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wordofrecall · 4 years ago

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character playlists: ori

so. let’s do this. my playlists are long and scattered, but they make me happy, so i might as well share them and the thoughts behind song choices. so. here’s some songs for runaway knights & wannabe witches, and what have you.

something holy - childhood & riches & wonders

pearl diver - mitski - oh hunter, if you didn’t want the beautiful so badly, perhaps you would’ve found it in your spirit singing softly - look. it's on the nose, considering that her title is "the pearl hunter," but also, like, that rules. this is a song for wren, i think; ori in the present reflecting on her mother and the similarities between them.

icicles - the scary jokes - i can only be forgiven if i’m giving myself up to you on a silver serving tray / must i bare myself to the stabbing of your knife & gnashing teeth while our lovely company appears so entertained? - aaand a song for childhood. 99% of ori's socialization came from her parents having important guests over, so. uh. yeah. show off your reclusive child prodigy like a pageant whenever you have the opportunity. she probably won't grow to loathe you.

life: the cruel interlude (on god) - kilo kish - why do i dare believe in me when i bleed? - questioning was. always a big thing for ori. i don't think she ever believed that the mirzha was god, and i known that she never truster her father's patron, but. in her studies, in her passions, there's always this tiny sense of desperation for something to have faith in something. not herself.

bluejays & cardinals - the mountain goats - the stars come out of hiding for you, & i would too - there is. a lot, in ori's relationship with her brother. she was the favorite child, yeah, the one destined for great things in spite of her... troubles. but he never had those troubles! she didn't, doesn't understand how he went through life so unafraid. there's envy there. i also think that the line i quoted is terribly true, like, canonically. because. she sure did do that stupid shit.

be calm - fun. - take it from me, i’ve been there a thousand times--you hate your pulse because it thinks you’re still alive! - sometimes you have intense social phobia. and that's okay!

country death song - violent femmes - kiss your mother goodnight & remember that God saves, kiss your mother goodnight & remember that God saves - i think andrei is a much less pitiable or even sympathetic man than the narrator of this song, but. like. it's a country song about a father killing his daughter while preaching godliness. i had to.

i’m all bloody inside - liam lynch - inside me, well, it’s dark & gross as hell, i’m not a pretty sight - the family business!

the hazards of love 3 (revenge!) - the decemberists - but father, don’t you fear, your children are all here - fantasies. part of the fantasy is imagining a world where she doesn't feel terrible about the thought.

shankill butchers - sarah jarosz - they used to be just like me & you, they used to be sweet little boys - "blood hunters are ghost stories." "and also, they're fucking terrible. violent, cruel, zealous. the worst."

sparrow - st. vincent - & no eyes are on the sparrow, eyes are on the sparrow, how could that be the case? the lark keeps whistling his number, silly little number, as if he isn't prey - pity for the boy. sort of retrospective, but it's a thought that's been there since she was a child.

something burning - rituals & fire & running

starchild - ghost quartet - but i will transcend & vomit this loser out of me; i will become the next big thing, i will light myself on fire - maybe she is some kind of angel? bursting with radiance and terrifying to look upon.

arsonist’s lullabye - hozier - don’t you ever tame your demons, always keep them on a leash / when i was sixteen, my senses fooled me - oooor maybe she is a sixteen year-old who is having a panic attack and setting everything in sight on fire by accident.

blood - my chemical romance - i’m the kind of human wreckage that you love! - so she's broken.

girl anachronism - the dresden dolls - it’s not the way i’m meant to be, it’s just the way the operation made me - so she's failed and she's broken and she's sick, and there's no time to fucking think.

when the chips are down - anais mitchell - cast your eyes to heaven, you’ll get a knife in the back. - so she does what her mother did before her, and she runs from that which she has always known.

body terror song - ajj - i’m so sorry that you have to have a body / one that will hurt you, & be the subject of so much of your fear - feelings on being built Wrong; feelings on your mind's undue control upon your body.

in corolla - the mountain goats - & no one was gonna come & get me, there wasn't anybody gonna know, even though i leave a trail of burnt things in my wake every single place i go - very good as an ori song in general but this is her justification to herself in the water. under the docks, she says this to herself.

the harrowed & the haunted - the decemberists - will i be so brave? - just to get that oceanic vibe up.

