the presence of Eddie in some capacity because he has no individual purpose outside of Buck and Eddie. He exists solely to move their plot forward. And the episode and interviews that followed proved that entirely. Oliver says that the beginning of the relationship looks like everything is great, which is what we got last night, and hurdles will follow as they get to know each other more. Eddie will absolutely be the hurdle. They framed that explicitly last night. The cinematography was very intentional across the board last night. The framing of Buck, Eddie and Tommy was purposeful and foreshadowing. Eddie has been in the middle of everything Buck and Tommy have done since day one. Eddie is the point. Oliver went on to say that anyone who dates Buck has to understand that he comes with Eddie and Christopher. They're a package deal. And anyone who can't handle or understand that is not going to be able to be in a relationship with him. That was a very telling part of his interview. Oliver had never explicitly stated that before. Then there was Tommy's one line of dialogue. He once again re-sorted solely to Buck's physical appearance. Given that the overall episode highlighted how intelligent and capable Buck genuinely is (and showing Eddie never doubting or questioning Buck) having Tommy focus completely on the physical aspect of him was a deliberate writing choice. We also know that 3 months have passed and the fact that no meaningful conversations have taken place further proves that their relationship is surface level only. Eddie coming between them will force conversations that neither one of them probably really wants to have. And will force Buck to reexamine what his true feelings for Eddie are.

Oliver said episode 5 was a big episode for Buck he also mentioned episode 6, which Tim already confirmed was a big Eddie episode (rip mustache). That sets up a mutual but separate feelings realization for both of them. Oliver said we would see Buck and Eddie deal with things separately but also be there for one another. I love the idea of allowing both of them their individual journey to realization while still trying to be a good friend to the other. I would imagine episode 4 will contain something for Eddie that allows the audience to be aware of his internal struggle. Giving episodes 5 and 6 the room for their individual part leading to their eventual mutual confession (I know we all agree the script 'leaks' were fake but they all still felt very realistic and after last night they feel even more plausible, so I don't know what to make of those anymore). The fact that they seem to be setting this up with so much care and attention to detail gives me so much hope. They seem to understand what story they are telling and what story Buck and Eddie deserve. And more importantly they seem to be taking it seriously. Pushing it into season 8 now makes even more sense. They want to tell the story with the care it and the characters deserve. It's all in front of us. 💗

Thank you so much Nonny!

Ah yes... I agree with most of Ali's thoughts here. I'm not adding anything on to it, since I would just be repeating what she said and she said it so beautifully. 😋

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[mindmeltonabun-blog]

My Demon: Inspiration or Plagiarism?

Guardian Goblin...Guardian Mountain God...Guardian Demon

In the latest drama, "My Demon," we're introduced to a guardian demon. However, as I delved into the series, a sense of déjà vu crept in. Was this guardian demon truly distinct, or did he bear striking similarities to others we've seen before?

Questions about plagiarism first emerged when Gu Won's death scene in "My Demon" closely resembled that of Kim Shin's death scene in "Goblin". Many dismissed the notion that the writer had plagiarized the scene, citing the cinematographer had worked on both "Goblin" and "My Demon".

However, I believe the issue of plagiarism extended beyond cinematography; from the characterization of the male lead to the overall concepts, "My Demon" seemed almost identical to well-known fantasy kdramas, echoing themes, lines, and scenes from its predecessors. The writer, Choi Ah Il, appeared to borrow extensively from existing works, crossing the line between inspiration and outright plagiarism.

Gu Won, the guardian demon, was a mishmash of characters from various supernatural dramas. His personality, appearance, and even punishment seemed like something taken right out of "Goblin", "Tale of the Nine-Tailed", and "Doom at Your Service." Beyond his Thanos-like finger snap and cross tattoo, there was very little that made him unique.

For a writer who criticized goblins, nail-tailed foxes, grim reapers, and vampires, Choi Ah Il failed to differentiate her demon. Gu Won could've been a distinctive supernatural character with his own unique backstory or even a different style, but instead, he felt like a Frankenstein creation of well-established supernatural creatures. Ultimately, I was left to wonder if the writer or even Gu Won himself knew who he really was.

In my field, we constantly aim to create innovative and original ideas. Therefore, I understand the fear that can come with breaking new ground. For Choi Ah Il's first fantasy drama, the fear of her original ideas not being good enough might have led her to heavily rely on existing works.

My advice to Choi Ah Il is to have more confidence in both herself and her ideas. When we put our entire heart and soul into our work, our sincerity and passion will shine through, making them more likely to be appreciated by others. We should embrace all of our "crazy" ideas instead of plagiarizing others' work. Even if our idea doesn't work out, at least we know we gave it our all. And this, to me, is infinitely more fulfilling than imitating others.

