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hello-robin-goodfellow · 4 years ago

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TOP 20 DAVID WARNER ROLES (PART II)

10º Ivan Petrovich ‘Vanya’ Voynitsky (Performance: Uncle Vanya, 1991)

Warner leads in this 1991 televised production of one of the most famous Anton Chekhov plays. Ivan Petrovich (Uncle Vanya for his niece Sonya) is a more then sad and angry man, who sacrificed dreams of love and intelectual success to administrate a cottage of wich provide money to his brother in law, an old professor called Serebryakov (Ian Bannen) that does nothing but look down upon him, all the while being favoured by Vanya’s own mother. Making matters worst, Vanya is one of the two man who is in love with the professors wife, Yelena (Mary Elizabeth Mastrantonio). Two days of a family reunion mostly consisting of verbal fightings eventually makes all the tension that acumulates in Vanya’s mind eventually explode.

09º Konstantin Treplev (The Seagull, 1968)

The younger spiritual predecessour of Ivan Petrovich. Konstantin Treplev is an aspiring writer, who wishes to find a new style to talk about dreams, receiving praises from his mother (veteran actress Arkadina, played by Simone Signoret) and the love of the beautifull aspiring actress (Vanessa Redgrave). But the popularity of the best-selling writer Boris Trigorin (James Mason) and Konstantin’s problems to directly comunicate his feelings eventually make him fall down a tragic spiral of loneliness.

08º Bob Cratchit (A Christmas Carol, 1984)

Interestingly, when this 1984 adaptation of A Christmas Carol, Warner was first invited to play Jacob Marley. But he asked to play Bob Cratchit instead. And we all must be glad that he did, because he gives a very wholesome performance, that makes anyone wish to have him as a father figure.

07º Keith Jennings (The Omen, 1976)

In this aclaimed 1976 horror film, Warner’s character is a photographer, whose only job was to registrate the birthday party of the rich child of the american embassador (Gregory Peck) until a series of strange accidents start to kill people who knew that child or his relatives. Intrigued, Keith Jennings starts to investigate, and decides to form a duo with the american embassador, filling the role of the more proactive lancer to the mostly passive protagonist. One of David Warner’s most iconic good guy roles ever putt on the big screen.

06º Merlin (The Wizard, 2013 and The Once and Future King, 2014)

The two years in a row when David Warner played one of the most iconic wizrd mentor figures in mithology and pop culture. In 2013′s comedic short film The Wizard, Warner plays a Merlin that wakes up in modern times and is starting to adapt in a office work, while his colleagues try to adapt to his magic quirks. And in the BBC Radio 4 six episode drama The Once and Future King (adapted by Brian Sibley, the same guy who adapted the 1981 Lord of the Rings radio drama, from the novel series by T. H. White), where Merlin’s spirit sits alongside Arthur in the final battle for a conversation, we see how his Merlin could have acted in the past alongside King Arthur and the Knights of the Round Table, providing wise counsels with a bit of a snarky sense of humour and melancholy. Those works are two “must check out” for David Warner fans and for fantasy and arthurian mithology fans.

05º The Evil One (Time Bandits, 1981) and Ed Dilinger/Comander Sark/Master Control Program (Tron, 1982)

Yes, number five is a tye. Those two movies camed in a row, and in both David Warner played technology themed villains. In the first, Time Bandits, he is implied to be the Devil himself, and as such is portrayed as very powerfull and in control during most of the movie. In the second, Tron, Warner gives a triple performance: as the human Ed Dilinger and the program Comander Sark, he believes he is in control, but in reality is not. The real power is hold by Warner’s third character, the Master Control Program of the videogame. This transiction from a more simple one-and-all-powerfull antagonist to a more complex dinamic of a trio of antagonists was, for a lot of people, the introduction to Warner’s acting range, and for this reason it appears as a tye in this ranking.

04º The Doctor (Sympathy for The Devil, 2003 and Masters of War, 2008)

In the late 1970s, the BBC camed to search David Warner with an offer for him to play the Doctor in the main Doctor Who BBC Television series. He was interested, but unfortunally his filming schedule conflicted in working more them one season into a long-running TV Show, so he had to put the offer down. It was only in the 2000s, after the founding of the audio-drama company, that we would get a grasp of his portrayal of the Doctor, in the what-if scenarios provided by two episodes of Doctor Who Unbound: Sympathy for The Devil and Masters of War. In those audiodramas, he plays a alternate encarnation of the Third Doctor that is sent to Earth in 1997 instead of 1969, and thus could not help U.N.I.T with the Alien Invasions that happen in the 1970s. Thus, he finds a retired and pub-owning version of Brigadier Lethbridge Stewart, and has to relearn to gain his thrust, until the two become companions of adventures that investigate new alie threads indepedently of U.N.I.T

Warner’s Doctor is a bit less quirky encarnation of the character, having instead a more pratical temperment. He sees the danger, and he goes straight to investigate how to stop it, all the while trying to keep the people around him calm. And later he will make a comment about neading more conforting and fitting shoes.

This is a Doctor that you would surely trust to keep your life safe.

03º Lisander (A Midsummer Night’s Dream, 1968)

A production that made a lot of millenials become Shakespeare fanboys, and they own this in part to David Warner’s performance as Lisander, one of the most romantic (if a bit bumbling) Shakespeare protagonists. Seeing the moments when he conforts and encourages his beloved Hérmia (Helen Mirren) and makes a mess of himself when he is enchanted to fall for Helena (Diana Rigg) is one of the most fun rides that an audience will ever get. Seriously, his Lisander was adorkable before the word ‘adorkable’ even existed.

02º Henry VI (The Wars of The Roses, 1965)

From a fun and very popular Shakespeare protagonist, to a heart-breaking and very underrated protagonist. For years i was one of several people who did not care for the Henry VI plays as it cared for its famous sequel, Richard III.

This all changed when i watched this 1965 televised production of the Wars of the Roses, that condenses the four plays in a way that makes it more accessible for audiences. Once again, this was helped in a big part by the performances of the cast.

David Warner was only 24 years old during this production, and had to cary the role of the vulnerable Henry VI from his youth to his old age and eventual murder by Richard III.

And in my opinion, he carried it brilliantly. This was the sign that a very versatile actor would have a very long career.

And my number one David Warner role is...

01º Morgan Delt (Morgan: A Suitable Case for Treatment, 1966)

Henry VI stablished David Warner as a lead in theater and television. Now it was time to stablish him as the lead in film. And they did exactly that when casting him in the role of Morgan Delt, a painter who grew up mixing a familiar comunist education with an obsession with animals (particularly gorilaz) and is frustratred with his divorce of his socialite wife Leonie (Vanessa Redgrave), who is about to marry Jack Napier (Robert Stephens), art merchant and Morgan’s previous best friend. While trying every crazy squeam to take his wife back, Morgan must take on a journey to mature, so he can his wife go and be happy and he can recouver his career. But until this happens, transitioning from the sweet and romantic to the angry and scary, for Morgan, taking bombs home and wearing ridiculous gorila suits it is.

For showing the range between scary villain and simpathetic hero that would be his trademark on years to come, and providing loud laughs mixed with an interesting commentary on masculine insecurity and entitlement, is that Morgan Delt is my favorite David Warner role.

@amalthea9 @superkingofpriderock

#david warner #actor david warner #rankings

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childhoodgrave · 5 years ago

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neko zombie from gregory horror show..

OHHHHHH iwas thinking ant neko zombie very recently sctually my friend sent a picture of him (hi mel if u see tjis hi) I LOV NEKO ZOMBIE....makes me sad

hope they r doing OK id b pretty mad if sorm one stitxhed up all my shit too :| ... partially related but one time in class like last year i looked over and the kid next to me was just like casually seweing his fingers togetehr with thread

#stitches #needles #< just in case !!!#ask #TY !!!!!! :D

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notmuchofatail · 4 years ago

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19. Flip The Script: Change one DRASTIC trait about your character and write a one-shot. (A character who is a Magick is now a Mundus or vice versa; a character is suddenly born in an entirely different place; a 15-year-old is a 51-year-old etc etc.)

In which Gregory Eeyore is forever scarred.

All his life, Gregory had always been pushed down, walked on and abused. He’d been told time after time that he was weak. Spineless. Pathetic. A nobody. Never going to amount to anything, or would never have the capacity to get far. He knew what people truly thought of him in the sneers and the looks that were given towards him. The way that people like Toulouse and Hades would lift their brows at him - the judgement evident even if often the former never even gave him the time of day. The snark and slipped in insults that often accompanied a conversation did enough.

Too stupid. Too young. Too Naïve.