luna - the mountain goats - rise through the flames & end again in flames at last - an inexplicable feeling.

unwhere - reeder - a song for leaving what you've always known.

something lonely - years & woods & dreaming

runs in the family - amanda palmer - run from their pity, from responsibility, run from the country & run from the city, i can run from the law, i can run from myself, i can run for my life, i can run into debt, i can run from it all, i can run 'till I'm gone - she is broken and all she can think to do is get as far away as possible

panic attack - liza anne - i hate that i can be seen like this

black eyes - david wirsig - my hammering heart hears the voices of spirits that tempt us, the scorn that they’ve spoken

for the departed - shayfer james - they will bury me alive, but i’m not inclined to care; i am too far gone now

hurt - johnny cash - everyone i know goes away in the end; you can have it all, my empire of dirt

my body’s made of crushed little stars - mitski - i work better under a deadline! i work better under a deadline!

blood in the cut - k. flay - guess i’m contagious; it’d be safest if you ran--fuck, that’s what they all just end up doing in the end

little pistol - mother mother - i think i might be scared of the world & the way it makes you feel afraid & how it gets in the way

villains pt. 1 - emma blackery - built to create, designed to destroy

the beer - kimya dawson - & the christians gave me comic books as if i would be scared of burning in hell while i was already there [...] i tried to scream fuck you but blood was pouring out my mouth

something safe - family & finding it & fighting together

haunted house - sir babygirl - i’m running just to hide & i’m hiding just to breathe & around every corner is the same night on repeat

your heart is a muscle the size of your fist - ramshackle glory - i love you & you make me glad to be alive; i promise that i’m gonna pay you back / you always know how funny everything is, even when i’m so serious that it’s gonna be the death of me

medicines - the taxpayers - o, but our rotting corpses lying there soon began to leak & grow these lesions that all smelled just like a rose / & all the blood & guts inside us germinated into timeless pages stained with lines of lovely prose

autoclave - the mountain goats - i am this great unstable mass of blood & foam

alligator skin boots - mccafferty - i’m cool to the touch, leap to my death, i’ll die for you all, i’ll die for my friends, it goes like this

100 years - florence + the machine - lord, don’t let me break this, let me hold it lightly, give me arms to pray with instead of ones that hold too tightly

tomorrow will be kinder - the secret sisters - but i feel warmth on my skin, the stars have all aligned

armour - rae spoon - you know i placed was to build a life for you

amy aka spent gladiator 1 - the mountain goats - play with matches if you think you need to play with matches; seek out the hidden places where the fire burns hot & bright / find where the heat’s unbearable & stay there if you have to--don’t hurt anybody on your way up to the light, and stay alive

curses - the crane wives - won’t you stay with me, my darling, when my walls start burning down?

something daring - islands & visions & loss

jane’s dream - janelle monáe

beekeeper - keaton henson - hear me, o woman that has gone astray, gone astray

fire - kimya dawson - i’m reading books about how they’re corrupt [...] as long as i’m burning, i’ll keep on yearning to save the world, not sure how, but i’m learning

cosmic hero - car seat headrest - i love you, but i can’t stand the touch, & of course i’m alright with death

turn the lights off - tally hall - everbody likes to get taken for turns to see how bright the fire inside of us burns [...] should be stronger, books abandoned

eat you alive - the oh hellos - child, i’m afraid for your soul; these things that you’re after, they can’t be controlled

cry for judas - the mountain goats - hallucinate a shady grove where judas went to die

o death - monica martin - no wealth, no land, no silver, no gold, nothing satisfies me but your soul

blood of angels - brown bird - and i would wage my soul to bet that there ain’t no one throwing lightning anyhow

the universe is going to catch you - the antlers - the arms of the universe kept you from falling [...] those arms did not come back

a burning hill - mitski - i am the fire & i am the forest & i am the witness watching it / i stand in the valley watching it

something terrifying - conversations & selfhood & divination

the lamb - dessa - but blood is blood, & what’s done is done; blood is blood, & its burden is a beast

going invisible 2 - the mountain goats - i’m gonna burn it all down today & sweep all the ashes away

the lion’s roar - first aid kit - she plays a tune for those who wish to overlook the fact that they’ve been blindly deceived by those who preach & pray & teach, but she falls short & the night explodes in laughter