So in conclusion, "My Demon" had the potential to be a great fantasy drama, but it seemed to copy too much from others' works. Whether it's an issue of inspiration or outright plagiarism, the drama left me wondering what ideas truly belonged to Choi Ah Il. As viewers, we deserve to experience a writer's unique voice, not a patchwork of borrowed elements hastily stitched together. Going forward, I'll probably give this writer one more chance to improve her scriptwriting. I must add that if it weren't for the great cast and their impeccable acting and adlibs, this drama would've been doomed due to its messy plot and lack of true originality.

Below are some scenes and concepts from other shows and movies that are nearly identical to the ones in "My Demon". I'll let you decide for yourself if you think the writer of "My Demon" was inspired by other's works or simply plagiarized them.

(Note: I might add more later, but it's a lot of work to go through each show and screenshot everything and then compile them in a collage)

p.s. I'll post my review, thoughts, and analysis for Eps 15-16 in a few days!

Goblin The Great and Lonely God

Hooded supernatural

2. Objects that represent the end of a human's journey...clocks instead of tea cups

3. The mother has complications with her daughter's birth and is saved by a supernatural being

4. In the past, the FL dies, ML kills a bunch of people, and ML ends his life. ML has memories of his past sins erased. As punishment, ML is turned into a grim reaper character.

Others:

The quote Madam Ju said in Ep 3 about plants and seeds was similar to the one said by Ji Tak in "Goblin": Humans have four lives. A life of planting seeds, a life of watering seeds, a life of harvesting, and a life of using the harvests.

The ML's had blamed God for all the obstacles in their lives and when they finally got a chance to talk to God, God told them they didn't have all the anwers to their questions and that they didn't know everything similar to God in MD.

The FL dies at the peak of her happiness similar to how in MD, the FL's parents died at the peak of her happiness.

The FL in "Goblin" was the key to ending the ML's life as an immortal just like how in MD, the FL was the key to making the ML human.

Tale of the Nine Tailed

Supernatural ML has an obsession with desserts

2. FL died in the past to save the ML

3. FL's parents is involved in a car accident on FL's birthday (9th birthday in TOTNT and 10th birthday in MD)

4. Wishes Granted By The Devils

5. Wishes and Exploiting Other's Misfortunes to Survive

6. FL wears object and remembers tragic past life

7. Personal Hell is being in a world without the FL

8. Working for the Divine as Their Best Performer

9. Mother-like Figure is a Goddess

10. Wearing Two Wedding Rings

Others:

In "Tale of the Nine Tailed," The Almighty granted Nine-Tailed Foxes or Gumihos various powers, but they were bound by one rule: they must fulfill their end of the deal/contract with humans or face death. This rule aimed to prevent Gumihos from murdering humankind. Similarly, in "My Demon," Gu Won faced a similar fate. If he didn't make deals with humans, he would die. Additionally, if Gu Won murdered humans, he would also face death. In both cases, rules and contracts were established to prevent supernatural beings endowed with god-like powers from killing humans.

The concept of wanting to live or die together in TOTNT was also present in MD

In TOTNT, the FL tried to protect the ML, but ended up dying. In the present, the ML made it a mission to protect the FL to prevent the same tragic fate from happening. ML ended up saving the FL in present but died in the process...and then ML came back to life just like in MD.

ML in TOTNT came back to life/was reincarnated as a mortal human with Gumiho powers similar to how after Gu Won came back to life, he was a human with demon powers.

Twilight

Supernatural leaves human because they hates their monstrous nature

2. Supernatural watches their human sleep

3. Human is kidnapped to draw out supernatural ML

4. Human gets a leg injury during kidnapping

Others:

Gu Won played "Clair de lune" just like Edward did in Twilight

Doom At Your Service

Listening to others' wishes and meeting a wisher that would change their fate

2. Beginning of a new journey filled with hand-holding, bubbles, and water

3. Necessaity of holding hands/wrist to recharge

4. Creating a dream of the FL's deepest desire

5. Celebrating a supernatural's birthday

Others:

One of the major themes in DAYS was choices just like in MD

Hotel Del Luna

Fireflies by the lake

Others:

FL's name was Man Wol (means "Full Moon") in HDL and FL's name in MD was Wol Sim (means "Moon Heart")

[rickrakontoys]

Furiosa: A Mad Max Saga (2024)

9/10

Just let George Miller make whatever Mad Max movies he wants. I will witness it.

A very different beast than Fury Road, this is a sweeping, ambitious, character driven story of vengence and violence. Splitting the story into 5 chapters, each having their own narrative goals, makes the film feel very episodic. However, this structure allows each segment to have a distinct feel, while familiarizing us with the key players and the motivating events in young Furiosa's life that lead her on the path to Fury Road. The themes, visual motifs, and symbols woven through the story create a rich tapestry that, like Fury Road, elevates this beyond action spectacle and into something grand and mythic.