But for twenty two years of his life - Greg had done little more than ignored it. The words and actions affected him mentally, but never did he let it change him. He wouldn’t let it. After all, if showing kindness and compassion for the people of Swynlake, regardless of gender, identity, magical status and more was weak and spineless - then that was fine with him. Gregory Eeyore would never stoop to the other people in town’s levels. Never wanted to harm another person or even hurt their feelings. That was just too far in his mind. Instead, he would always fight for justice, and change. He’d stand tall and in front of those being affected - stand by their side to fight for their rights and freedoms too. All Gregory Eeyore ever wanted was for Swynlake to be a home for everyone like it had always been for him.

But.... something changed the night of the Town Hall Mixer.

Like a small thread in the back of his mind had snapped, and with it - the compassion that normally shined so brightly behind blue eyes was forever dampened. He’d barely survived the two stab wounds to the gut - rushed to the hospital in a string of events the young man would barely come to remember. The details that would slowly fall into place within the next coming days didn’t help him piece together a fond memory - and easily Gregory felt himself turning more and more bitter in his recovery.

Visits were quickly shunned - a refusal to see anyone, even those he considered his friends. Texts went ignored, and all too quickly Gregory simply turned his phone off and didn’t bother reaching for it for weeks. Instead, the boy wanted nothing more than to sit in the hospital himself, brewing in the information he’d been getting and putting together what had happened that night. Not even his mother could break through his train of thought and pull him from the darkness that circled all too viciously within his mind.

Vampire. Compulsion. Mass chaos.

How quickly his tiny town had once again been subject to horror. To some unthinkable tragedy - and this time Gregory had been caught right in the middle of it, and for what? There had been no reasoning behind the attack. Nothing, but the thrill for chaos. The Vampire (Anthony, he’d later discovered) might not have had an intention at all - if not just for Swynlake to turn against each other.

Mindless... pointless violence.

For once in his life, it felt easy to point that finger. To lay the blame on someone or... something - the blame that Gregory realized he was placing where he never thought he would before.

On... Vampires in general.

It was their fucking fault all of this had happened, after all. How could they ever think they could control a group of people so powerful that they could just warp your mind to believe whatever they wanted? That they’d been the very same people to trick his ex-boyfriend into thinking a dog attacked him when they snacked off of him after work. Vampires were the whole reason he’d lost so much - and nearly more that night.

A vampire had just controlled more than half the town - just like that. Which.. was terrifying. It was terrifying and it made Gregory angry.

....and it didn’t just stop there, did it? No.. Perhaps people were right all these years. He was far too naïve. He’d let this go on for far too long and never realized he’d been in danger his entire life. No one else went through the same trauma’s that Swynlake went through... and slowly Gregory was piecing together why.

It was always the fucking Magicks, wasn’t it?

Magic had ruined everything. From the stupid dreams that still plagued him and caused him nightmares, to the bugs, the chaos, the forest trying to take over. There had always been something or someone behind it. Soleil, for example could have killed people - and... did she ever pay for what she’d done? No. She’d hidden as a tree for years before coming back. Greg had accepted her with open arms and for what? She’d been just as responsible for a mess that could have killed people as Anthony was for nearly getting him killed now!

Something needed to change.

Magicks needed to be stopped.

- - - - - -

It was a good month until the first board meeting after the disaster. Gregory had finally shown his face in public since the incident - and while his fellow board member’s greeted him warmly, Gregory only stared coldly ahead with a nod. He had no intention on wasting anyone’s time. No intention on idle small talk or stupid jokes. Not when so much was on the line.

“I’d like to revisit a petition.” Came Greg’s words near the end of the meeting, his tone firm - without the hesitation or anxious stutter it normally possessed. A moment later and Jun’s old petitions, now revised and stricter than before with a few of Greg’s updates, was pressed across the table - his index finger tapping against it lightly before he sat back again. “...I want you all to think long and hard about this. We’ve ignored it for too long.” He spoke again, pushing back from his seat and pulling himself to a stand with a brief look at each of them - noting the confusion that melded into abject horror as gazes finally skimmed the paper in front of them.

PETITION: Swynlake Dangerous Magick Persons Residency Act II PETITIONER: Gregory Eeyore DESCRIPTION: ARTICLE ONE: Swynlake Town Board should vote to enforce a mandatory residency restriction for Dangerous Magick Persons. ARTICLE TWO: Swynlake Town Board should vote to enforce a mandatory and permanent eviction of any Dangerous Magick Persons within Swynlake. ARTICLE THREE: Swynlake Town Board should vote to enforce a mandatory Magick Registry for all remaining Magick Citizens, with public access. Dangerous Magick Persons will be defined as any person, human or humanoid, who has been convicted of any felonies and/or misdemeanors due to magic abuse, as well as persons whose magic and/or magick status results in or threatens harm, such as, but not limited to, vampires, lycanthropes, necromancers, various fairy talents, demons, etc. A person who violates this subsection commits a felony of the third degree and will be punished under the court of law and is subject to immediate eviction, and under worst circumstance execution. No citizen of Swynlake should ever be harmed via a Magick-caused occurrence ever again.

Gregory didn’t bother to wait around for their responses. He knew what it would be - knew that everyone on the board was far too spineless to ever do what needed to be done for the protection of their town. His town. Not a single one of them would ever have the guts to do what had to be done for the good of Swynlake.

But it was fine.

As Gregory walked out of Town Hall, he easily slipped his hand into his pocket - fingers running over the sharp blade that rest there. Blue eyes looked up again after a moment, and found Toulouse waiting for Hades nearby. Werewolf. Dangerous. His fingers tightened, wrapping around the hilt of the knife as he pulled it from his pocket with a tilt of his head.

He would just take care of it himself.

#bdrpwrimo #bdrpwrimolauren #x; Wrimo #tw implied violence #tw stabbing mention #this wasn't my original idea #but it's a very extreme version of a struggle he's actually going through currently #it's also just awful idk how to write one shots but I had this and wrimo is ending so i can't just not post it lmfao

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missolitude · 5 years ago

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2, 5, 10, 12, 18, 19, 30, 47

2. Top 5 overrated TV shows

1. Killing Eve

2. Good Omens

3. Years and Years

4. Battlestar Galactica

5. Westworld

5. Top 5 Overrated Movies

1. The Phantom Thread

2. The Shape of Water

3. Gravity

4. Crazy Rich Asians (sorry Michelle)

5. The Shining

10. Top 5 Male Characters

1. Thomas Barrow (Downton Abbey)

2. Gregory House (House, M.D.)

3. Jack Harkness (Torchwood)

4. The Phantom (The Phantom of the Opera)

5. Dr. Cox (Scrubs)

12. Top 5 LGBTQ+ characters

1. James Flint (Black Sails)

2. Olive Byrne (Professor Marston and the Wonder Women)

3. Rebecca Westridge (A Perfect Ending)

4. Fleabag (Fleabag)

5. Lexa (The 100)

18. Top 5 (more) characters I most relate to

1. Cara Mason (Legend of the Seeker)

2. Daphne du Maurier (Daphne)

3. Lena Luthor (Supergirl)

4. Vanessa Ives (Penny Dreadful)

5. Dorothy Zbornak (The Golden Girls)

19. Top 5 underrated characters

1. Angela Petrelli (Heroes)

2. Victoria Grayson (Revenge)

3. Rita (I am Sam)

4. Ruby Knowby (Ash vs. Evil Dead)

5. The Android (Dark Matter)

30. Top 5 off-screen relationships* (*& for friendships, x for romantic)

1. Lucy Lawless & Renée O’Connor

2. Bea Arthur & Rue McClanahan

3. Alan Rickman x Rima Horton

4. Patrick Stewart & Iain McKellen

5. Patricia Clarkson & Bradley Cooper

47. Top 5 horrors

1. Insidious (Franchise)

2. Cube (Franchise)

3. Us (2019)

4. Funny Games

5. The Others

[ask meme]

#thank you babyy 🌹💞#missolitude replies

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thisguyatthemovies · 6 years ago

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Burning not so brightly

Title: “Brightburn”

Release date: May 24, 2019

Starring: Jackson A. Dunn, Elizabeth Banks, David Denman, Matt Jones, Meredith Hagner, Gregory Alan Williams

Directed by: David Yarovesky

Run time: 1 hour, 31 minutes

Rated: R

What it’s about: A child from another planet crash-lands in Brightburn, Kansas, where he is raised by a farm couple, and upon adolescence discovers he has superpowers that he uses for evil instead of good.

How I saw it: It sounds like a great idea for a movie, because it is. What if a Superman-type character thrust into the same situation as the Man of Steel chooses to use his powers to take over his new home planet instead of saving it? That simple premise is awash with promise, and there is plenty of territory in Superman comic books and movies to explore. And, though it has been done in comics, such a twist on a superhero sounds refreshing given the formulaic nature of Marvel and DC movies.