the villain i appear to be - connor spiotto - even if you can’t see the good inside me, i don’t have the time to tell you why i do the things that i do, just please hold on & soon you’ll seem

up the wolves - the mountain goats - there’s bound to be a ghost at the back of closet, no matter where you live; there’ll be a few things, maybe several things that you’re gonna find really difficult to forgive

thursday girl - mitski - glory, glory, glory to the night that shows me what i am

at the bottom of everything - bright eyes - we must take all of the medicines to expensive now to sel; set fire to the preacher who is promising us hell

everybody does - julien baker - i know i’m a pile of filthy wreckage you will wish you’d never touched, but you’re gonna run when you find out who i am

tongues & teeth - the crane wives - i know that you mean so well, but i am not a vessel for your good intent

a pearl - mitski - you’re growing tired of me and all the things i don’t talk about / sorry, i don’t want your touch--it’s not that i don’t want you

#original #this is. so long. and i will probably add more. but. Daughter.#ori #playlists

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weekendwarriorblog · 5 years ago

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The Weekend Warrior Movie Preview 12/6/2019 - PLAYMOBIL: THE MOVIE!

You may have noticed by now that I didn’t have a Box Office Preview over at The Beat today, but that’s only because there wasn’t much I had to say about the sole new wide release, PLAYMOBIL: THE MOVIE (STXfilms) which is clearly trying to capitalize on the success Warner Bros. Animation has had with its LEGO movies. Playmobil is a pretty known brand, and this one features the voice of Daniel Radcliffe as secret agent Rex Dasher, as well as the voices of Anya Taylor-Joy and Jim Gaffigan. The movie looks fun for sure, and it is the only release this weekend, although the weekend after Thanksgiving is notorious for bombs, and STX dumped this here into 2,300 theaters after moving something else. STX’s UglyDolls movie earlier in the year also bombed with just $20 million and with a much bigger push, so I’m not sure I can see this making more than $6 million this weekend either. It won’t help that some theater chains are only charging $5 for ALL tickets… we’ll see if that helps or hurts.

Also, Focus Features will expand Todd Haynes’ Dark Waters nationwide, though I’m not sure into how many theaters, plus Amazon Music will push Alma Har’el’s Honey Boy, starring Shia Labeouf, into significantly more theaters this weekend. The former seems like a better than the latter, since Honey Boy – which is great, mind you – averaged just $2,101 theaters in 186 theaters this past weekend. Even if it expands to 500 theaters or more, I can’t see it making more than a million this weekend. Dark Waters did better in about half as many theaters, so it’ll be interesting to see how wide Focus will take it. Either movie will only need to make about $2.2 million or more this weekend to get into the top 10, but Haynes’ film starring Mark Ruffalo will really have to be VERY wide (2,000 theaters or more) to stand a chance.

LIMITED RELEASES

There are a LOT more limited releases this week, as we get into the month where studios try to get all of their “awards-worthy” movie theaters for enough time to be eligible for that year’s Oscars.

Amazon is releasing the historical drama THE AERONAUTS (Amazon), reuniting Felicity Jones and Eddie Redmayne from the latter’s Oscar-winning The Theory of Everything. This time, she plays balloon pilot Amelia Wren and he plays scientist James Glaisher who go on an adventure to take a balloon higher than ever before so he can do weather-related scientific experiments. Sounds pretty exciting, huh? Actually, it isn’t bad, directed by Tom Harper, whose previous movie Wild Rosecame out earlier this year. This is a perfectly fine historic drama with lots of exciting shots up in the air since most of it takes place in the balloon as the two try to survive against the odds. This is definitely a movie I’d check out a second time but it will also be on Amazon Prime in a couple weeks in case you miss it in theaters or it’s not playing near you.

Fortunately, there are also a number of semi-cool genre films this week, some better than others.

