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pochiperpe90 · 4 years ago

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Here comes “The Old Guard”. Marinelli goes to Hollywood, alongside Charlize Theron.

“Alone, fragile and immortal.”

A story of love, friendship and compassion with an ancient warrior and a young African American, who has just discovered she is immortal, as protagonists. Because the world needs women and courage knows no gender differences. 20 years after “Love & Basketball” and after “The Secret Life of Bees” and “Beyond the Lights - Find Your Voice”, Gina Prince-Bythewood comes to the action movie with very clear ideas on how to reinvent the rules. We talked to her over the phone while she was in Los Angeles during the lockdown.

A superhero movie that doesn't look like a superhero movie. Is that why you decided to make it?

Absolutely yes, when I read the script I realized that despite the fantastic genre there was a very realistic background. These characters are real and it's easy for the audience to relate to them despite being immortal. They fight for goals and reasons that people understand. The more realistic the film, the more viewers can reflect themselves in the protagonists.

In fact, the most fascinating aspect of the characters is their vulnerability: they are immortal, but up to a certain point, which is a paradox. They too have to deal with the sense of the end.

There is a possibility that they may die, that their immortality is interrupted, that they still suffer from their wounds, and this brings them closer to us. The public still feels sorry for them when they see them in danger.

Immortals suffer, and not just physically.

Many think that being able to live forever would be extraordinary, but no one asks what this really means. Immortality has consequences: it can be a gift, but it can also be a curse.

And we don’t know why immortality fell to them.

The thing I loved about the graphic novel and the script is the fact that there is no explanation. Not only do we not know it, but neither do the protagonists. But it is a trilogy and therefore there is still a lot to tell.

Could you offer your contribution to the script?

It was a great script, with great roles based on the graphic novel so I stayed very true to the text. With the author, Greg Rucka, we wanted to reflect on the fear of taking someone's life, the one that sometimes overwhelms soldiers in war, whose psychology is often neglected. Hollywood films have never been very concerned with this aspect, as if killing had no consequences. The protagonists are forced to kill, but if someone has been doing it for centuries, for others it’s the first time.

What struck you about Luca Marinelli?

I could talk about him for days, I love him, he's the actor that all directors dream of having on set. He loved the character and gave him life in a very credible way. Between him and Marwan Kenzari is born a great complicity, necessary between two people who have been together for centuries. Luca's eyes are full of soul, his Nicky is the heart of the group, he’s the most sensitive character of all of them.

Charlize Theron, who is also one of the producers, has an increasingly and more torn body.

Charlize has already played roles like this one, she is very credible in the genre of action and has been helpful to who had never faced it before. From her, who really worked hard, others learned to do the same. She is very credible in the role of a woman who lived for thousands of years.

Matthias Schoenaerts, on the other hand, has an insidious role.

He embodies the tragedy of immortality, loneliness, betrayal. He is the actor who most resembles his character in the graphic novel. He wanted to make the film at all costs because he had never measured himself with the action genre and felt he had things to express.

The film underlines how today it’s no longer possible to hide, images can capture you at any time.

In a scene near the end, when the immortals look at photos and articles about them, they truly become aware for the first time of everything they have done to protect humanity. They understand the power of images from which they continually try to escape in order to hide their identity.

And then we talk about science and profit.

In the film, people from different places join forces to protect the world, a need even more relevant today. Yet it is increasingly evident that profit matters more than human lives.

Do you think the film industry is becoming more inclusive with women?

Things are finally changing and I am grateful that, despite having no other action films on my resume, I have been entrusted with The Old Guard. I am grateful for the trust they have placed in me. It should be taken for granted by now that women are capable of coping with any film genre and I think how much pressure from the industry Patty Jenkins, who directed Wonder Woman to success and opening the door for many of us, went through. But the door must be wide open because there are still few who have such opportunities.

In your opinion, have opportunities grown with the arrival of platforms like Netflix?

Netflix wasn't afraid to trust a series of directors. Which studio would have produced Roma or Irishman? He has the courage to make films that Hollywood deems too risky.

The Golden boy

“Luca Marinelli, as we have never seen him before: in his Hollywood debut, he becomes an immortal and fights with Charlize Theron to save the world.”

Just before the lockdown he was one of the jury members of the 70th Berlinale in the city where he has lived for years - and he swears he had so much fun watching three films a day. The audience awaits him in theatre in the role of Diabolik, in the film directed by Manetti Bros., but on July 10th he arrives on Netflix with The Old Guard, the action movie that sees him alongside Charlize Theron. And where he plays the Italian Nicolo, Nicky for the group of immortals he belongs to. Directed by Gina Prince-Bythewood and based on the graphic novel by Greg Rucka and Leandro Fernández, the film offers Luca Marinelli an insidious superpower, an endless love and a new opportunity to demonstrate his talent as a true champion. We reached him on the phone and he, less shy than usual, told us how he became a secular "superhero".

How did you get to the project?

I auditioned in London, where I later returned and met the director. Lastly, there was a final meeting between me and Marwan Kenzari. We made a scene together and then they announced to me, "We'd love for you to be Nicky."

What struck you about this character?