But “Brightburn” -- directed by David Yarovesky (in his directorial debut), written by Brian Gunn and Mark Gunn, brother and cousin, respectively, of “Guardians of the Galaxy” director James Gunn, who produces here – takes a good idea and squanders it. It doesn’t aim to be a blockbuster superhero movie, with a budget of just $7 million, but that isn’t the problem. The problem is that it aims to be a low-budget slasher movie and too often settles for just that – a slasher movie that does not stray far from the proven formula and clichés. It could have been any number of horror movies that just so happens to have a Superman-like character in it.

Jackson A. Dunn plays Brandon, who arrived on Earth when his spaceship from another planet crash-landed in Kansas (this should sound familiar already). He is discovered by a farm couple, Tori (Elizabeth Banks) and Kyle (David Denman) Breyer, who had been trying to have children. They do what any couple would do. They decide to raise the child they know nothing about, conveniently hide his spaceship in a nearby barn cellar and lie to everyone by saying they adopted Brandon. What could possibly go wrong? Well, plenty.

The story gets going when Brandon turns 12, which often is when the trouble starts with boys not from another planet. He discovers he has superhuman strength. Then his spaceship starts calling to him and convinces him to “take the world.” Before long, he figures out the whole adoption thing was a lie. And in short order he becomes a sociopath, totally unfeeling toward even his own family.

You can guess what happens from here. Brandon is like an evil kid in a candy store with his newly discovered powers. He is empowered by being surrounded by the biggest bunch of idiots you can imagine, his “parents” topping the list of gullible potential victims. They, Tori’s sister Merilee (Meredith Hagner), her husband Noah (Matt Jones) and the stereotypical clueless sheriff (Gregory Alan Williams) either ignore what is obvious about the boy or write it off as just part of the growing-up process.

Banks, who is a better-than-average actress, fares the worst here. She prayed for Brandon to arrive (maybe not from another planet so much) and as such is going to stand behind him no matter how many people he gruesomely slaughters. Brandon is, and always will be, her baby boy, and she says that or something like it about 50 times in a not particularly long film. Denman’s character isn’t any smarter. Once he confronts Brandon, the boy flexes his muscle, slamming his adopted father into a wall. So, what does Kyle Breyer do? Drive the troubled boy out into a remote wooded area so that, you know, he can meet a terrible fate.

Why Brandon has chosen to be evil isn’t really explored, other than his spaceship talked him into it, and that’s a shame. It was the one thing the premise set up, but all we get is that Brandon is evil because Brandon can be evil. None of the usual superhero moral dilemma is present here. “Brightburn” can be viewed as an allegory about male privilege, but the filmmakers didn’t seem to be as interested in that as the body count. It is fun, in a weird way, to watch Brandon become like one of those “nice guys” on a Reddit thread. A girl in his class is nice to him when others are picking on him, so he starts stalking her, then breaks her hand when she calls him on his creepiness, then brings her flowers by showing up in her bedroom uninvited a second time, then murders her mother. They must have cut the scene where Brandon went on Reddit and asked, “What did I do wrong?”

“Brightburn” isn’t a total disaster. Dunn is quite good in his feature-film debut, exuding evil even when he isn’t performing evil acts. He does a good job of playing a confused adolescent boy who quickly realizes no one can stop him from doing whatever he wants. The gore, though there isn’t a lot of it by slasher film standards, is intense and on occasion gasp-worthy, with Jones’ character faring the worst. And, at a lean 91 minutes, it’s exactly half as long as the ridiculously lengthy “Avengers: Endgame,” and it would be nice to see more comic-book movies check in at less than 2 hours, even if this is a horror movie with a kind-of, sort-of connection to the comics. Because of its paltry budget, “Brightburn” will make money, and the ending leaves open the possibility of a sequel or cinematic universe.

But “Brightburn” overall is a disappointment. It is a movie that had a great idea and great potential but does not live up to either. Worse, it didn’t seem to try.

My score: 39 out of 100

Should you see it? Only if mediocre horror movies are your thing. Even then, it can wait for disc/streaming release.

#movies #movie review #brightburn #superman #horror movies #comics

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the-canon-nebula · 4 years ago

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Current Heavy Changes to be added to the blog:

1) Tomo, Andrea, and the rest of the Gregory Horror Show muses are being removed from the Multiverse.

After a lot of consideration, I have deigned the three ‘protagonists’; Tomo, Andrea, and Rose, have been insanely out of character for a setting such as Gregory Horror Show. At their point in time, they honestly would have died, or have changed into permanent guests. Therefore, I am cutting the entire universe from the Directory. Apologies to those who wanted to thread with them.

Not to worry though- Tomo, Andrea, and Rose will be repurposed as OCs for @the-oc-nebula sometime soon.

2) Metal Sonic will be added to the blog!

This metal ‘hog with a bad attitude is coming to a Nebula near you!

A bit of a warning however- even if I reference that he may have a significant other (In my friend @terraterracotta‘s Terravolt the Serval), that will be his ONLY Ship, and even then, it’s off-blog. Majority of the time, Metal will be uncaring to anyone.

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everythingmusicandfilm · 7 years ago

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Oscars 2018

I can’t believe it has been a whole year since La La Land was best picture for a whole two minutes. Yes, it’s that time again, oscar season. Although I am most excited to see Tom Holland in a suit, I am also eager to see who takes home the golden statues. Every year I try my best to watch the oscar nominated films and this year was no different. Before I get into my picks for the oscars, a little reminder that these are my own personal opinions. I do not claim to be a film expert or anything, this is just who I think should win for each category!

Writing

Adapted Screenplay

“Call Me By Your Name” James Ivory

“The Disaster Artists” Scott Neustadter and Michael H. Weber

“Logan” Scott Frank, James Mangold and Michael Green

“Molly’s Game” Aaron Sorkin

“Mudbound” Virgil Williams and Dee Rees

As much as I LOVED Logan and think it is without a doubt the best wolverine film we have seen, Call Me By Your Name is my pick here. The story addresses a romantic relationship between an unlikely pair, a 30 year old man and a 17 year old boy. As we live in a time where a racist and misogynistic male is president of the free world, this film offers us an escape to remember that love is important. Elio’s father’s speech as he explains that he accepts that Elio is gay, is a moving and inspiring monologue. The story provides a beautiful representation of homosexuality and reminds the world of the importance of love, especially in a time of struggle and pain.

Original Screenplay

“The Big Sick” Emily V. Gordon and Kumail Nanjiani

“Get Out” Jordan Peele

“Lady Bird” Greta Gerwig

“The Shape of Water” Guillermo del Toro, Vanessa Taylor

“Three Billboards Outside Ebbing, Missouri” Martin McDonagh

Get Out offers a surprisingly unique storyline that successfully combines elements of psychological horror with dark humour. I have never been a huge horror film fan, however I really enjoyed this film and was constantly engaged. The film had me hooked right until the end. It addresses a particular side of racism as it is set in the post-obama era. It connects historical themes of slavery with the contemporary nature of white people being envious of black people. The story line is captivating and innovative and hence why I think it should win best original screenplay.

Technical

Cinematography

“Blade Runner 2049” Roger Deakins

“Darkest Hour” Bruno Delbonnel

“Dunkirk” Hoyte van Hoytema

“Mudbound” Rachel Morrison

“The Shape of Water” Dan Laustsen

Without a doubt. Every single frame in Blade Runner 2049 is a piece of art. The cinematography in Dunkirk of course is spectacular and captivating and don’t even get me started on the lighting in The Shape of Water, however Blade Runner 2049 is so visually stunning that the light almost feels alive. Roger Deakins paints a picture almost frighteningly realistic as the audience faces the realities of human nature. The cinematography highlights the importance of the visual in science fiction films and is a refreshingly unique and powerful aspect that makes Blade Runner 2049 so incredible.

Visual Effects

“Blade Runner 2049” John Nelson, Paul Lambert, Richard R. Hoover and Gerd Nefzer

“Guardians of the Galaxy Vol. 2” Christopher Townsend, Guy Williams, Jonathan Fawkner and Dan Sudick

“Kong: Skull Island” Stephen Rosenbaum, Jeff White, ScottBenza and Mike Meinardus

“Star Wars: The Last Jedi” Ben Morris, Mike Mulholland, Chris Corbould and Neal Scanlan

“War for the Planet of the Apes” Joe Letteri, Dan Lemmon, Daniel Barrett and Joel Whist

Even though I am obsessed with the visuals in Blade Runner 2049, I think it is about time that Planet of the Apes is recognised for the stunning visual effects. Weta Digital has once again proved themselves to be one of the best in the business as they bring these apes to life. Their performance capture technology is so innovative that it captures the smallest details of Andy Serkis’s facial expressions and manages to translate it onto the ever realistic ape. The first two Planet of the Apes films were snubbed by the academy and I really believe that it should win this year.