Opening at the Metrograph in New York and L.A.s’ newest Alamo Drafthouse and the Frida Cinema is IN FABRIC (A24), the horror film from Peter Strickland (The Duke of Burgundy), who will be at the Metrograph for most of the weekend to do QnAs and introduce the movie. It stars Marianne Jean-Baptiste as a lonely woman who starts dating again and is coerced into buying a red gown at a London department store which might be cursed with an unstoppable evil force. It’s another fantastically original film from Strickland that will probably be lumped into the current wave of “elevated horror” that so many filmmakers hate being lumped into, but it’s also good to know that it’s actually a movie in two halves (kind of like Trey Edward Schults’ Waves), as Ms. Jean-Baptiste only features in the first half and then the second half is another person who encounters the dress. And boy, that department store is one freaky place with Game of Thrones’ Gwendoline Christie as what could only be described as a creepy mannequin come to life. In Fabric will be On Demand starting Tuesday, December 10. My latest interview with Strickland will be up later today over at The Beat.

There’s also Jessica Hausner’s sci-fi film LITTLE JOE (Magnolia), starring Emily Beecham as a single mother scientist who is working on developing a new species of plant at a company that will offer therapeutic qualities if fed properly and spoken to. As the plant grows, she realizes that it’s also creating different emotions in those that encounter it. The movie also stars Ben Whishaw, Kerry Fox asnd Kit Connor and will open at the Quad Cinema in New York, as well as in Philadelphia and other cities this Friday.

DANIEL ISN’T REAL (Samuel Goldwyn) is the new film from Adam Egypt Mortimer, starring Miles Robbins (Halloween) as Luke, a college Freshman who had an “imaginary friend” named Daniel as a kid who his mother (Mary Stuart Masterson!) forced him to lock up. As Luke starts dealing with a world away from his mother, Daniel returns, this time in the form of Patrick Schwarzenegger, who has deadly intentions for Luke and those around him, including a wild artist named Cassie (played by Sasha Lane). It opens in select cities.

Jennifer Reeder’s teen thriller KNIVES AND SKIN (IFC Midnight), which premiered at this year’s Berlin and played at Tribeca is an attempt to create a modern-day River’s Edge based around the disappearance of a teenager named Carolyn Harper. It stars Marika Engelhardt, Audrey Francis and Tim Hopper and will open in select cities and On Demand.

James Frey’s controversial 2003 novel A MILLION LITTLE PIECES, which was once sold as a “memoir” but then, like the work of JT Leroy, turned out to be more fiction than fact, except that this was learned about Frey’s novel after it was made a part of Oprah Winfrey’s prestigious Book Club. Anyway, Frey’s novel has been adapted to the screen by the husband-wife team of Sam and Aaron Taylor-Johnson, as the latter plays a young man dealing with his addiction. Haven’t had a chance to watch the movie, but it should be interesting going by the Johnsons’ previous together.

Getting a one-week Oscar-qualifying run is Céline Sciamma’s critically-praised drama PORTRAIT OF A LADY ON FIRE (NEON), which has been playing a number of festivals since Cannes. It’s about a painter who travels to a remote island, commissioned to paint a widow still in grieving for her dead husband, but without her knowing.

Also opening at the Metrograph is Luke Lorentzen’s Midnight Family (1091), a film set in Mexico City where there aren’t nearly enough ambulances for the city’s population of nine million residents. The Ochoa family runs one of the city’s privately-owned ambulance services, taking nightly calls while trying to beat rival EMT crews to the scene.

I’ve heard good things about Naomi Watts’ performance in Alistair Banks Griffin’s thriller The Wolf Hour (Brainstorm Media) set in New York City in 1977 where a citywide blackout is causing fires, looting and the Son of Sam murders are plaguing the city. Watts’ June shuts herself inside her grandmother’s South Bronx apartment but someone keeps ringing her doorbell as visitors keep showing up to make her even more paranoid and fearful. The movie also stars Jennifer Hele, Emory Cohen and Kelvin Harrison Jr. (who co-starred with Watts in the excellent film Luce earlier this year.)

Pantelion Films will release En Brazos de un Asesino (Pantelion) this Friday. Directed by Matias Moltrasio, it stars (and is co-written by) Cuban-born actor William Levy (who appeared as himself in Girls Trip!) playing Victor, the “world’s most handsome man” (not too much ego there, Señor Levy!) who is also a cold-blooded assassin, killing for money. When he goes to collect from a drug lord, he encounters the beautiful Sarai (Alicia Sanz) who has been held captive for years and uses Victor’s arrival as a chance to escape. This actually sounds kind of fun, even though Pantelion rarely screens their movies for critics sadly.