Anya Taylor Joy doesn't actually appear as Furiosa until nearly a third into the movie, but once she does, she commands the screen with a nearly wordless performance, glowering with intense resolve and roiling emotions. This gives the few words she does say more importance and weight. Joy has much more to do with the character here than Charlize Theron, and, while evocative of Theron's version, makes it her own. Alyla Brown as young Furiosa is terrific as well in the first two chapters, also saying very little while using only her eyes and body language to convey feelings.

While many of the Wasteland denizens new and old are portrayed impeccably with that signature manic "Mad Max" energy, it is Chris Hemsworth's Dementus that basically steals the show. Equal parts charismatic and menacing, intimidating yet vulnerable, he provides Furiosa with an interesting antagonist whose motivations are as nebulous and volatile as a desert sandstorm. Hemsworth plays Dementus as a true product of the end of the world: a sad, pitiable, broken man acting the part of a cruel, bombastic leader, allowing himself to be corrupted by the unforgiving reality around him, using humor and eccentricity as a thin veneer over his brutal nihilism.

Much has already been discussed about the film's look. While John Seale's cinematography is missed, Furiosa still contains some terrific and creative shots, particularly during its many action scenes. The wasteland is once again presented using a variety of highly-saturated colors, which is always a refreshing deviation from the typical, washed-out appearance of other post-apocalyptic movies. Yet, the compositing, lighting, and computer effects are a step down from Fury Road, and can be distractingly noticeable at times, especially due to the grander scale of the setpieces requiring more CGI effects and background replacements. But these are relatively minor complaints, as the practical effects involving smashing vehicles and flailing stunt persons are still astonishing to behold. Miller's skill in staging action remains some of the best in the business, as even the most chaotic of sequences remain visually coherent.

While not as laser focused as Fury Road, Furiosa is still an incredible achievement in both character and world-building. It is perhaps one of the best prequels made, as it not only expands what was seen before in a satisfying way, but its added context improves its predecessor.

It is rather odd that Miller chose to include a montage of Fury Road scenes in the end credits... This movie would make a perfect double-feature with Fury Road, except it decides to show you "Fury Road: Cliff Notes edition" right at the end...

[otterskin]

Otterskin Recs: Blue Eye Samurai

Premise: A 'half-breed' samurai with blue eyes, possessed by an evil spirit of vengeance, cuts her way across the land as she seeks her father - one of only four white men in isolated Japan. For the crime of her own miserable existence, she will execute him.

Oh yeah, it's good. This may be sacrilegious to say, but...

American Cartoons < Anime < American Cartoons trying to be anime

Somehow, that last thing can overcome the problems the first two things are usually crippled by. BES is one such incredible show. It's well-paced, designed for the screen first and foremost, builds on its continuity and has occupied my thoughts for a week.

Thanks to that excellent pacing, it was very hard to not binge the whole thing. I only made it till episode 4 by watching one at a time, and then binged the rest with only a sleep to interrupt it. Its influences range from Samurai Champloo (naturally) to Hellsing Ultimate to Shogun by James Clavell to Kill Bill to maaayybe The Last Samurai. I've no idea how accurate to Japanese history it is, but even with all the ultra-violence and impossible physical feats, I did feel very grounded in its version of 17th century Japan.

The storytelling is compelling, the characters complex, the action exhilarating, and the voice-acting impeccable. Particular kudos given here to Maya Erskine as the titular character, who manages a convincing androgenous voice that is meant to come across to others as emotionless, but must convey all kinds of emotional information to the audience - for an entire show. That is no easy feat! The work of Randall Park as Heiji Shindo was also a favourite, managing to juggle menace and comedy. Even in the character's darkest moments, he is first and foremost entertaining.

Believe it or not, I did not at first realize that Abijah Fowler was played by my own beloved Kenneth Branagh! I should've realized it when this despicable character was so instantly charismatic, ha ha. As good as everyone else is, and they are all excellent, Branagh's menacing Irishman is the most interestingly performed, with small inflections and lilting menace that makes this odd duck out a protagonist of his own terrifying story. In a world of propriety and performance, only he and Mizu, the Blue-Eyed Samurai, are honest about who they are and what they want.

However, my favourite character of the show is probably Akemi. To avoid spoilers, I'll simply say that she's a competing protagonist and much-needed counter-balance to Mizu's story. She enriches the story with her perspective and experiences, which is a necessary thing when the protagonist is so laser-focused on a single goal. It is through Akemi's eyes that we actually come to understand the world and how it works, before Mizu ruthlessly slices through it.