Production Design

“Beauty and the Beast” Sarah Greenwood and Katie Spencer

“Blade Runner 2049” Dennis Gassner and Alessandra Querzola

“Darkest Hour” Sarah Greenwood and Katie Spencer

“Dunkirk” Nathan Crowley and Gary Fettis

“The Shape of Water” Paul D. Austerberry, Jeffrey A. Melvin and Shane Vieau

Austerberry, Melvin and Vieau successfully manage to create an entire world in The Shape of Water. The sets, props and lighting all come together to create a magical film. Elisa’s theatre apartment is so beautifully detailed that it took almost 3500 colour samples to create. Each of the sets are inspired and shaped by water from the rusted down walls to the pipes in the lab. So much thought and detail has been put into the design of this film and that is why it is one of the most beautiful films.

Film Editing

“Baby Driver,” Jonathan Amos and Paul Machliss

“Dunkirk,” Lee Smith

“I, Tonya,” Tatiana S. Riegel

“The Shape of Water,” Sidney Wolinsky

“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

It doesn’t take an expert to recognise the amazing editing skills being portrayed in Baby Driver. The entire film is cut to musical cues, which meant that it had to be edited on set. The editing successfully falls to the beat of the music without the audience even realising. The editing is thorough and naturally allows the film to flow the way it does. The pacing and editing of the film is what makes it so unique so I really hope it takes home the oscar on Sunday.

Makeup and Hairstyling

“Darkest Hour,” Kazuhiro Tsuji, David Malinowski and Lucy Sibbick

“Victoria and Abdul,” Daniel Phillips and Lou Sheppard

“Wonder,” Arjen Tuiten

Gary Oldman is completely unrecognisable as Winston Churchill in the Darkest Hour. The transformation is shocking and although Oldman’s performance definitely contributes to the amazing portrayal of Churchill, the makeup and hairstyling is what makes it oscar worthy.

Costume Design

“Beauty and the Beast,” Jacqueline Durran

“Darkest Hour,” Jacqueline Durran

“Phantom Thread,” Mark Bridges

“The Shape of Water,” Luis Sequeira

“Victoria and Abdul,” Consolata Boyle

As the film is a story about a fashion designer in the 1950s Couture World of London, it is no surprise that the costumes in the film are stunning. Each piece is so detailed and intrinsic, it is easy to see the hard work that went into making them. Although I feel like any one of these films could take home the oscar as this was a relatively hard category to pick one favourite. Phantom Thread however has become known for its costume design and this could be what edges it out slightly from the other nominees.

Sound

Original Score

“Dunkirk,” Hans Zimmer

“Phantom Thread,” Jonny Greenwood

“The Shape of Water,” Alexandre Desplat

“Star Wars: The Last Jedi,” John Williams

“Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Although personally Call Me By Your Name should win best original score, The Shape of Water is a very close second. The delicate, beautiful piano pieces add to the stunning elements of the film. The score transports us to this other world as we follow Elisa’s story. The music is what successfully balances the science fiction side of the film with the sad story of Elisa wanting to be heard for once. Because Elisa is mute I often feel that the music in the film speaks for her as it reflects how she feels. I believe that the sound is one of the most important elements of filmmaking and if you have a successful score then you will have a successful film, and this is definitely the case with The Shape of Water.

Original Song

“Mighty River” from “Mudbound,” Mary J. Blige

“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens

“Remember Me” from “Coco,” Kristen Anderson-Lopez and Robert Lopez

“Stand Up for Something” from “Marshall,” Diane Warren and Common

“This Is Me” from “The Greatest Showman,” Benj Pasek and Justin Paul

This is a particular tough category as “Mystery of Love” from Call Me By Your Name is a gorgeous piano piece that makes me feel like I am in Italy during the summer and “This is Me” from The Greatest Showman brought tears to my eyes. However “Remember Me” from Coco is an emotional and inspiring piece of music that represents the entire film. Pixar is not often recognised for the music in their films and think that should change this year with this song.

Sound Editing

“Baby Driver,” Julian Slater

“Blade Runner 2049,” Mark Mangini and Theo Green

“Dunkirk,” Alex Gibson, Richard King

“The Shape of Water,” Nathan Robitaille and Nelson Ferreira

“Star Wars: The Last Jedi,” Ren Klyce and Matthew Wood

The difference between sound editing and sound mixing is that sound editing is about what you hear, sound mixing is about how you hear it. Screw the 70mm screen, I think Dunkirk should win best sound editing because it is the sound that makes the war film so immersive. The sound editing in Dunkirk is so precise and captivating that the audience has no idea they are being manipulated. The constant ticking, the ocean waves and the ascending pitch creates an increasing intensity that unites the three different storylines. The war film that shows no blood is still so intense and captivating because of the sound editing.

Sound Mixing

“Baby Driver,” Mary H. Ellis, Julian Slater and Tim Cavagin

“Blade Runner 2049,” Mac Ruth, Ron Bartlett and Doug Hephill

“Dunkirk,” Mark Weingarten, Gregg Landaker and Gary A. Rizzo

“The Shape of Water,” Glen Gauthier, Christian Cooke and Brad Zoern

“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker and Michael Semanick

Sound mixing however deserves to go to Baby Driver. The entire film is choreographed to the sound yet it does not feel anything like a musical. This is because the sound mixers successfully managed to have the action cut to the sound while still allowing the film to not feel so choreographed. The diegetic and non-diegetic sound perfectly mix together to make a film based around music, to not be anything close to a musical. Every sound from the placement of a cup to the chewing of gum is synched in time with the music. So much work went into this film to ensure that the sound would drive the story and that is exactly what it does.

Acting

Best Supporting Actor

Willem Dafoe, “The Florida Project”

Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”

Richard Jenkins, “The Shape of Water”

Christopher Plummer, “All the Money in the World”

Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

SAM ROCKWELL 100% !!!!! I was absolutely blown away by his performance in Three Billboards. Rockwell plays a problematic character of a racist cop who’s only answer is violence. While there is criticism of the film trying to get the audience to sympathise for his character at the end, there is no doubt that Rockwell’s performance is inspiring. Dixon is such a complicated character with so many different sides and we see Rockwell successfully show us all of them in this film. Everyone is always talking about Frances in this film but I believe that the best acting performance came from Rockwell.

Best Supporting Actress

Mary J. Blige, “Mudbound”

Allison Janney, “I, Tonya”

Lesley Manville, “Phantom Thread”

Laurie Metcalf, “Lady Bird”

Octavia Spencer, “The Shape of Water”

Although Allison Janney is picked to be the favourite and I did admire her performance, Laurie Metcalf in Lady Bird is the winner for me. Metcalf has a way with words that really brings out her performance. She understands the importance of a mother’s role in her daughter’s life as she delivers an inspiring performance.

Best Lead Actor

Timothée Chalamet, “Call Me by Your Name”

Daniel Day-Lewis, “Phantom Thread”

Daniel Kaluuya, “Get Out”

Gary Oldman, “Darkest Hour”

Denzel Washington, “Roman J. Israel, Esq.”

Another tough pick as Daniel Kaluuya delivered an amazing performance in Get Out, Daniel Day-Lewis and Denzel Washington were as incredible as ever and Gary Oldman in the Darkest Hour is possibly his best performance yet, however Timothee Chalamet in Call Me By Your Name is my favourite performance of all. This was the first time I had seen Chalamet in a film, and he blew me away. He is so young yet his performance is so inspiring, it is what makes the relationship between his character and Armie Hammer’s character work so well. Although I think Gary Oldman will probably win on the night, I think Chalamet deserves it the most.

Best Lead Actress

Sally Hawkins, “The Shape of Water”

Frances McDormand, “Three Billboards Outside Ebbing, Missouri”

Margot Robbie, “I, Tonya”

Saoirse Ronan, “Lady Bird”

Meryl Streep, “The Post”

Every single one of these lovely ladies deserves best lead actress however if I had to choose one it would have to be Frances McDormand. Her performance represents the pain and suffering of a world where so much sexual harassment is happening and nothing is being done about it. The audience is moved to tears as we follow her struggle of finding justice for her daughter. Frances truly leads the film to success and this is what a lead actress does. Her passionate monologues are just as empowering as to what she doesn’t say and this is why she deserves best lead actress.

Best Director and Best Picture

Best Director

“Dunkirk,” Christopher Nolan

“Get Out,” Jordan Peele

“Lady Bird,” Greta Gerwig

“Phantom Thread,” Paul Thomas Anderson

“The Shape of Water,” Guillermo del Toro

Is it possible to have all five directors win? Because that would be my pick. Jordan Peele delivers what has been called ‘the film of the year’ with Get Out. Greta Gerwig is the only female to be nominated and hence I think she should win solely for that reason, also because Lady Bird is the stunning, coming of age film that we have all been waiting for. Paul Thomas Anderson somehow manages to make emotions visual with his lovely film Phantom Thread and Guillermo del Toro who is an extremely close second delivers my favourite picture The Shape of Water. However I think it is about time that Nolan finally received the oscar for best director. There is no doubt that Christopher Nolan is a mastermind when it comes to filmmaking. Each and every one of his films are incredible pieces of work. Dunkirk however is the unconventional war film that I never thought I needed. There is no blood and guts in this film and the simple long takes and minimal dialogue makes it seem rather minimalistic. However the film still has so much depth and impact. Nolan chose to strip the film down and focus on what is important, the framing and the sound to create an immersive epic film. His choices in the film reflect his genius mind and clearly show that he is indeed the best director.