Beniamino Barrese’s doc The Disappearance of My Mother (Kino Lorber) follows model-turned-activist Benedetta Barzini, a muse to Warhold, Dali and others in the 60s, who now in her ‘70s just wants to get as far away from the camera as possible, only allowing her son Beniamino to film this deliberate journey into obscurity.

This week’s film from Bollywood is Ashutosh Gowariker’s Panipat (Reliance Entertainment), a film set in 1761 as the Maratha Empire has reached its height and the Commander-in-Chief of the Hindostan army, Sadashiv Rao Bhau (Arjun Kpoor) has to fight off the invading forces of Afghanistan king Ahmad Shah Abdali (Sanjay Dutt) leading up to the Third Battle of Panipat.

Other movies out this week and mainly on VOD that I don’t have time to write more about include:

Code 8 (Vertical) Grand Isle (Screen Media) Beyond the Law (Cinedigm) A New Christmas (Cinedigm)

This week also sees a couple re-releases including the excellent doc APOLLO 11returning to IMAX theaters and the Anime Promaregetting a “redux” release into theaters on Sunday, December 8 (the subtitled version), and then on Tuesday (English dub) and Weds (English dub in 4DX).

LOCAL FESTIVALS

Not really a festival but not exactly repertory either, Film at Lincoln Center will debut a new one-week series called Veredas: A Generation of Brazilian Filmmakers, running from Friday through December 11, which features a lot of work from this year and a few years back from Brazilian filmmakers, many which haven’t really been giving much U.S. distribution.

STREAMING AND CABLE

On Thursday, Netflix is debuting its new sci-fi thriller series V-Wars, based on the books by Jonathan Maberry, starring Ian Somerhalder (Lost, Vampire Diaries) as Dr. Luther Swann, a geneticist who is trying to put a stop to a virus that’s creating mutations across the planet. You can read my interview with Somerhalder over at The Beat.

Also, Noah Baumbach’s Marriage Story will hit the streaming network on Friday with its fantastic performances by Adam Driver and Scarlett Johansson, Laura Dern and Alan Alda. This is a must-see... in case you don’t ever planned on getting married... or divorced.

The third season of Amazon Prime’s Emmy-winning The Marvelous Mrs. Maisel will also debut on Thursday, while HBO will release the season finale of Silicon Valley on Saturday, making it the next HBO series to end this year after Game of Thrones and Veep, giving people even less reason to subscribe. You can watch the Seth Rogen-Charlize Theron comedy Long Shot on HBO this Saturday so there’s that.

REPERTORY

METROGRAPH (NYC):

This week’s Noah Baumbach in Residence offerings are his 2013 film Frances Ha, starring Greta Gerwig, and then Gerwig’s own movie Lady Bird. Both are already sold out. This week’s Late Nites at Metrograph is a good one, Fritz Lang’s 1953 movie The Big Heat, while Playtime: Family Matinees will show Henry Selick’s The Nightmare Before Christmas (1993). The Academy’s monthly series continues on Friday night with Kryzysztof Kieslowki’s 1991 film The Double Life of Veronique with a conversation and “musical discussion” with the filmmaker and Oscar-nominated composer Nicholas Brickell, who also scored the recent Netflix film The King.

FILM FORUM (NYC):

Just one week after many people will have seen Martin Scorsese’s The Irishman on Netflix, Film Forum is putting a spotlight on the Oscar-winning filmmaker’s documentary work with “Scorsese Non-Fiction,” running from Friday through December 17, including some of the filmmaker’s better-known work like The Last Waltz (1978) and the Rolling Stones movie Shine a Light through some of his lesser-known documentary work.s If you really want to spend some time with Scorsese than maybe check out 1995’s A Personal Journey with Martin Scorsese through American Movies, which runs longer thanThe Irishmanat just under 3 hours! Scorsese’s 1974 short doc ItalianAmericanis also playing quite a number of times with 2001’s The Neighborhood. Personally, I’m kind of interested in seeing his 2011 doc George Harrison: Living in the Material World (also about 3 hours long), because it was recently the anniversary of Harrison’s tragic death. (The Film Forum will also use this as an opportunity to play some of Scorsese’s non-doc work like Taxi Driver, Mean Streets, Baby Dol land more.) This weekend’s “Film Forum Jr.” is the 1956 musical The King and I, starring Deborah Kerr and Yul Brynner… that’s a good one!