The one fly in the ointment is that the CGI animation can't always keep up with the show's ambition. It's nowhere near as good looking as the impossible Arcane was, but once you accept its limitations, you get used to it. The animation also increases in quality as the show goes on, which means it only gets better! There are all kinds of dynamic camera movements and creative cinematography to make it engaging, too. My favourite was the use of a bunraku puppet show intercut with a flashback, which is interesting on several levels, not the least of which is realizing that since this is in 3D, that these animated characters are also puppets, of a modern kind.

I recommend this show for fans of Claymore and Afro Samurai in particular. It's violent, dark and carnal, but unlike so many anime that are so, it has excellent writing for its female cast and the wider story. This is the rare 'adult animation' that is actually for mature viewers, who expect mature writing and sensibilities.

Give it a go. And let me know what you think!

[herestomyhaters]

right so i just finished everything now on netflix and i really wanted to share my unfiltered opinions on it and see what other ppl thought as well. here it goes!!

- i think my favorite characters were carli, becca and alex

- carly made for an impeccable love interest tbh

- icl i didn't love the main character as much as i thought i would, idk if that was the writing but sometimes i felt like they were trying too hard to make her relatable? it felt a bit forced

- also she was extremely selfish and though i understood why it still got jarring 😭

- i loved how they gave alex an episode !!! it was so moving to see things from his pov, 100% necessary

- god knows they weren't meant to be together but alison deserved way better tbh

- as for couples i was fond of becca/cam and will/theo. i also rly liked will's lil storyline at the end. as someone who's been the "funny friend" i could definitely relate

- carli and mia's chemistry was insane and if the show does get renewed i'm curious to see how things will be for them in the future. for now it's clear that carli's been portrayed/seen as more of a fantasy so it'd be nice to actually get to know more about her like really

- also i wish we'd seen more of carli and will doing theater kid stuff

- one thing i really loved abt the show was the wardrobe !!! especially becca's like i need all her clothes immediately

- i know euphoria was basically a cultural reset in media so it's inevitably rubbed off on other shows but sometimes it did seem like they were trying to replicate it a bit too much, esp the cinematography/music. it felt unoriginal

- which is a shame cause i think that distracted me at times (joined w the whole awkward/quirky mc). still, this is a very important story and i'm glad they told it

we all know netflix so i don't know if we're gonna be able to see these characters again but i look forward to seeing how the show levels up if we do. i think it has great potential. i wanna hear what u thought as well so share it below if u feel like it !!! <3

[corvuserpens]

Alright girlies, I just came back from watching The Crow (2024) and

I'm sorry babes, but it's better than Wicked Prayer. Not better than the 1994 original -- but better than Wicked Prayer. This is your obligatory 🚨🚨 SPOILER ALERT 🚨🚨 don't say I didn't warn you.

To everyone who recently followed me for Black Sails, we'll get back to that soon, just lemme dump my thoughts on this movie bc The Crow was a game changer for little nine-year-old me back in the good ol' 90's. It's the movie that turned me into a baby bat.

So first things first: the cinematography. Gorgeous. Nice sets, great lighting. Mood always on point. Aesthetics to die for.

Second of all: score. AWESOME. They had Joy Division's Disorder playing while Eric and Shelly were escaping the rehab center and when that first beat started playing, I almost screamed in the mostly empty theater and started tapping along to it. Immediate B- for the movie just for that. But the rest of the music was just as good imo, it slapped so hard that now I have to look it up and play it non-stop. Surprising amount of goth and darkly-inclined music in there, which I was not expecting given the overall appearance of the lead characters.

The story, as I already expressed in a previous post, was generic but at least it had some themes to it that I found interesting. I couldn't really relate to the lifestyle these characters were leading, and honestly, the whole "oh they had a fucked up childhood and it led them into a life of crime/bohemian lifestyle that will be their end", y'know, "live fast, die young," is kinda old for me. I've seen it too many times for it to be edgy anymore. I get this is a reality for many people and I feel or them, obviously. I just don't think it's original anymore. Or maybe it's just not my kind of tea, which is fine. If it is for someone else, more power to them!

Anyway, where was I? Oh, right. Themes. I may not relate to the lifestyle, but I do relate to the whole "loving someone so much you can't imagine yourself living without them" which is what spurs on the whole conflict. From the very beginning, the movie doesn't hesitate to tell us "these two are doomed by the narrative so all the happy times they have won't last." And I will say, FKA Twigs and Bill Skarsgard have insane chemistry. Eric and Shelly's story is very brief and their relationship is only a speck in each of their lifetimes... but they sell the genuine love between them SO well, which lends an extra bit of flavor to the whole tragedy. They only knew each other for such a short amount of time, but the love was there. The connection was there. The threads of a future were just beginning to weave together, and then they were all cut away in the blink of an eye.