Best Picture

“Call Me by Your Name” Luca Guadagnino

“Darkest Hour” Joe Wright

“Dunkirk” Christopher Nolan

“Get Out” Jordan Peele

“Lady Bird” Greta Gerwig

“Phantom Thread” Paul Thomas Anderson

“The Post” Steven Spielberg

“The Shape of Water” Guillermo del Toro

“Three Billboards Outside Ebbing, Missouri” Michael McDonagh

I think this is the hardest year ever to pick a film for best picture. There have been so many amazing films this year. I chose The Shape of Water however because it is the only film that exceeds in all areas of filmmaking. The score as I have already explained drives the narrative of the film and contributes to the beautiful aesthetic. The production design transports us to another world. The cinematography and in particular the lighting is so beautiful it perfectly reflects the nature of being underwater. The story is unique and innovative as we are able to look past the weirdness of a woman sleeping with a fish to realise the true meaning of a mute girl wanting to be heard. Sally Hawkins plays a difficult part in making this story focus on the beautiful hidden meaning rather than on the science fiction aspect, and she does this very successfully. Guillermo del Toro manages to bring all these elements together to create a unique and stunning film that has everyone talking. I never thought a film about a romance between a girl and a fish could be so beautiful and that is why it is my pick for best picture.

#oscars #film #the shape of water #call me by your name #dunkirk #get out #phantom thread #lady bird #three billboards #darkest hour #timothee chalamet #gary oldman #christopher nolan #frances mcdormand #sam rockwell #baby driver

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dweemeister · 7 years ago

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My alternative 90th Academy Awards

So here’s another annual tradition... my alternative Oscars ceremony. This is what this Sunday’s Oscars would look like if I – and I alone – stuffed the ballots and decided on all of the nominations and winners. Non-English language films are accompanied by their nation of origin (in FIFA three-letter code).

90th Academy Awards – March 4, 2018 Dolby Theatre – Hollywood, Los Angeles, California Host: Jimmy Kimmel Broadcaster: ABC

Best Picture: LADY BIRD

The Breadwinner, Anthony Leo, Tomm Moore, Andrew Rosen, and Paul Young (Cartoon Saloon/GKIDS)

Call Me by Your Name, Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito, James Ivory, and Howard Rosenman (Sony Pictures Classics)

Coco, Darla K. Anderson (Pixar/Walt Disney)

Dunkirk, Emma Thomas and Christopher Nolan (Warner Bros.)

Faces Places (FRA), Rosalie Varda (Le Pacte/Cohen Media Group)

The Florida Project, Sean Baker, Chris Bergoch, Kevin Chinoy, Andrew Duncan, Alex Saks, Francesca Silvestri, and Shih-Ching Tsou (A24)

Lady Bird, Scott Rudin, Eli Bush, and Evelyn O’Neil (A24)

Phantom Thread, Paul Thomas Anderson, Megan Ellison, JoAnne Sellar, and Daniel Lupi, (Focus/Universal)

The Post, Steven Spielberg, Kristie Macosko Krieger, and Amy Pascal (20th Century Fox)

The Shape of Water, Guillermo del Toro and J. Miles Dale (Fox Searchlight Pictures)

Out of the running in real life are Darkest Hour, Three Billboards, and Get Out. And taking the maximum of ten spots, in their place enter The Breadwinner, Coco, Faces Places, The Florida Project. That’s two animated movies, a documentary, and a neglected critical darling... come at me? I was lukewarm over Darkest Hour, pissed off over Three Billboards, and I honestly don’t think Get Out is as effective a horror movie or a commentary on racial relations that it wants to be.

Lady Bird would be my winner, with Phantom Thread your runner-up and either Faces Places or The Shape of Water as your third spot. For Lady Bird, it would be harder to find a movie with as much empathy as it this calendar year. Maybe not the most technically gifted filmmaking of the nominees, but it accomplishes its conceit with an open ear and an open heart. Bravo.

I noticed that I don’t have time to write on all the Best Picture nominees anymore, like in years past. I only got to Dunkirk and The Post – both of which are on the outside looking in.

Best Director

Guillermo del Toro, The Shape of Water

Greta Gerwig, Lady Bird

Christopher Nolan, Dunkirk

Dee Rees, Mudbound

Agnès Varda and JR, Faces Places

CONTROVERSY. Dee Rees nominated in Director, but Mudbound isn’t nominated for Picture! In all honesty, I couldn’t find the excuse to nudge Mudbound out for any of the nominees I placed above. But to focus on the positive, del Toro is going to make it three Mexican Best Director winners in the last four years... that is exhilarating. Nolan is my close second choice here, and falters a bit because I didn’t personally enjoy the structure of Dunkirk all that much.

Best Actor

Timothée Chalamet, Call Me by Your Name

Daniel Day-Lewis, Phantom Thread

Daniel Kaluuya, Get Out

Gary Oldman, Darkest Hour

Andy Serkis, War for the Planet of the Apes

No CMBYN fans, there will not be any justice for you on my blog either. Because the best performance of the year by an actor of a leading role was done in motion capture... it was Andy Serkis as Caesar in War for the Planet of the Apes. It’s been high time to honor Serkis in what is his best work – aside from his performances as Gollum – to date.

Best Actress

Ahn Seo-hyun, Okja

Sally Hawkins, The Shape of Water

Frances McDormand, Three Billboards Outside Ebbing, Missouri

Saoirse Ronan, Lady Bird

Meryl Streep, The Post

The quieter performances aren’t going to win at this year’s Oscars. McDormand’s flashier performance in Three Billboards will overshadow Hawkins’ nuanced, silent performance in SoW. That’s wrong to me, as I think Hawkins does so much physically that is so taxing for any actor that would dare take a role like that. South Korean child actress Ahn Seo-hyun just sneaks in for Okja.

Best Supporting Actor

Willem Dafoe, The Florida Project

Woody Harrelson, Three Billboards Outside Ebbing, Missouri

Richard Jenkins, The Shape of Water

Bob Odenkirk, The Post

Christopher Plummer, All the Money in the World

My least favorite acting category this year. So I’ll toss it to Dafoe for The Florida Project... who, on Sunday, is probably going to lose to a flashier performance in Sam Rockwell for Three Billboards (who shouldn’t have been nominated). Plummer and Odenkirk are in a close battle for second.

Best Supporting Actress

Mary J. Blige, Mudbound

Tiffany Haddish, Girls Trip

Allison Janney, I, Tonya

Lesley Manville, Phantom Thread

Laurie Metcalf, Lady Bird

This is Manville v. Metcalf for me. And for playing the deeply layered, deeply conflicted, tough-love mother in Lady Bird, this has to be Metcalf for me. It is ta transcendent supporting actress performance. And yes, I snuck Tiffany Haddish in here... because why not?

Best Adapted Screenplay

James Ivory, Call Me by Your Name

Scott Neustadter and Michael H. Weber, The Disaster Artist

Scott Frank, James Mangold, and Michael Green, Logan

Dee Rees and Virgil Williams, Mudbound

Aaron Sorkin, Molly’s Game

If I ran the Oscars, the 89-year-old James Ivory wouldn’t have won an Oscar by now either. I hate to type that, but timing is a funny thing! Fate and time are funny things, aren’t they? This category isn’t close. Dee Rees makes history as the first nominated black woman in this category!

Best Original Screenplay

Paul Thomas Anderson, Phantom Thread

Sean Baker and Chris Bergoch, The Florida Project

Greta Gerwig, Lady Bird

Liz Hannah and Josh Singer, The Post

Jordan Peele, Get Out

I’ve already commented how much I think Get Out is more flawed a movie than most believe. This comes down to Anderson and Gerwig for me... and my Best Picture winner, I think, is blessed with the screenplay of the year for capturing a time, a place, and its characters at a certain point in their lives so wonderfully.

Best Animated Feature

The Breadwinner (Cartoon Saloon/GKIDS)

Coco (Pixar/Walt Disney)

The Girl Without Hands, France (Shellac/GKIDS)

Loving Vincent (Next Film/Good Deed Entertainment)

Mary and the Witch’s Flower, Japan (Studio Ponoc/GKIDS)

SHOCKER. For me, I was considering a tie in this category (which has happened six times in Academy Awards history... so I guess I have to save it for once every fifteen ceremonies or something) between Breadwinner (write-up) and Coco (write-up). This would be Cartoon Saloon’s first win in my alternate universe... in that same alternative universe for 2009, The Secret of Kells would’ve lost to Up; for 2014, Song of the Sea would’ve lost to eventual Best Picture winner The Tale of the Princess Kaguya.