The story fascinated me because it tells of immortals as if they were the damned. Nicky and Joe live this condition as a gift because they are linked by a wonderful love story and they are not alone. They met in an absurd and paradoxical situation, during the Crusades, ready to kill themselves. They did it a hundred times and then they looked at each other and fell in love. But others suffer from it, like Andy and Booker. In a beautiful scene, Booker, played by Matthias Schoenaerts, explains what happens to them: they see the people they love die and blame them because they cannot prevent it. And they are tired of watching the world repeat itself following the same dynamics. They fight to save people, but everything seems to go on the same way. Only in the end will they discover what they have done and what they are doing.

How did it go with Charlize Theron?

Well, it was wonderful! As I read the script I said to myself: am I really going to make a film with Charlize Theron? And hug as well! I was very excited and intimidated already while reading. She is an extraordinary actress. In the scene where we are at the table and everyone tells Nile something about us, Andy tells her what we are and it was nice to see her running and venturing into the midst of emotions and thoughts. Sometimes I got distracted and didn't say my line. But Charlyze is also a crazy athlete. You have to be really athletes, otherwise you don't survive at the end of the day. And Charlize is an athlete of the body and the heart.

What about her athletic training?

We got together a month before shooting to start working with the stunts. I had to get some athleticism back: when I arrived and they looked at me I think they were a little worried. We had to become familiar with martial arts and then we switched from the sword to other weapons and to hand-to-hand combat. We prepared scene by scene, including the choreographies, different for each fight, and each of us had his own rubber reproduction of the sword. It was an unforgettable training.

The immortals come from different places in the world. How much of Italy is there in Nicky?

Apart from the pronunciation? They still laugh at some of the things I said. Marwan and Matthias, but also Charlize, speak Italian at different levels and every now and then I enjoyed shooting a few sentences to which they could answer me.

Did you offer your character something that wasn't in the script?

Well, being in such a group, shy as I am ... I tried. I have always focused on the bond between Nicky, Joe and the other members of the group, because I am interested in discovering what is inside a character, his feelings, how he looks at the world, what excites him. Nicky has lived for centuries, but still greets the people he meets in the desert with a smile, inside him there is the flame of an infinite good. Each character has a different sensitivity and their own armor. Nicky is perhaps the least armored one.

The challenge was also to make people believe in a love story that has lasted for centuries.

Marwan recites a beautiful monologue in which he talks about their love story. I hope that each of us, in their short life, can say the same thing about the person they love.

You’ve already had superpowers in “They Call Me Jeeg”. What is your relationship with this genre?

I like it very much and I think that both films, very different from each other, have a very interesting soul. In Jeeg Robot, Enzo Ceccotti uses his superpowers to help others, taking on a social responsibility. In The Old Guard the protagonists put themselves at the service of others, even if no one has asked them to. “This is what we do,” they repeat over and over to each other. What they do is save people, participate in what they think is right.

How do you think they would react to protests on American streets and around the world?

I don't feel like playing games, mixing reality and fiction on a terribly real subject like this. I think that in reality, outside of any cinematic fiction, it’s fundamental to fight for equality, within society, but also within ourselves. To go back to our film, if in a microscopic way we manage to carry a message in that direction, I would be very happy.

What director was Gina Prince-Bythewood?

She is always ready to listen, and I am someone who asks a lot of questions even at inappropriate times. She always had great patience and was very attentive to the emotional side of the film, to the interiority and beauty of the characters.

CIAK Magazine - Luglio 2020

Just wanted to translate this old interview for the non-italian’s fans ^^ (sorry for my English)

#Luca Marinelli #marwan kenzari #Charlize Theron #gina prince bythewood #Matthias Schoenaerts #the old guard #TOG #TOG Cast #Film #netflix #magazine #movie #interview #english #english translation #mine #joenicky #joe x nicky #Immortal husbands

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moviemunchies · 3 years ago

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Imagine something like Iron Fist except a big budget movie and much higher quality--wait bump that, imagine what Iron Fist SHOULD have been, and you’ve got something very much like Shang-Chi and the Legend of the Ten Rings.

The Marvel Cinematic Universe does not have a great track record with Asian representation. There was the whole controversy with the Ancient One in Doctor Strange and the depiction of the Hand in the Netflix shows, it’s not been anything to brag about. So when Marvel announced they were making a big budget movie about Shang-Chi, and finally tying up that loose end about the Mandarin that Jon Favreau was building up to until Iron Man 3 killed that Plot with a sledgehammer.

And you know that’s kind of fair because I don’t know how someone would adapt the Mandarin to a live-action Iron Man film in a way that wouldn’t be offensive. I say that as someone who is not that into Iron Man comics so maybe I’m wrong, but it sounds like a pretty difficult thing to pull off. So how does one deal with it?

Why by putting him in a movie about an Asian superhero, of course!

In the comics Shang-Chi’s father is Fu Manchu and that presented a lot of problems in adapting to a wide audience: first, that Fu Manchu is an offensive Yellow Peril villain, and second (and probably more important to Disney, let’s be real) there are some issues with film rights with that character. The Mandarin is heavily based off of Fu Manchu anyway, so the MCU decided to conflate the characters. And actually make him not a Yellow Peril stereotype. And also make him a fantastic character.

Xu Wenwu was an ancient Chinese warlord who discovered the Ten Rings, armbands of unknown origins that grant their wearer eternal life and amazing powers. He built up an empire, and later a criminal empire, also called the Ten Rings, but was always after more. He learns about a hidden mystical village called Ta Lo and wants to find it to gain their cool martial arts and magic. He doesn’t even get to the door though, because the guardian Ying Li is able to beat him despite his Ten Rings. Wenwu keeps going back and ends up falling in love--he gives up the Ten Rings (the artifacts AND the organization) and marries her, and they have two children: Shang-Chi and Xialing. Except then Ying Li dies and so Xu Wenwu goes back to crime. He trains Shang-Chi to become an unbeatable killing machine when he’s a child, and when he’s a teenager sends him on a mission to assassinate an enemy of the Ten Rings.