In the original movie, the tragedy of Eric Draven and Shelly Webster mirrored James O'Barr's own loss: they had their entire future set up in front of them, all these plans. They were on the eve of their wedding, and then they were brutally murdered. The tragic element in the new movie isn't lessened. It's just different. And I enjoyed that.

One thing I didn't really enjoy was the whole hell premise and the villain who made a bargain with the devil for eternal life in exchange for innocent souls. First of all, that's not how Satan works and this is slander of the highest order. No, I'm not a Satanist, but I respect the guy. Second of all, it's another tired old trope that needs to be put to rest. I find it much more interesting when human characters do evil shit because they act upon their evil impulses, which we all have, NOT because "the devil made them do it." Just... ugh. No, I loved Top Dollar in the 1994 movie because he was some fucked up little dude who lived for mayhem and death and had impeccable taste in Victorian fashion, who happened to dab in the occult along with his half-sister whom he liked to fuck. He was theatrical and extremely Edgy for the time and that's why he's so iconic and memorable. I don't need a villain who sold his soul for eternal life. Let him be evil for evil's sake, you don't need to sell your soul for that, damn. Not to mention Roeg felt flat and uninteresting. The connection to predatory men in high positions of power who prey on the dreams of young women artists was there, but they made it so on-the-nose that it sucked the interest out of it. Eh.

Now. The whole abandoned train station as a liminal space between life and death and the mysterious man who may or may not be an angel (or the skeletal cowboy from the comic book). There's an interesting concept. And the whole using puddles of dirty water, and rivers or other bodies full of liquid (a tub at some point) as a portal to and from that space? Simple, yet effective. Reminds me a little too much of the meme of the girl on the swing who jumps off into a puddle and disappears through it, but regardless. I think Eric jumps to and from there a bit too often and it breaks the mysticism a bit, but whatever.

I did enjoy the fact that Eric doesn't get his full powers immediately after dying, and I DID like the detail that, as long as his love for Shelly remains pure, his body will always heal because, as the Mysterious Man points out, the death/corruption/undoing of love (can't remember his exact words) isn't hate; it's doubt. As the story progresses and Eric finds out Shelly's Big Dark Secret™, his love for her falters, so his body begins to fail. It ties perfectly to the end of act one, when Shelly asks him to promise that when she becomes hard to love, to love her harder.

Which brings me to Shelly's backstory. It wasn't bad. I can understand the whole "your mom pushed you too hard when you showed signs of great artistic potential and it led her to manipulate you, abuse you and expose you to things a young girl shouldn't be exposed to" so she had to escape from her clutches, but the things she saw fucked her up and she turned to drugs and alcohol to cope.

But at this point, when she reveals she has this Big Dark Secret™ that she can't tell Eric about or else he wouldn't love her anymore, we already know that the villain made a bargain with the devil, so he has the ability to reach into the darkest parts of a person's soul and force them to act on it. And that kinda spoils the moment when it's revealed that Shelly killed someone. Because y'know, her soul is Pure and Good and she would never actually kill anyone because if she did, then she'd really deserve going to hell! Just... No. That's not how women work. That's not even how people work! People are imperfect, that's what makes us human. It would have been so much more interesting if Shelly had in fact killed that random girl, like, I dunno, over money, over drugs, over blackmail or something random and stupid that made her act out and then had it haunt her for the rest of her life, I don't fucking know! But no. She killed her because Roeg made her, exempting her from the blame and the consequences instantly. Boring. Let Eric learn all the fucked up things Shelly did and love her anyway. Let her get a little redemption for her bad choices by earning his full, unconditional love because that's all any of us wants, isn't it? To have someone see how rotten we are and say we are enough for them despite it all. Goddamn.

Okay, what else. The comedic timing. The stupid pun when they first meet, the opera music playing over Eric going ballistic in the hall, the fact he got stabbed with his katana in the back, but two minutes later, somehow the katana flipped around so Eric can pull it out of his front?? That was such a 2000's era movie mistake, lmao. Very charming.

No officer Albrecht or Sarah as a human stand-in for Eric's moral compass or to remind him of Shelly or all the other people they loved and who he will have to leave behind when all's said and done? Bad.

For a movie titled The Crow, there was a sad lack of crow influence in the movie. Eric isn't connected to his crow in any way. No more whole "you kill the crow, you kill the man" anymore, which is bullshit. Bill Skarsgard doesn't even get to have a crow perching on his shoulder??? What is this??????????? Big boo. The crow was the central focus of all the other movies bc it was the protagonist's link to the land of the living. It was a constant presence to remind us that, when all the wrong things have been set right, the crow would lead him back to the land of the dead to rest. As it were, in this installment, the crow was a prop and nothing more. If it hadn't been there, the story wouldn't be affected in the slightest. This is where this film fails to be a The Crow movie to me: one of them is still alive by the end when that's not what The Crow as a franchise is about.