Coco fans, don’t despair though. Keep reading... because your movie isn’t going home empty-handed.

I totally disrespected Ferdinand and Boss Baby didn’t I?

Best Documentary Feature

Abacus: Small Enough to Jail (Kartemquin Films/Public Broadcasting Service)

Faces Places, France (Le Pacte/Cohen Media Group)

Jane (National Geographic)

LA92 (National Geographic)

Last Men in Aleppo (Aleppo Media Center/Larm Film/Grasshopper Film)

I don’t think this would be Agnès Varda’s first Oscar in my alternative universe? I’ll get to doing the 1960s someday. :P

Best Foreign Language Film

Faces Places, France

The Insult, Lebanon

Loveless, Russia

Mary and the Witch’s Flower, Japan

The Square, Sweden

Best Cinematography

Roger Deakins, Blade Runner 2049

Janusz Kaminski, The Post

Rachel Morrison, Mudbound

Jonathan Ricquebourg, The Death of Louis XIV (FRA)

Hoyte Van Hoytema, Dunkirk

Morrison makes history by being the first female nominee in this category and as its first winner. Sorry Roger Deakins! You probably would’ve won earlier in my alternative universe anyways.

Best Film Editing

Michael Kahn, The Post

Paul Machliss and Jonathan Amos, Baby Driver

Gregory Plotkin, Get Out

Lee Smith, Dunkirk

Sidney Wolinsky, The Shape of Water

Best Original Musical*

M.M. Keeravani, Baahubali 2: The Conclusion

Robert Lopez and Kristen Anderson-Lopez, Coco

Benj Pasek and Justin Paul, The Greatest Showman

*NOTE: Best Original Musical – known previously as several other names – exists in the Academy’s rulebooks, but requires activation from the music branch given that there are enough eligible films. To qualify, a film must have no fewer than five original songs. This category was last activated when Prince won for Purple Rain (1984).

You know, this might change some day if I sit down and watch Baahubali 2. I’ve listened to the soundtrack, but I haven’t seen the songs in context. Sorry Indian cinema fans! Coco fans must be getting mighty mad at me for now... but Coco’s musical score – outside of two original songs (“Remember Me” and “Proud Corazón”) and one non-original song (“La Llorana”) – isn’t the best out of context. The Greatest Showman – I think Pasek and Paul are far better lyricists than they are composers (and yes, that’s a problem) – has songs that do very well in and out of context, and takes the win in this category.

Best Original Score

Alexandre Desplat, The Shape of Water

Alexandre Desplat, Valerian and the City of a Thousand Planets

Michael Giacchino, War for the Planet of the Apes

John Williams, The Post

John Williams, Star Wars: The Last Jedi

It really comes down to Valerian, Apes, and Jedi. And in this titanic battle over science fiction and space opera, it is Desplat for the much-maligned Valerian taking the Oscar home. The score combines seamlessly enormous orchestral and electronic elements to a degree that I haven’t heard from Desplat yet. It barely edges Williams for The Last Jedi... which benefits from some of Williams’ best action scoring in years and a repackaging of older themes in ways showing off the dexterity of the maestro. Giacchino is third, with Desplat for SoW in fourth, and The Post in fifth. Jonny Greenwood for Phantom Thread is the first man out.

Best Original Song

“Mighty River”, music by Raphael Saadiq; lyrics by Mary J. Blige, Saadiq, and Taura Stinson, Mudbound

“A Million Dreams”, music and lyrics by Benj Pasek and Justin Paul, The Greatest Showman

“Mystery of Love”, music and lyrics by Sufjan Stevens, Call Me by Your Name

“Remember Me (Recuérdame)”, music and lyrics by Kristen Anderson-Lopez and Robert Lopez, Coco

“This Is Me”, music and lyrics by Benj Pasek and Justin Paul, The Greatest Showman

Also proudly the winner of the 2017 Movie Odyssey Award for Best Original Song (some of you know what that means), “Remember Me (Recuérdame)” has everything you want – interesting musicality (even though I still think that descending line, which begins with “For ever if I’m far away / I hold you in my heart” sounds far more like something Randy Newman would compose than something distinctly Mexican) meaningful lyrics, layers of meaning within the movie it comes from, and a life of its own when separated from that movie.

Showstopper “This Is Me” comes a distant second, with the others in a scrum for crumbs. I really like “A Million Dreams”, though. My sister will take me to task over how much I enjoyed The Greatest Showman’s soundtrack (which I enjoyed despite finding it musically uninteresting).

Best Costume Design

Jacqueline Durran, Beauty and the Beast

Jen Wasson, The Beguiled

Nina Avramovic, The Death of Louis XIV

Mark Bridges, Phantom Thread

Luis Sequeira, The Shape of Water

Best Makeup & Hairstyling

Kazuhiro Tsuji, David Malinowski, and Lucy Sibbick, Darkest Hour

John Blake and Camille Friend, Guardians of the Galaxy Vol. 2

Neal Scanlan and Peter King, Star Wars: The Last Jedi

Thi Thanh Tu Nguyen and Félix Puget, Valerian and the City of a Thousand Planets

Arjen Tuiten, Wonder

Best Production Design

Dennis Gassner and Alessandra Querzola, Blade Runner 2049

Jim Clay and Rebecca Alleway, Murder on the Orient Express

Paul Denham Austerberry, Shane Vieau, and Jeff Melvin, The Shape of Water

Hugues Tissandier, Valerian and the City of a Thousand Planets

Aline Bonetto and Dominic Hyman, Wonder Woman

Best Sound Editing

Mark Mangini and Theo Green, Blade Runner 2049

Richard King and Alex Gibson, Dunkirk

Al Nelson and Steve Slanec, Kong: Skull Island

Matthew Wood and Ren Klyce, Star Wars: The Last Jedi

James Mather, Wonder Woman

Best Sound Mixing

Julian Slater, Tim Cavagin, and Mary H. Ellis, Baby Driver

Ron Bartlett, Doug Hemphill, and Mac Ruth, Blade Runner 2049

Mark Weingarten, Gregg Landaker, and Gary A. Rizzo, Dunkirk

Christian Cooke, Brad Zoern, and Glen Gauthier, The Shape of Water

David Parker, Michael Semanick, Ren Klyce, and Stuart Wilson, Star Wars: The Last Jedi

Best Visual Effects

John Nelson, Gerd Nefzer, Paul Lambert, and Richard R. Hoover, Blade Runner 2049

Scott Fisher and Andrew Jackson, Dunkirk

Ben Morris, Mike Mulholland, Neal Scanlan, and Chris Corbould, Star Wars: The Last Jedi

Scott Stokdyk and Jérome Lionard, Valerian and the City of a Thousand Planets

Joe Letteri, Daniel Barrett, Dan Lemmon, and Joel Whist, War for the Planet of the Apes

Best Documentary Short

Edith+Eddie (Kartemquin Films)

Heaven Is a Traffic Jam on the 405 (Frank Stiefel)

Heroine(e) (Requisite Media/Netflix)

Knife Skills (Thomas Lennon Films)

Traffic Stop (Q-Ball Productions/HBO Films)

My omnibus review of this year’s nominees can be read here.

Best Live Action Short

DeKalb Elementary (Reed Van Dyk)

The Eleven O’Clock (FINCH)

My Nephew Emmett (Kevin Wilson, Jr.)

The Silent Child (Slick Films)

Watu Wote: All of Us, Germany/Kenya (Ginger Ink Films/Hamburg Media School)

My omnibus review of this year’s nominees can be read here.

Best Animated Short

Dear Basketball (Glen Keane Productions)

In a Heartbeat (Ringling College of Art and Design)

Lou (Pixar/Walt Disney)

Revolting Rhymes (Magic Light Pictures/Triggerfish Animation Studios/BBC)

World of Tomorrow Episode Two: The Burden of Other People’s Thoughts (Bitter Films)

My omnibus review of this year’s nominees can be read here. I took out Negative Space and Garden Party for my winner In a Heartbeat and World of Tomorrow Episode Two. If you haven’t seen In a Heartbeat yet... first, where the hell have you been? Under a rock? Here’s the link.

Academy Honorary Awards: Agnès Varda, Charles Burnett, Donald Sutherland, and Owen Roizman

Special Achievement Academy Award: Alejandro González Iñárritu, Flesh and Sand

MULTIPLE NOMINEES (22) Nine: The Shape of Water Seven: Dunkirk; The Post Six: Phantom Thread Five: Blade Runner 2049; Lady Bird; Mudbound; Star Wars: The Last Jedi Four: Call Me by Your Name; Coco; Faces Places; Valerian and the City of a Thousand Planets Three: The Florida Project; Get Out; The Greatest Showman; War for the Planet of the Apes Two: Baby Driver; The Breadwinner; Darkest Hour; The Death of Louis XIV; Mary and the Witch’s Flower; Three Billboards Outside Ebbing, Missouri; Wonder Woman

WINNERS 4 wins: The Shape of Water 3 wins: Lady Bird 2 wins: Dunkirk; Faces Places; Valerian and the City of a Thousand Planets; War for the Planet of the Apes 1 win: The Breadwinner; Call Me by Your Name; Coco; DeKalb Elementary; The Florida Project; The Greatest Showman; In a Heartbeat; Knife Skills; Mudbound; Phantom Thread

16 winners from 25 categories. 45 feature-length films and 15 short films were represented.