Except Shang-Chi doesn't want that, and he runs away and years later he lives in San Francisco and works as a valet driver with his best friend Katy. It’s a basic life, but it has nothing to do with crime or killing people so he likes it. Except then the Ten Rings are after Shang-Chi, so he’s got to find his sister Xu Xialing and figure out what it is his evil father wants with them.

This, like the other MCU movies, is an action movie, but this is also a wuxia film. As a result it has some of, if not the best fight scenes out of any Marvel film. Definitely better fight choreography.

Shang-Chi is a lovable protagonist--I think had the film come out like a decade ago they would have gone out of their way to try to make him a Cool Guy type of character who is nonchalant about everything and made his entire motivation a designated love interest. Not so here! He’s a bit of a dork that would really rather be chilling out with his best friend. But he’s willing to risk everything to save the people he cares about. He’s likable, he’s relatable, and he’s fun, but not in a way that feels as if he’s some kind of sarcastic quip factory always cracking jokes. He’s a guy trying to figure out who he really is who just happens to be a badass martial artist.

Xu Wenwu is actually kind of a fantastic villain? I remember seeing articles and headlines claiming that he was a really well-developed and complex villain, and I wasn’t sure what to expect going in. People said that about Hela, for instance, and while she’s fun to watch she’s not all that complex. Xu Wenwu actually is interesting though. I will admit that it’s a bit frustrating that there’s another fridging of a female character in his backstory, but I think his character arc still mostly works and elevates him to being more than just a Fu Manchu villain that he might have been had the original angle for the Mandarin been kept. Yeah, he’s terrible, but not so much that you don’t kind of sympathize with him. I have a weakness for stories about twisted familial relationships, so I really liked his character and his arc.

I found Shang-Chi’s best friend Katy is a fun character, but that doesn’t change that her role is almost entirely comic relief. That might bother some in the audience. However unlike some comic relief characters, she isn’t useless dead weight--she contributes to the action in several scenes. Notably she’s established fairly early on as a skilled driver, and this comes up more than once as something necessary for the Plot. And she goes through her own character arc like Shang does, albeit with less development (which makes sense because one of them is the title character and the other isn’t). What I am afraid of is that a future sequel might refuse to develop her further and just fall back on her comic relief role. Which is funny, but there’s more to her than that.

There’s also Xu Xialing, Shang-Chi’s sister, and this is where the movie’s going to have some problems for some viewers. She’s not a bad character at all; she’s a great character. But her backstory--being the daughter of Xu Wenwu but not being trained as a warrior because sexism, so she taught herself martial arts, started her own little business, and can easily keep up with Shang-Chi--probably makes her a more interesting character to a lot of people, and that’s something I can’t really argue with. Which means that once again there’s a badass capable and interesting female character playing second fiddle to the male lead. That’s more than a little frustrating. I didn’t mind so much because it’s not as if she’s sidelined--she’s still an important character to the narrative and has plenty of really cool on-screen moments. But I understand that many viewers will take issue with this, and this is a recurring problem Marvel has had. There is a promise that she will feature even more in a sequel, but it’s not like Marvel always keeps its promises in that regard, and no one should have to wait on another movie to get full enjoyment of the one they’re watching right now.

And yes, this is a martial arts movie, but it is also a Marvel movie and that means that it’s very special effects heavy. You probably knew that going in, but I recall while watching the movie thinking about how there were several scenes that were probably entirely green screen. And some of them had to be, those that showed fantastical creatures and environments. I imagine that if it wasn’t a big budget feature heavy on special effects it wouldn’t have been made as a movie instead of as a television show on a streaming service. If you were hoping that the martial arts trappings would make it feel less like a Marvel movie (which I kind of was), I can’t say that this film does that. If you do like Marvel movies there’s a few little hints about what’s to come by the time the movie’s done.

Still, that doesn’t change that it’s a pretty good movie, with fantastic fight scenes, and a solid, likable cast of interesting characters who are fun to watch on screen. It’s still a Marvel movie, with all that entails, but it’s a solid entry in their cinematic universe that does something a little different--albeit not different enough to feel too foreign. I liked it. I had fun. I don't think it's a must-see unless you’re a Marvel fanatic or want to see their take on a wuxia film, but it’s a good time at the movies.

#Shang Chi and the Legend of the Ten Rings #Shang Chi #MCU #Marvel #Movie Munchies #wuxia

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eddie-redmayne-italian-blog · 4 years ago

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Eddie's interview from Style Magazine

By Valentina Ravizza

Photo: Boo George

Styling by Fabio Immediato.

Translate by me from Italian to English

HE WOULD HAVE had to spend the holiday in Italy,” I have a real obsession for your country “,Eddie Redmayne responds from a gray London,” more suited to my pale complexion”, and tells for the first time (and I try to collect my own thoughts) of his next character, the American activist Tom Hayden, protagonist of the protests against the Vietnam war in 1968 and 77e trial of the Chicago 7, the new film by Aaron Sorkin, arriving on Netflix from October 16. "Democracy is something extraordinarily beautiful and complex, nothing comes easily, we must defend our freedoms if we don't want them to be taken away from us."