The original comic book was an expression of tremendous grief and loss over a loved one, by how untimely and unfair it was. In the end, the protagonist, whomever they may be, dies so that they can be with that person they lost and they can be at peace in whatever comes after life. Don't get me wrong, it's still pretty compelling to have Eric learn Shelly is going to hell and offers to trade his soul for hers, and it is okay that in the end, Shelly is brought back to life while Eric remains dead. I mean, the whole bit with the mysterious man being a first responder and telling Shelly that Eric fought hard over her? Heart-wrenching. In a different movie, I would be all about it, but this is supposedly a The Crow movie and it broke the precedent imposed by the previous installments, both in comic book and movie format. So... Yeah, that's a no from me. Themes of grief and loss? Never heard of her.

To wrap this post up 'cause it's getting too long: I liked that the Marion character seemed to have a thing going on with her body-guard or wtv he was? You know, the one who killed Shelly? That was a nice little side detail I noticed. The themes were nicely established, but didn't tie up too well, I think. Too many loose ends or things left unexplored. I was glad we didn't get the schmuck happy ending in which the Universe or Entity or what have you deemed Eric's love for Shelly pure enough that he wouldn't go to hell in her stead and they were both brought back to life and lived happily ever after. But we also didn't get to see Eric getting dragged to hell in the end either, that was a missed opportunity to really let the consequences of his choices sink into the audience and make us all leave the room completely horrified. Would make for a much more impactful credit roll. Or maybe I'm just fucked in the head, idk.

The defeat of the villain felt unsatisfying. Did like the whole "you corrupted her (into killing that girl)" "you can't corrupt what's not in there already" thing, but if at the end of the fight Eric had gotten a little monologue about how "it's not about whether the corruption is in there or not, it's your choices not to act on it that really matters" before shoving Roeg into the jaws of hell, that would have helped matters along, me thinks. Hate that the movie has to hand-hold the audience through making connections between what's said at the beginning of the story and when later the characters mirror it with actions. I get we went through covid and all our memory and attention span got royally scrambled for it, but come on. We're not little kids. Let the setup/payoff ratio stand on its own, I promise people will remember.

All in all, hour and half well spent, I wasn't bored and my eyes had a feast with the visuals. I'll give it a 6/10👍 Would have been better as a stand-alone action flick instead of being advertised as a new The Crow installment (and really, it's trying to be a more faithful adaptation of the comic book? Even Donald fucking Trump couldn't make up a lie this blatant), but I enjoyed myself and that's what matters.

[hopeisgrey]

My Demon - 7/10

The announcement of My Demon literally created chaos among the k-drama fans. The Song Kang-Kim Youjung pairing was making everyone insane. The hype was unreal. But did My Demon live up to it? Well, the answer to that would be… yes or no (kissy if u read that in Na Bora’s voice). My Demon did have a very interesting plot line, good enough characters and it was successful in getting the audiences hooked with the first few episodes. The cinematography was the most talked about among the viewers and rightfully so. The wide shots of Jung Guwon’s (Song Kang) office, the underwater scene, the slow-mo shot of the waves forming a portal around Guwon and Dohee (Kim Youjung), the Dohee-about-to-fall-off-the-balcony scene and so on. Another thing that filled twitter was the fashion. And not only the female lead’s this time, but also the male leads. Guwon has secured his place among the very few male leads with impeccable fashion sense. When most male leads are shown in sophisticated suits, Guwon was rocking cropped jackets and scarfs. But then again, I don’t think most male leads are Song Kang.

Nevertheless, My Demon stands as an example that if you start with a bang, your ending should be a banger. This is where the drama failed. In the second half, it started to feel like the story line was being stretched. The cinematography and direction which was so good in the start had taken a back seat and love making montages were put in for the action that wasn’t happening. And by action, I mean just anything that would contribute to the plot. The plot was moving, but at a very slow pace. Sure, Guwon and Dohee make the best couple, the greenest flag couple, the entire amazon rainforest couple, but where is the drama? I wasn’t necessarily waiting for anything bad to happen, but for a time being literally nothing was happening. And I was mad about that. Until towards to the end, everything happened. The new trend of k-drama rom-coms only having 12 episodes, My Demon should’ve followed that. Because the more they stretched, the more Song Kang’s bad acting showed and also the writer’s inability to stitch it all together. I honestly loved Song Kang in Sweet Home, not that he had any more than 2 expressions 3 dialogues in it, but still. Jung Guwon is far more expressive, and Song Kang couldn’t do justice. He shines when the camera requires for him to be the slayest demon to walk this planet, but when it is time for the playful babygirl Guwon to get on stage, his acting feels like… acting. It’s not terrible, it’s just not the best. Also the entire past life plot is becoming more than obvious. The moment I saw Guwon dreaming of his past, I KNEW Guwon and Dohee probably died in the past life and one of them thinks it’s their fault and they will try to distance themselves from each other. You know which other drama did it? See You in My 19th Life and Destined with You and maybe more but I don’t remember. Like can we please move on? This is equivalent to the 2016 era dramas having the oh we’ve actually met in childhood and not forgotten each other since trope. But then again, they have given us the most iconic dramas, can’t the same about these though.