Questions? Comments? Personal attacks? Fire away!

#90th Academy Awards #Oscars #31 Days of Oscar

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imperfectfools · 7 years ago

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So... what do you have figured out about the kids in their respective ghost AUs? How they died? Whether they're able to meet with those in the afterlife who are concerned about them? How well the surviving one is handling it?

(( *cracks knuckles* IM GLAD YOU ASKED!! :DDDDDD ))

Franziska:

Died in an accident at 17. Maybe car?? I haven’t decided the actual accident yet, but it was an accident. No foul play despite this being Ace Attorney

Gregory and Livia did greet her upon her arrival in the afterlife, but she found it hard to accept them and kept her distance. They’re happy to wait if she ever comes around again.

She bounced between watching her father and watching Miles. It was during one period of watching her father she caught him writing the letter to Yanni Yogi.

In the thread with Maya Anon, this means she essentially did her damndest to find a spirit medium, found Maya, and outed her father in order to protect her brother. I imagine this means Manfred may only be caught with conspiracy to murder ( which is a life sentence ), but perhaps the truth regarding DL-6 does come to light in the course of finding out what the hell Manfred’s motive would be to set up such an elaborate plot.

Otherwise, Franziska can pretty much only watch helplessly as the canon events unfold.

She further avoids the Edgeworth’s just on merit of her name and all that’s been learned.

Miles… isn’t taking it as well as can be expected. He managed to get through December and then to that February. Pretty much canon keeps up, but he cuts the Engarde stuff closer to the wick. He’s trying to move on, but it’s hard. He feels guilty for all the times he didn’t call and all the fights they had.

Miles:

Committed suicide not long after Terry Fawles’ trial, feeling as though he was failing as a prosecutor and unwilling to keep facing the horrors that plagued both of his “first” cases. Manfred’s verbal abuse after Fawles’ trial only strengthened his resolve to that end.

He does reunite with Gregory and meets Livia, but finds it hard to be around them. He feels guilty, believing he murdered his father, and has to face that, well, he went a very different path.

He’s a melancholic ghost. He never believed in an afterlife and finding out there is one and he’s stuck there for eternity is… depressing.

Franziska isn’t taking it well. She thought her brother would go to her for help, but apparently not. She feels like she failed as a big sister.

Manfred doesn’t give her any time to mourn and it shows. She bottles everything up at the behest of her father, but it’s a constant sore spot. She falls victim to insomnia rather regularly and everything reminds her of Miles. Even years down the line, it remains as tender a subject as it had been day one. She’s even more reckless and self-destructive and Manfred despises that and regularly tells her so.

Miles can only hopelessly watch as Franziska constantly burns her candle from both ends and is honestly scared she won’t live long enough to see her 20s.

#(( tl;dr: EVERYTHING IS PAIN ))#just a witness | ooc #testimony | answered ask #onceuponymous #v; dreams dead in the water | ghost!miles #v; lay me down in a bed of roses | ghost!franziska #death mention #suicide mention #self harm mention #abuse mention #grasping at straws | edgeworth headcanon #foolish conjecture | franziska headcanon #molded in your image | manfred von karma

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doctorghoti · 7 years ago

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Wanted: Readers/Editors for a VN

Greetings all.

A while back, I made a series of posts about working on a Gregory Horror Show Dating Sim. It’s been over a year since then, and while I can’t say I’ve got something good and playable ready yet, I’m further along than I realized despite my long hiatus on it. Still in drafting mode, mind, but I’ve got a good chunk of material and an actual game plan (heh). Or at least, I think I do. That’s where you come in.

I need some readers and/or editors. Specifically, I have three types of people in mind for these positions. I need super fans who know the series like the back of their hand and love doing in-depth character and world analysis, casual fans who enjoy the series but maybe don’t explore the deeper aspects that much, and people who have little to no idea about what Gregory Horror Show is. I want this game to be accessible to all types of people. Even if it’s only fans who play it, if I can build the world well enough for non-fans, I think that’d be a good sign that the game isn’t for a limited audience.

Here’s what I’d ask: whenever you have free time and are willing, I need you to look over about two documents-- the main story thread and one character arc. Since I have zero clue what I’m doing, I’m starting development out small. First step is the main story and only one character’s arcs first. Read and make your comments. Comments can be from small things like typos you noticed to questions about who or what is going on to inconsistencies to ideas about where the story could go next. Whatever can help make the story better.

Don’t feel pressured to do this all in one sitting. This is no time frame to get this done by, especially since this is a project for fun and not for profit. And, since I can’t really pay anyone, I don’t expect people to pour all their hearts and souls into this. However, I would like people who volunteer and plan to continue volunteering for this to join a Discord server dedicated to game development so we can all chat with each other. The more you can be available, the better, but again, no pressure or urgency.

I don’t need a super huge group for this step. Two of each category should be fine, but I’m not opposed if more than that wish to volunteer. I mainly need the non-fans and casual fans. I already have one or two super fans in mind. So, if you like reading, editing, and pointing out flaws, please contact me. Thank you.

#wanted #readers #editors #visual novel #gregory horror show #long post

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iftekharsanom · 8 years ago

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Top 7 Teen Movies

When you grow up, your heart dies - or so they say. Here's the proof: Heathers Juno, critic of The Guardian and Observer select the 10 best movies for teenagers. Blackboard Jungle

Under the name "Evan Hunter", also known as a crime writer Ed McBain - Blackboard Jungle the early age of the labeled teen offender - it was based on his own experience as a teacher in the Bronx. In London movie Brooks attracted crowds of Stuffed Boys, cut theater seats, danced in the aisles and actually started a riot. The reason for this so shocking behavior was not so much the content of the film, which is now a sober 12 rating, but achieved due to the use of Bill Haley and the early rock'n'roll comets, Rock Around the Clock, who played in polarization . Today is the least shocking aspect of a crime-thrusting film with a knife, drugs and even rape in the state school system, but at the time it was a touchstone for disgruntled young people, regardless of whether Haley was a white musician traveler in Its 30 years and the music has already been a year old. Almost 60 years later, he still has a hit, with Richard Dadier Glenn Ford (first called to enable students to call the Jive to talk to him "Daddy-O") struggle to control his students in the North fiction manual school. Others try and fail, such as the unfortunate Mr. Edwards, whose valuable 78s are crushed by his class consists of an act of symbolic and even disturbing rebellion, but I hope that as African Americans Gregory Miller, what eventually patriotic authority Dadier replied. But for all its war morality, Vic Morrow, the evil Artie West, is the true anti-hero of the film, dressed in leather and meets the logical heir Wild One, Marlon Brando, two years before. Superbad

With certified hits The 40 Year Old Virgin and Knocked Up, the Judd Apatow Express was already rolling at full speed when Superbad, directed a comedy in the younger audience, appeared on the movie screens. Co-written by Seth Rogen and Evan Goldberg (designated the main characters to be), and produced by Apatow, he liked this movie more with a hoarse Partycrowd. The image is dominated by three young actors who were not then the stars they are now. Evan (Michael Cera), Seth (Jonah Hill) and Fogell (Christopher Mintz-Plasse) are high school graduates getting ready for a final party before college. Evan and Seth no longer see each other when the first outing to the prestigious Dartmouth while the latter attended a public university; Seth Groll scattered around the action, but now he's eyeing sex. If he offers through the object of his alcohol affection to a party held so the numbers he is sleeping with her. This is where the drippy Fogell enters: having a fake identity secured mis-adapted under the pseudonym of McLovin, is the key is to plan Seth. With its notes and 24-hour melancholy, the film takes a similar American Graffiti and Dazed and Confused terrain, but is distinguished by a Post-Porky Sensitivity Hallows celebrates simultaneously pre-PC smuttiness. Much of the humor derives from the assessments of the chauvinistic Sex by inexperienced hero. (Adult, I no longer sophisticated. A Rogen police admits that police work is nothing like the serious coroner CSI procedural having been carried out, can be expected. "When I joined the force," he laments, "I semen believed oftentimes "). Goodwill mocking the experts, the details of the accompaniment and direction of Greg Mottola exuberant makes the image almost irresistible, although the pace of broad-fashion and humor is as sexist as a hope for the production of Apatow Kids