It can be risky for an actor to take a public position, Aren't you afraid to undermine your popularity?

“The truth is, I'm not afraid to take sides, we all should. I feel a social responsibility as a human being: today more than ever we should ask politicians certain questions. I'm not one who particularly likes to take risks unless it's for something I deeply believe in.”

For exemple?

To play Stephen Hawking in The Theory of Everything I met several people affected by ALS and doctors who helped me to learn more about the disease, and now I am among the supporters of the Motor Neurone Disease Association. During the lockdown in Britain was made a list of vulnerable people and I found it shocking that patients with motor neuron disease were not part of it, so I spoke to several politicians and went to help them. As an actor my voice has more chances to be heard and I can bring more light on this topics, I have to do it.

Also politicians as in the case of The Trial of Chicago 7?

This film tells how we got rights by changing wrong laws and remember that progress could have gone in one direction rather than another.

Is there any similarity between the protests of the 1960s and those of movements such as Black Lives Matter ?

There are moments in history when people ask for society to really represent them and that's exactly what happened then and what many people are doing in these months. The demonstrations mentioned in the movie were against the Vietnam war, but also supported the claims of the civil rights and feminist movements, the one against which they are protesting today has it’s roots in systemic racism, so the similarities are many.And there are also several other parallels between the two political situations: at the 1968 Democratic convention there was a former vice president, Hubert H. Humphrey, right-hand man of Lyndon Johnson, who ran for the White House, as today former Vice President Joe Biden is in running, and there was a Republican candidate for president who was betting for “law and order” , then it was Richard Nixon, now the same campaign is being carried out by Donald Trump.

Today there is social media, what would have happened if Tom Hayden and the others from Chicago had it?

Hard to say, myself I don't use them . While they represent a great tool of democracy that gives everyone a voice from the shore to power, they also contribute to exacerbate and amplify the falsehoods and prejudices of those who listen only to what they want to hear, in a sort of echo chamber, and they can be used to manipulate things in a very pervasive way.

Is it more difficult to play a figure you esteem like Hayden or one you despise?

I try not to judge, to dissociate my sense of reality to recreate hers. I do as much research as possible, accumulating a lot of information and then throwing everything away and play only what's in the script, hoping that all the prep work has been absorbed somehow into my body, And knowing that that movie will never be. a documentary: I am creating a painting, not a photograph. For this I must accept that I will never be able to be exactly that person, that in something I will necessarily fail.

And when the character is a pure author’s Fantasy product?

It’s like when you were told at school to make a free written essay: I hated it, I said “please, give me a lead!”, In these cases I try first of all to understand what the boundaries are, to find some elements of truth: for example, in the saga of the Fantastic Beasts to become the "Magizoologist" Newt Scamander I started by observing the work of zoologists.

How is it divided between entertainment and committed movies?

In my choices I have always let myself be guided by instinct: I read a script that my body reacts, I get excited, I laugh, I am touched to the point of seeing myself in the role of that and than understand that I really have to do it.

Did the same happen with Tom Hayden?

They first told me about it three years ago while I was on vacation in Morocco, when told me it was Sorkin who wanted me it was like a dream come true. I read the script and it not only ran , but it had a kind of syncopated rhythm I immediately loved it. Then when I got better informed about the project, I found out that it had been written years ago and I couldn't believe he hadn't seen the light yet.

In fact, the first draft is from 2007.

We wondered if this movie had an audience, if it was current enough.Instead with what’s going it has become more and more pressing

So much so that in order to release it this year, given the health emergency Paramount Pictures has decided to sell the film to Netflix (56 millions of dollars) to be distributed directly via streaming.

There could be no better way than Netflix to reach as many people as possible. And I say this as a passionate cinemas’ lover . Unfortunately in the last 20 years I have witnessed a general loss of attention span: there is always a new story to know, we are constantly being pulled in different directions, and instead find ourselves in a cinema hall being forced to sit there for two hours and half even when our attention tries to escape, it’s a kind of pleasant claustrophobia.

And theater, is it still part of your life?

I know that more years go by without me returning to the stage more what I’ll say l’ll sound insincere, but yes, my career started from there, I spent 5 o 6 years working in London theaters. I knew almost nothing about cinema until that world began to open its doors to me, I had to learn a lot on the set. I’ve been looking for a theatrical project, but so far what has been proposed to me are works by the greatest authors, and instead I’d like do something new, fresh. Maybe I found it, but I still can't say anything.

Have you ever thought of letting yourself be taken one day by another passion besides acting?

My other great love is art, but if I ever have to work on it, I imagine myself more as a curator than as a co-worker. But I honestly think that being an actor is extraordinary: whatever part you encounter on your path continues to grow:although sure it’s a wild life and it's a drug.

Are you a workaholic?

In the beginning I was because I had no alternative: I was constantly auditioning and once I got a part immediately got to work, Until in this unfair world of acting there came a moment when I was suddenly successful and overnight I finally had the opportunity to choose. Many people are looking forward to retirement, I hope I’m offered roles even when I’m 80 years old.

At that age maybe you will also be behind the camera?