However, I loved the way they showed Jin Gayoung’s character coming full circle. She is probably the only one who started a certain way, learned her lessons, had character development and got her happy ending. So yeah, My Demon definitely isn’t the best drama for me. I am not going to put in on my re-watch list. But I will recommend it. It’s fun, and sweet, and great for fashion inspo!

Another thing I want to add is that My Demon is compared to Doom at Your Service a lot for having a similar concept, so I’ll just say that DAYS is a much better drama, for all aspects – storyline, acting, romance, comedy, THE FUCKING AWESOME THREESOME OF THE SECOND LEAD THRUPPLE, even the song (If Love Sight by TXT doesn’t play in my head when I look at my future partner, I’ll know they’re not the one). Except My Demon is going to take the trophy for best costume.

Ok that’s it now let me play Hyunsu’s “What should we do?” until Sweet Home S3 comes out hehe!

[violant-apologia]

Cinematography of Pilgrim's Dawn

The airship descends slowly, steadily. It’s capable of much greater speed, but the pilots are honouring the Chromatophoric Cinematographer’s request. The Kinetoculus would be capable of accounting for the juddering of an airship’s movement, but since he’s loaned it out, he’s relying on his (admittedly impressive) biology and a disappointingly mechanical camera.

The Cinematographer peers from the taffrail, his many eyes taking in the view of Pilgrim’s Dawn from the sky. He would be remiss to waste such appealing angles, so he inserts his first reel of film: cosmogone.

The city entire is captured within the shot, from the gate through the main road, spiralling up and up the hill. It culminates at the peak, where the tallest buildings (spire-like, not dissimilar to the Bazaar) grasp at the sky. Dawn approaches but the city’s night-lights are still on, bathing the city in deep reds such that every nook and cranny is illuminated. Light comes too from the Burrow Church, nestled on its own hill, golden and glowing with candlelight. It evokes a sun in its radiance, but a moon in its placement: a smaller body orbiting the city proper, lending its guiding light.

From the peak of the city there comes an invisible command: lights begin to flicker from red to glittering white, rolling slowly down the city like a shower of diamonds. The pace of the change allows colours to mix in the streets, red and white and yellow into an orange-pink which greets the waking citizens: the dawn for which the city is named.

The ship is lower now, necessitating a change in magnification and reel. Next, violant.

The shot places Pilgrim’s Dawn in the middle-distance: close enough to make out individuals, but not their faces. Movement pervades the city, though – the rhythmic motions of the Terpsichore waltz across the camera’s lens. Residents leave their houses dancing, gently at first, but warming up quickly. Tourists emerge from lodging-houses rubbing their eyes, and startle as dancers pirouette across their path, bowing to them as they whisk away.

The camera cannot hear the drumbeat beneath the streets, but it doesn’t need to: it can see it. Partially in ripples of puddles and the juddering of objects, but primarily in the people. The drumming is the great metronome that every Pilgrim dances to, that unites the city in rhythm. Even those who are alone dance in time with the rest.

A final film change: peligin.

The camera is close enough now to alight on one tourist: a Starved Tourist, six-limbed, who navigates the streets. They cast many shadows as they dance between lampposts, each one seeming to hold hands with the others on the cobbles. They dance impeccably, the fluidity of movement that their biology allows translating to a grand and rhythmic performance. The Terpsichore becomes quite simple when one has the intended body plan.

But the residents do not welcome the new dancer. They dance in tight batches, not allowing the Tourist to join their synchronised ranks. The camera catches on their faces: the cold glances, the chary movement, the bruises and blisters that the Starved Tourist lacks. Leave here, their expressions say, you have not suffered as we have.

And with a click, the camera is out of reel.

[nik2blog]

Just finished the first episode of Supacell and I am GIDDY!!

Kicking my feet and screaming at this amazing first episode! It was so well overlapped, characters are so relatable, cinematography was impeccable!