No kids at school wisecracking here. In fact there is no mention of the school. Not that many jokes, either come to think of it. Instead, Larry Clark's raw, Drama bracing reminds us securely and artificially that most movies are teenagers. The boys were dangerous: an open honest representation of what modern teenagers actually do (those who grew up in New York, anyway). It was a heavy blow to the chops of a complacent society, who thought she had made all the rebels in the 1950s, and was convicted by demonstrators and politicians. But as The Wild One and Rebel Without a Cause, the film showed a terrible chasm between generations of young and old. The last only demographic number in history. While they work, their children are drunk, they are stoned, fun, fight, steal them and more sex than they did, yet clumsy, insecure and people who do not particularly like. Worse than all this danger sign, but the general lack of concern or compassion for the characters, especially Leo Fitzpatrick's anti-hero is Telly's terrible reckless pursuit of "de-virginise" younger girls and neglected joint has its successes. With the spectrum of AIDS lurking in the shadows, a happy ending is even more in the distance. But there is nothing particularly sensational about the way children have gone through these adolescent lives. The treatment is more like a documentary: on the wall with the camera (which incidentally by the indecent sometimes), the actual sites of the road, unstructured scenes and dialogue really conversation - the latter in Harmony Korine, largely through Of the internal work of a writing, as he was 19 years old. That's the thing, do not get the kids credit for the season: it's done. It is a work of fiction, but the benefits are so little is known, is not included as an "actor", although many of the players followed the decent career, such as Fitzpatrick, Chloe Sevigny, Rosario Dawson and Korine. In short, the will of a job done a little too well. 10 Things I Hate About You

The philosophy behind this lively teen comedy looks like the Shrew the Clueless made Emma do. That is, take the skeleton of a literary classic and dressed in the threads of high school. Although the film Clueless is not, still quite blinding Bobby. Shakespeare's transplant into a youthful atmosphere of the United States in recent times is the least successful part of it: It is not something that a strident touch in the plot, in which a young man told his father that he would not allow graduation date, until the Abrasive ground older sister Kat (Julia Stiles). This sets up a system of younger brother suitors born of a legal soil, Patrick (Heath Ledger), is paid uncontrollably seduce Kat. But that's a small detail. To which we respond in 10 things are visual and verbal, energetic rhythm and charismatic performances: Stiles and the last Ledger may be known for more intense films, but it is doubtful that we do not always get more on the screen than I do here. Writer Karen McCullah Lutz and Kirsten Smith, keeping things bright will not character for a long time without toxic replica or a sharp zinger their lips anymore. If someone has hit a dry spot, there is always a language to see. "I know you can be overwhelmed and dominated" reflects a girl, "but can it alone" overwhelmed "? Everyone here is united and evoked by their idiosyncratic vocabulary, and the viewer is also enriched by phrases such as" (The brain area where the images are saved as desirable partner for stimulants) or a new definition for the word "backup." For the cast includes Joseph Gordon-Levitt and as the father of the Kat, the magnificent Larry Miller (who was an early contender for George Costanza's game at Seinfeld.) If the rhythm flags, still pick-me-ups like the wonderful accounting show karaoke with the zeal of Steve's early start Martin is held. Juno

Written by an ex-stripper and the issue of student pregnancy approaching - the downfall of all middle-class parents - Jason Reitman's film is a hilarious comedy, played well, that a star made night Ellen Page as the title character. Much if talked about its pro-life nuances in its release, but in reality the situation is Juno is something of a MacGuffin, a premise that a smart, wise to the world and its future can look 16 years. Juno begins with his heroine to realize that a baby will have, the result of a loose ball with his best friend Paulie Bleeker (Michael Cera, in his own weediest). Instead of finishing, Juno decides the child for adoption to give attributes to the Loring (Jason Bateman and Jennifer Garner), a couple who seem to be in tune - especially participate their love for indie rock and horror movies (although their tastes are quite Early, even by today's standards). The latter is twee and well marked, but what Juno is refreshing, without dismantling the smart edge. In the end, she is certainly older and wiser, but what Juno learns more, do, prepare for disappointment: the adult world not Disney World of complexity is what he seems to think. The use of indie rock still dark have hampered its potential as a mainstream success, but now that only its charm is given lo-fi and in a sense, it is probably useful because Juno really is not aligned world, only those who think Who knew everything grew and learned the hard way that even if they know everything, nobody likes a smartass. Clueless

"As if!" — "I totally paused!" — "Minor ducats…" — "Let's do a lap before we commit to a location!" — "I was surfing the crimson wave!" — "Did my hair get flat?"If Clueless was published in 1995, it was not just sensational and intelligent fun - carefree, the opposite of its title was. Insinuating indirect, clever and funny: writers director Amy Heckerling and seemed to have invented a new culture of the teen-pop language. It was as vivid and colorful as his remarkable movie heroine-keeper: funnier and more romantic than any romcom. In the nineties, it was the hot topics issue. This film was a disgrace to all who, a funny and gracious tribute to Emma Jane Austen with nod to Shakespeare and Wilde. In Clueless, 19, Alicia Silverstone was the role of her life, unique style and comedy display ability, but never found after the race that everything seemed to promise. She plays Cher, the pampered, but basically good-hearted Princess: rich, popular, obsessed with fashion, but lonely and looking for love. Silverstone finds laughter as a teacher, and his voice in a sort of pitchy yodel pause in perplexing tones or complaint. Cher is best friend Dionne (Stacey Trace), but somewhat aggressive with his ex-strident Josh, whose mother was married to Cher's ferocious defender Mel, played by Dan Hedaya. However, could there be a spark between these two? Josh is a college student in liberal causes and Roar Mode "Rock Complaint". It is played by 26-year-old Paul Rudd, who immediately became a brand in Hollywood and sniper. Rudd's character began to mature and youthful Clueless. Get Cher decides what bad grades you have to do with getting your teachers in love, to sneakily two of them fall to each other, and if the east coast dorky girl named Tai appears, Cher makes a personal change "project ". Tai is very well played by Brittany Murphy, an up-and-comer talent who was bleak due to complications of dying in 2009 after an overdose of prescription drugs. The teen movie references to contemporary youth culture is always complicated with irony and melancholy if you look after almost 20 years. The terrible fate of Brittany Murphy is the saddest part of it. Clueless is strange to think that once the social networks. These people are ready and ready for the Internet and the digital revolution. There is a splendid view of the gag on Cher and Dionne talking uncomfortable on his large mobile phone. The recent film by Sofia Coppola, The Ring Bling is Clueless next generation. The difference is that the lean teenager Coppola really are clueless, white and selfish. There is a nice quality and idealistic Clueless comic that makes it so appealing. Cher and Dionne are the queens at their school, but not unpleasant, and according to their lights, they always want to do the right thing. Clueless is not characterized by a sign of "Bully" noticing a comeuppance ter. Mean Girls, the 2004 satirical film written by Tina Fey and Lindsay Lohan is very different. There's nothing new about bullying, of course, but I think it's interesting that Clueless appeared briefly to introduce snarky sites and reality farce at the center of pop culture. Clueless is a true classic: handsome, innocent fun. I envy people I have not yet seen. Pretty In Pink

The amazing ability to take advantage of John Hughes' teenage thrill, and then inexorably, pack it in a commercial way, has never been better employed here. This is empathy for his films, but also the most outrageous Eighties-tastic. A universal heart-tugger and retro bible style. It's a win-win. There is an old story - the poor Cinderella rich Prince Charming meets, and agonize all the way to the climatic ball, sorry, dance - but the full spectrum of teen angst is here: worry about what your colleagues think; Believing secretly tell your best friend and courage; They worry that you are very poor; Concern for parents; Worry that the sleeve of your vintage tuxedo has not rolled high enough. Hughes takes everything seriously and it takes time to build his characters. Andie knows where Molly Ringwald is coming from. We have to see him at home, and how embarrassing it is, we hung in his room, we saw the status of his single father (playing Harry Dean Stanton). This does not want to take the Ringwald natural wonderful power. Their blend of forward and fragility is the compelling effort. If you apply your lipstick or calls snobbery Andrew McCarthy, we are all the way with it. And Duckie John Cryer is the strangest of the male characters: the friendly and friendly clown who does not stay with the girl, although a better and better dressed society. The latter (especially the requirements of the modified screening tests) feels a bit like a cop-out, but could be read as a commentary on the bittersweet novel against pragmatism. If the story you do not start with Pretty in Pink, style it be. The film is worth looking at the costume changes alone, the respective boss Ringwald, Annie Potts, who travels from the fetish-punk in the 50's hive, Madonna-like material girl Debbie Harry New Wave. Serious art direction now makes the film look like a time capsule intentionally, filled with so many fashions, posters, records and decorative objects as they thought they could escape. And do not forget the soundtrack: Psychedelic Furs, OMD, Echo and the Bunnymen, New Order, The Smiths, uh, a cover by Nik Kershaw. Was each teen movie better?

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