I'm a bit of a control freak,so yes, I could potentially one day go directing, even just out of curiosity But only if I had to find the right project, something in which I feel safe,

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jayjaysocks · 5 years ago

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Listing my favorite animes (because I’m jumping on the bandwagon)

❗️⚠️ *spoilers!! (Duh)* ❗️⚠️

5. Deadman Wonderland

I was really really sad when I found out this anime got cancelled. The music was fantastic, the animation was really good, and the voice acting was incredible. Even the fucking dubbed version (I loved the voice they chose for Senji. God he was hilarious). I binged this show so fucking fast it wasn’t even funny. I loved watching the characters go through their own struggles and grow as people in the very small amount of episodes provided. There was a lot of development within the snippet that we actually saw, and I was thoroughly impressed with how well it was done. I wanted to scream or something when I found out there wouldn’t be a second season.

Sigh. Oh well. At least we got some of the manga’s masterpiece translated into a show, even if we were missing some fucking awesome characters.

4. Guilty Crown

Ugh, don’t even get me started. This anime was beautiful and I got so invested so freaking quickly. I literally go back every few years to rewatch it because I get ship starved.

Shu and Inori’s story was so beautifully done; between Shu uncovering his courage and Inori’s journey of self-discovery, I was continuously awe-struck and filled with feelings—I mean, I had never felt such raw emotion while watching something and I was completely blown away by the affect it had on me. Anger, hatred, sadness, it was all there (even for the main character lmao) and it was one of the first times I had ever felt a ship so heavily that I literally cried at the end. It was one of the very first Animes I’d ever seen and was one of the reasons I got such a taste for them. Thanks for throwing me down that rabbit hole, GC.

3. Soul Eater

This was literally the first Anime I’d ever seen, and my god I couldn’t have asked for a better starter. What I like about this one is that it’s style is so unique and different. It’s very punk and grunge, something I admired and appreciated in a genre that is normally the opposite (like Guilty Crown, for example). Also the fight scenes were badass, like holy shit just look at that gif ??? Freaking amazing.

I loved the way the show transitioned from light hearted to intense and adrenaline pumping so effortlessly. That can be said about a lot of shows, but this one went from *haha cute show* to *holy shit, like they’re actually gonna die ohmygod howaretheygoingtosurvivethis* so smoothly I was genuinely surprised. They made one of the main villains actually cool and each character had their own beautifully done arc. I loved and adored how the show solidified and expanded on the different friendships/relationships that were involved—specifically Soul and Maka’s (also, holy shit, Stein’s arc? Fucking prime, dude). There was a lot of growth in each and every friendship (CRONA!!!), and that really pushed the viewer to invest in the individual characters.

I am fucking delighted that this was my first anime, and (though the ending was a little anticlimactic) it remains one of my top favorites to this day. It set the bar pretty fucking high, and for that I am extremely greatful.

No one asked for Soul Eater: Not! It is the unspoken sin of the Soul Eater world (then again, it is called Soul Eater: Not!)

2. Fullmetal Alchemist: Brotherhood

If you have been following me for a while, then you are no stranger to my love of FMAB. Some of my most popular posts are about this anime, and for good reason.

Unfortunately, I was late to the party. I actually didn’t watch this until last year, but got invested really damn quick. I have a tendency to be extremely picky about the animes that I watch/like (which is why NONE of these shows are that recent), to the point that I will literally research them before I start watching (a bad habit, do not copy me). I have an incomparably hard time finishing a show when I start, because I get bored really quickly, but this was an exception. I started watching and I just... didn’t stop. I spent a straight week watching FMAB, gobbling it up during any small amount free time I could manage, and finished it before I even knew what happened. I wasn’t picky about it, I didn’t research it, I just dove right in and gosh, I was not disappointed.

The subtle romance that was alluded throughout the entire show was super cute, the devotion the brothers had for each other was to die for, and the struggles that each person went through was more than moving. I never once found myself bored while watching, and that’s saying a lot for my adhd ass. I was invested in each and every second of that damn anime and I was never, ever left underwhelmed. That probably had to do with the fact that every. Single. Character. Had a purpose. I’m not even kidding. Every single person contributed to the big fight at the end and that alone is fucking fantastic.

Not to mention ALL the women, every female character, was a badass bitch. None of them were reduced to sex appeal or romantic subplot, they all had real feelings, real arcs and real, unadulterated badassery that I thoroughly admired and appreciated. I could watch this anime over and over again every single month and I wouldn’t get bored. Between the emotional struggle, self discovery, and personal development of each character, I promise you will not see a lack of plot or meaning here. The more you watch, the more you discover and that is not a lie. There are so many layers to its story, which only makes me wish I had watched this sooner.

There is nothing I have to offer in the ways of criticism, and for that I couldn’t be happier. Thank you, Hiromu Arakawa, for such an incredible piece of art. You deserve every bit of love that this manga/anime gets. You go girl.

1. Cowboy Bepop

Holy shit holy shit holy shit this anime is so fucking good and it has been my favorite for so damn long. I have been watching anime for years, and while some of the shows in my list have moved around, this one has yet to be bumped down from the top (and I doubt it ever will). There’s a reason it became such a cult classic.

For starters, the animation. I mean, just look at Spike and the way they animate his fighting (yes I am aware that this gif is from the movie, but that still doesn’t change my point). The sequences in the show/film have been reused in many other shows and for good reason. It’s good, incredible, actually and they make him look so badass with just a few hand movements. I was consistently impressed with the way the fight scenes were portrayed and wasn’t ever left underwhelmed or disappointed (or, for that matter, feeling like they completely over exaggerated/overcompensated the scene with huge close-ups and tons of debris and lights). I loved watching this and my heart was always pounding with every intense interaction. I didn’t feel bored during any of the episodes and always found myself laughing when they cracked a joke—pretty much all of their funny lines hit and that’s saying something, dude.