[kalamity-jayne]

Seriously, I love John Wick so freaking much. Like, the plot is incredibly dumb and kind of silly but the plot is very much besides the point; the point of the film is the exquisitely choreographed fight scenes and expert stuntwork, playing out on stunning set pieces and executed with impeccable cinematography.

It's the kind of traditional blockbuster that no one really makes anymore. There's no confusing fights scenes composed of messy CGI and VFX, it doesn't look like a video game, it's long but doesn't feeeeel long, there's no quipy bullshit making my eyes roll out of my skull, and just doesn't have that artificial, screen tested to death feel that other blockbusters just ooze these days. Like, the only cgi I really noticed was during certain scenes with the dog, which is for obvious reasons (I'm sure there was some other cgi when it came to the people but there's just a whole lot more you're not allowed to do with animal actors).

Like, it's a movie that doesn't try to please everyone and yet with a fairly restrained budget manages to deliver a level of entertainment that none of the really big tent poles could even hope of achieving, even with their bloated budgets.

[llynwen]

oh my god?? i never noticed 2002 rust is wearing marty's shirts???? what level of homoerotic self-hating quiet devotion are we on now. the taillight, the shirts, the gift-wrapped cigarettes, marty sticking up for rust and being proud of him in the interview even after ten years, the fact that rust only eats around marty, just call me angel of the morning I swear to FUCK nic pizzolatto you WILL tell us what all of this means

yeah it's been driving me insane for realsies. throughout the show we see rusty wear a variety of dress shirts, wifebeaters, that on black long sleeve (my beloved), the hospital gown, and a few casual shirts but they're always. gray. plane. no spice whatsoever.

But Then! in the two scenes where we see him wear something colorful it's flannels. first one is with maggie in the diner when we Know marty is living with him and they probably have one load of laundry. honest mistake. (also. showing up to see the wife of a guy you're living with While Wearing His Shirt. the balls on him)

However, in '02, the parking lot fight, when he has that red number on???? do y'all think he put it on subconsciously. like. he Knows marty and him are done. there's no coming back from The Event. he's feeling beaten down (metaphorically, even before he gets his shit rocked), hopeless, like he's losing his grasp on reality, nobody will listen to him, the case is eating at him and he's just Done. and he puts on marty's shirt. is it for comfort? is it a reminder of how close they used to be (in contrast to the tail light serving as a reminder of how majorly he fucked up)? is it a form of self punishment? I NEED TO TALK TO THE WARDROBE COORDINATOR OF THIS SHOW SO BAD

also, I'm pretty sure this isn't on pizzolatto. from what @barbie-nightmare-house has told me and from what I've read myself, the scripts aren't actually that good. in fact, they're miles away from the end product that we know and love. the more I read of them the more I'm convinced the show is this good thanks to Other People, not pizzolatto himself. the cast and crew really put their whole pussies into this shit. rust is Much less... Rust. in the scripts. I am Convinced that if it weren't for the fact that mcchghoigheynahy just Gets It he wouldn't be half the character he is (I need to see that pdf matthew. give it to me or else). the cinematography, the music, the set design, even the special effects, every aspect of this show is impeccable and I don't believe it's all thanks to nic. I need to send a fruit basket to every single person who worked on this show.

anyways. let me leave you with this.

they're in love.

[rated-s-for-shenanigans]

something about the cinematography of this show is just chef's kiss

it's impeccable in every shot so far and I want to know their secrets

[best-movie-ever-tournament]

Cabaret:

You've got The Divine Miss M in one of her iconic roles, and somehow she's not even the best one there. Joel Grey appeared on The Muppet Show in character as the MC, and it's the first time the human guest had to tone it down to match the muppets, that's how much energy he brings to it. It's got that jumpy '70s cinematography, it's so fun until, well, you remember it's 1929 in Germany and suddenly it's not. Which is exactly what the musical's trying to make you feel.

MLP:

Easily top 5 movie theater experiences of my entire life. It was a spectacle of all time. Top tier animation and story. All the music was impeccable (it was recorded with a live orchestra unlike most MLP songs and it really shows) Emily Blunt as Fizzlepop.

[mackmp3]

okay so i promised you a rec haha. i talk about it all the time so you might've seen it on my blog but i think you would genuinely enjoy hard core logo (1996). it's a canadian indie film with gorgeous cinematography and impeccable vibes. it's a mockumentary (not the comedy kind tho it's hilarious) about a has-been punk band reuniting for a last hurrah and spiralling fast into insanity. it's very homoerotic and melancholy and so genuinely into the actual local punk scene of the time. so yeah! a++

oh awesome!! that sounds really cool actually & like something i would enjoy hehe thank you! i will definitely check that out i love gorgeous cinematography & vibes & homoerotic musicianship yayayy thank youuuuuuu