THE NEW BEVERLY (L.A.):

The Weds “Afternoon Classics” matinee is Charles Laughton’s The Night of the Hunter (1955), starring Robert Ludlum, while Friday’s “Freaky Fridays” offering is Stanley Kubrick’s horror classic The Shining (1980). The Weds and Thursday double feature is On Dangerous Ground(1951) and Jacques Tourneur’s Nightfall (1956), and then this weekend’s “Kiddee Matinee” is Joe Dante’s Gremlins. Tarantino’s Reservoir Dogs screens Friday at midnight, while Saturday’s midnight offering is 1983’s Lone Wolf McQuad, starring Chuck Norris and David Carradine. The Monday Matinee is Curtis Hanson’s L.A. Confidential, and then Kubrick’s Eyes Wide Shut will screen Tuesday and Wednesday night.

EGYPTIAN THEATRE (LA):

Friday will be a special Brian De Palma double feature of Sisters (1973) and Blow Out (1981), while Saturday will be a screening of Paul Thomas Anderson’s Magnolia (1999).Sunday are two MORE double features, an afternoon pre-CodeJoans Crawford/Blondell double feature of Our Blushing Brides (1930) and Footlight Parade (1033) and then in the evening is a TERRY GILLIAM NIGHTS OF KNIGHTS double feature of Monty Python and the Holy Grail(1975) and Jabberwocky (1977). The Aero will be showing the excellent Varda by Agnès for the next week or so, which is all the repertory you’ll need!

MUSEUM OF THE MOVING IMAGE (NYC):

The Terrence Malick retrospective continues with a preview screening of Malick’s latest A Hidden Life with actor Valerie Pachner (who I met last night and she’s wonderful!) appearing to give an introduction. Friday is the “Brad Pitt version” of Voyage of Time and The Tree of Life: Extended Cut, while Saturday is Malick’s Song to Song and Voyage of Time: Life’s Journey as well as To the Wonder. In other words, all of Malick’s most recent films with multiple screenings through the weekend including Knight of Cups on Sunday. On Monday night you can see Martin Scorsese’s Goodfellas as part of “Martin Scorsese: Four Tales over Four Decades.”

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Next week’s “Terror Tuesday” is Francis Ford Coppola’s Bram Stoker’s Dracula from 1993, sadly already sold out, then “Weird Wednesday” is something called Blue Vengeance from 1989. Also next Wednesday is this month’s “Out of Tune” musical, Adam Sandler’s animated Eight Crazy Nights from 2002.

MOMA (NYC):

Modern Matinees: Iris Barry’s History of Film continues this week with a few more screenings from the 1920s including Walt Disney’s early film Plane Crazy from 1928, plus Robert Wiene’s classic The Cabinet of Dr. Caligari on Friday afternoon. Vision Statement: Early Directorial Works finishes on Thursday afternoon with Bong Joon-ho’s first film Barking Dogs Never Bite from 2000. (Plus there will be a screening of Parasite with director Bong in attendance, so who knows? Maybe he’ll pop in to say a few words after this one, too.)

IFC CENTER (NYC)

Waverly Midnights: Spy Games will screen Brian de Palma’s Mission: Impossible while Late Night Favorites: Autumn 2019 is David Lynch’s Eraserhead. The IFC Center also begins its annual theatrical run of Frank Capra’s 1946 holiday classic It’s a Wonderful Life, playing three times a day with Donna Reed’s daughter Mary Owen introducing a bunch of the screenings.

ROXY CINEMA (NYC)

Continuing the Roxy’s “Nicholas Cage-athon” with David Lynch’s 1990 film Wild at Heart, co-starring Laura Dern,

LANDMARK THEATRES NUART (LA):

This Friday night’s midnight movie is Penelope Spheeris’ 1985 movie The Boys Next Door.

Next week, we’re back to normal with three or four wide releases including Jumanji: The Next Level, Clint Eastwood’s Richard Jewell and the horror film Black Christmas. Plus the Box Office Preview will be back at The Beat!

#TheWeekendWarrior TheAeronuts InFabric Movies Reviews playmobilTHeMovie

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