The show, while having a lighthearted surface, has a heavy meaning that you don’t see at first glance. It’s about dealing with grief and loss, and how the characters themselves accomplished that in different ways. The most prominent quote is the biggest indication of its moral “you’re gonna carry that weight”. Basically: ‘You’ve gotta pick up your baggage, because the world moves on, with or without you’. Or ‘You’re going to carry that weight whether you like it or not, because life keeps going’. When I figured out the show’s actual message, while staring at my ceiling in the long hours of the night, I almost cried. This realization brought something entirely different to the table, a new understanding of the show’s characters and overall essence.

The main characters, all of them, had depth. They had real, palpable depth, and even if you didn’t want to care you found yourself seriously interested in their lives. Each of them had relatively shitty pasts. Faye with her lost memories, Spike with Julia and the people who fucked him over, Jet with his old flame and the ISSP, Ed and her/his father... throughout the entire show we got to see how all of them dealt with these things, whether they wanted to continue on with life or not. The way they portrayed it was engaging, because the characters individual, contrasting journeys weren’t repetitive or one note. The beauty that the show holds so achinging close to its core, the layers of grief that the characters are wrapped in so delicately is almost suffocatingly real—because they’re all different. It’s something you discover when you think on the subject in a deeper light, which is another reason why I enjoy it so much. It has both a surface story and a deeper one. You can either take the show at face value or choose to understand the underlying moral.

This show inspired my very first, thoroughly fleshed out OC, and continues to inspire me to this day. It has contributed to my own personal growth, and has helped push me to continue my art and writing. It is beautifully written, beautifully executed and even though some of the episodes seem like filler, it has never disappointed me. I rewatch it all the time because there’s something so infinitely refreshing about the beauty of this anime, whether it be the way we watch the characters develop or the overall moral it portrays. This show has given us a message that is essentially timeless, it can be ‘carried’ through generation after generation, and still have the same impact—something I absolutely fucking adore.

I owe so much to this anime, including my very own artistic development. I discovered it during a really shitty time in my life and I couldn’t have asked for better timing. I will never tire of the bittersweet message or the thoroughly fucking fantastic animation. Everyone who contributed to this masterpiece deserves love, because it’s seriously fucking gold.

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fbdo1986 · 4 years ago

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halloween headcanons for everyone’s (or at least my own) favorite ot3!

i’m approaching this with the au in place that they don’t start dating until the summer after senior year/a few weeks up to a month after the events of the film! so they don’t really do the high school party thing in their relationship! that being said, ferris and sloane did go to a few halloween parties while dating in hs, and were always known for their couples costumes that Obviously only a bi guy and girl could pull off! consider: they went as romeo and juliet one year, wearing clothing that resembled shakespearean dress. that’s all you need to know about these two giantic and obnoxious dorks who are literally perfect for one another and also cooler than the population of their high school.

when it comes to halloweens in their relationship though, they tend to stick to themselves/a night in! when they’re in college they sort of try the whole party thing, but it’s really not cameron’s scene, so they sorta abandon it! if the two are really itching to go to a party though, cam will stay home and prep their own party in his dorm while they go out for a bit!

what their parties entail: halloween music! these three love their dance parties, so they always need a soundtrack! the classics everyone loves! the monster mash! psycho killer! highway to hell! werewolves of london! also, horror/halloween movies! none of them are scared of them, although cam can be slightly squeamish when it comes to gore and blood, but he sucks it up most of the time. they end up watching campy halloween flicks more often than not, they’re ferris’s favorite! sloane has a love-hate relationship with slasher movies (hate mostly for the ones that exploit their female protagonists) but she likes the more classic ones! i think that ferris is very adamant about how anti-feminist and sexist a lot of horror movies are, even moreso than sloane is, and it makes cam and sloane laugh. of course they agree, but there’s something totally hilarious about pausing a movie mid-way through only for ferris bueller to rant to you about anti-feminist movies. i think cameron likes thrillers the best! they always have a good time with paranormal movies too. movies bring the Best out of chatty ferris, and they don’t mind, because out of any movie to talk during, why wouldn’t it be during a horror movie in which you bond in yelling hopelessly for the protagonist to make a better decision? fun fact! they all like watching it’s the great pumpkin, charlie brown together early in the evening. it’s a childhood staple for all three of them, and they like to prepare themselves by making big mugs of tea/cocoa/apple cider beforehand, putting on their comfiest sweaters, and cozying up on the couch!

candy preferences!!!!! idk why this brings me so much joy to think about but it does! first off, ferris has an ADAMANT hatred of candy corn. the first time sloane brings it home it becomes a huge Thing because of course, everything is a Thing with ferris. sloane doesn’t really see what the problem is, but this sends ferris into a giant spiel about how much it sucks, which ends with cameron annoyingly trying to hit ferris with said candy corn to shut him up. cameron won’t eat a lot of it anyway because it’s so sugary, so sloane doesn’t find it worth it to get any because it’d just be her having it. however, it becomes an inside joke every subsequent holiday, sloane taunting him with a small amount she’s acquired somewhere. ferris likes chocolate-y candy the best, cameron prefers chocolate candies with caramel, and sloane likes peanut butter and chocolate the best!

costumes! i touched on this slightly in the first hc but i honestly don’t think the trio are going to dress up in costume if they’re just sitting in cam’s dorm/are at home. it’s a thing if they’re having friends over (or if jeanie comes to visit! they like to go full out for her if she’s coming) or if they go out, but it’s not the usual. instead, they still wear like, halloween attire/themed clothing and obviously spend time in their thoroughly decorated living room. if they do dress up, i’ve thought of a few costumes i definitely think they’d try their hand at! i definitely think one year cameron dresses up like a vampire/dracula and like. yes these sweeties are always aware of how beautiful their partners are but the fact that he looks So starkly different from how he normally shocks them in the best way because he looks so awesome and so handsome. almost immediately, after they process their initial shock of how different cam looks, sloane and ferris begin a bit about how they’re just two innocent strangers who somehow showed up at his castle and they “really hope they don’t get turned into vampires by this tall handsome and brooding stranger!” this continues until they’re just hanging out on the couch and watching a movie when ferris lays his head on cam’s shoulder and sloane shouts that his neck is exposed, so she has to “kill” him by stabbing him in the heart with a stake before he turns ferris into a vampire, it’s so incredibly dramatic but cam loves every second of it. as suggested by my friend jon, i think ferris as a zombie baseball player would be a fantastic look. honestly, ferris as any type of jock would definitely make cam and sloane swoon, even though cameron is technically the jock out of the three of them. while this is mildly self indulgent just because i think sloane would rock a suit, i think if sloane went as a magician one year, complete with a top hat of course, i think she’d have so much fun with it! generally i think sloane likes to have a lot of fun with her costumes, and likes to get them super accurate to whatever she’s portraying. i also think that costumes for three people are a bit hard to come by, but for shits i’m gonna explore the advanced taste if the three of them went as brian, sally, and maximillian from cabaret. i think it’d be especially fun if cameron was brian, since technically ferris should be since he’s the one who has a lasting relationship with sally, but let’s be honest with ourselves. who suits a suave stranger like max more than ferris?

traditions! i touched on this also a bit earlier, but i think the trio generally love cooking for one another, so i think they make it a point to make things extra special on holidays! they all probably contribute to cooking the various parts of meals together, but usually one of them (most likely sloane, she’s precise with measurements that baking requires whereas ferris likes to have more fun improvising when cooking) will make dessert! it’s almost always pumpkin cookies, but sometimes a pie will make an appearance! also, i think because these three are incredibly sentimental, a holiday absolutely calls for photos together, even during their mundane halloweens spent at home. they’re brandishing their jack-o-lantern’s, making sure there’s evidence of their costumes when they dress up, and if jeanie is coming over it’s a must. they like having photos of them with her. no one’s quite as much of family as she is! expanding on jeanie, i think if jeanie does come to visit, chances are (it’s a fun spin on a headcanon i made not too long ago) she brings the bueller dog who she’s firmly taken in to their apartment and they end up walking him all together around the neighborhood, admiring the decorations and saying hello to any kids who might be passing through there trick-or-treating! (also jeanie acts like she’s too cool for this, but she’s definitely got some sort of costume on this dog. there’s no way around it.)

#fucking betrayed myself and spelled carmel like caramel what’s happening to me #yknow i really am thinking about how much the trio would like an american werewolf in london #also AGH having cam being a vampire/dracula to just. subvert/reclaim vampirism from its antisemitic origins? I LOVE IT #i really COULD go on but i also wanna get these out there!!!!! enjoy these they're quite silly but i love these three and i love their #little domestic life together #fbdo rambles #ferris bueller #sloane peterson #cameron frye #happy halloween babes!!!!!

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dweemeister · 4 years ago

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Movie Odyssey Retrospective

Cinderella (1950)

In the first few decades of Walt Disney Productions’ (now Walt Disney Animation Studios) existence, the studio veered perilously between periods of feast and famine. The success of Snow White and the Seven Dwarfs (1937), Dumbo (1941), and the modestly-budgeted films of the package era kept the studio afloat despite Walt Disney’s occasionally disastrous business instincts and rotten luck due to World War II cutting off European audiences. With WWII concluded, Disney’s propaganda commitments to the federal government and tightened budgets were no more. With the exception of the aftermath from the release of The Black Cauldron (1985), the studio’s survival has not been seriously endangered since. That is in large part because of the gamble that is Cinderella, directed by Clyde Geronimi, Hamilton Luske, and Wilfred Jackson.

Any rebirth for Disney animated features depended on Cinderella’s success. Not since Dumbo had so much been riding on one of the studio’s movies – especially now as Walt was dividing his attention between animation, live-action features, television, a preliminary plan to build a small play park, and collaborating with the FBI to root out suspected communists at his own studio. More later on Cinderella’s legacy (I think you, the reader, have an idea about what happened to the Disney studios after this), but the film was the fifth highest-grossing movie in North American theaters that year, ahead of Born Yesterday and behind Cheaper by the Dozen and Annie Get Your Gun. In various ways, Cinderella is among the most important movies in the Disney animated canon, even if it does little to nothing to elevate animation in cinema and contains issues that have metastasized in subsequent Disney animated features.

Decades before the Disney name became synonymous with fairy tales and princesses, the writing team assigned to Cinderella used Snow White as their template on this film. The opening minutes of Cinderella share much of Snow White’s alchemy: the opening of an ornate storybook, an orphaned young woman whose lot in life is to be a rag-wearing scullery maid, that same woman singing about dreams to an audience of animals that instinctively know of her kindness. What starts off too similarly like the second coming of Snow White then descends into an overstretched sequence of the animals’ tomfoolery (half the film is dedicated to the animals’ hijinks!).

Cinderella’s animals, unlike those in Snow White, are fully anthropomorphic – they wear clothes, converse with Cinderella in their high-pitched squeak-talking, tiptoe around the obviously villainous cat named Lucifer, and make fools of themselves to entertain the youngest set. In the opening minutes, Cinderella squanders its serviceable musical opening for vapid hilarity as it unlearns the lessons that began with Snow White and reached its apotheosis with Bambi (1942). In works where animals live alongside humans, animal side characters serving as comic relief are most effective and timeless when they behave like animals, not humans. Disney’s animated canon has been hampered by this development – one codified by Cinderella and, in its foulest iterations in recent decades (e.g. 2005′s Chicken Little), originates from commercial, not artistic, decision-making. The excessive screentime for the animals in the film’s opening third and especially the heavily gender-coded dialogue and behavior by the mice – “Leave the sewing to the women!” – is enough to eject Cinderella from the upper echelons of the Disney animated canon.

In my review to Snow White, I wrote that the writing of female characters in Disney’s animated canon films reflects the writers’ understanding of gendered roles in their respective times. Cinderella expressly looked to Snow White for inspiration after two decades where the Great Depression and World War II upended traditional gender norms. In the 1930s and ‘40s, thousands of American women found themselves in traditionally male occupations, altering – if only for a time – popular beliefs about what might be considered masculine or feminine behavior. Over in Burbank at the Disney studios, its departments were segregated by gender (its ink and paint department was solely staffed by women, and there were no significant clusters of women elsewhere in the studio) – insulating it from this phenomenon.

As if foreshadowing the gender-conforming atmosphere of the 1950s, it should not be a surprise that Cinderella cannot envision women beyond a vessel for marriage or a homemaker. With an eye towards a prince to sweep her away from her stepmother and stepsisters, an interesting protagonist Cinderella does not make. And with Cinderella not showcasing as much of her personality as Snow White did, she feels far more inert as a character than her predecessor. However, comparable to Snow White, Cinderella’s life has been one of deprivation and a lack of healthy human interaction – one without quarter, love from others. Knowing little else about life beyond her scullery duties, it is easy to see why she holds such retrograde beliefs for her own salvation.

Cinderella’s rough beginning is nevertheless the prelude to its visual wonderment. The visuals in animated feature films are the collaborative work of hundreds – credited or otherwise – of animators, background artists, character designers, painters, inbetweeners, cinematographers, and more. Sometimes, one particular artist wields an influence that extends across an entire feature. In the correct set of circumstances, they set an aesthetic that alters the artistic direction of animated films for an entire national film industry or a single studio. For Cinderella, its visual beauty is set by its backgrounds. Tyrus Wong’s background art defined Bambi a decade earlier; here, it is Mary Blair’s work that defines Cinderella.

Blair, a modernist whose style fit the films at United Productions of America (UPA; a breakaway studio which was founded by striking Disney animators) better than Disney, had been working at the studio since 1940. She worked through the package films era and on two live-action/animation hybrids in Song of the South (1946) and So Dear to My Heart (1948). But it is Cinderella where Blair’s style – flat, graphic, abstract – is the dominant force of the film. Blair’s buildings and their arches shoot upwards, supported by architecturally impossible reed-thin columns, making rooms cavernous and façades larger than life. The sprawl of these interiors suggests not only the fantastical atmosphere that this fairy tale inhabits, but the grandiosity of Cinderella’s story. The vertical frames of Blair’s buildings are elegant and abstract, never intimidating, as if hailing from a children’s storybook. With the exception of when Cinderella is dancing with (and fleeing) Prince Charming, blues, whites, and sometimes muted greens dominate the scenes of her regal desires – as if shimmering in moonlight.

In character design, three men – all part of the “Nine Old Men” fraternity – served as supervising animators for Cinderella. I find Cinderella’s character design plainly uninteresting, but it is how she moves that will leave awestruck this film’s most vocal detractors. Marc Davis (the three principal animated characters in Song of the South, Alice in 1951’s Alice in Wonderland); Eric Larson (Peter Pan in 1953’s Peter Pan, Mowgli and Bagheera in 1967’s The Jungle Book); and Les Clark (1928’s Steamboat Willie, 1961’s One Hundred and One Dalmatians) made heavy use of rotoscoping in their attempts to animate Cinderella. Rotoscoping, developed by Max Fleischer (and made exclusive to Fleischer Studios by patent from 1915-1934), involves an animator tracing the movements over projected live-action footage as opposed to animating something from scratch or some other form of reference. As an animator traces over the footage, they may add a personal flourish – a delay or embellishment of movement – in the process. For animating humans, adhering completely to human movement via Rotoscope results in footage that looks stilted, as if hailing from a different universe than one created for an animated film. For Davis, Larson, and Clark, there hardly is a scene where Cinderella is not benefitting from rotoscoping. The rotoscoped animation allows Cinderella to move more fluidly than any human character drawn by the Disney animators at this point in the studio’s history. Whether she is scrubbing the floors, waltzing with her animal friends or Prince Charming, or making herself scarce before the stroke of midnight, there is a majestic grace to her movement – and yes, that includes the moment where she loses her glass slipper.

The less cartoonish a character acts in Cinderella, the more they are rotoscoped. So alongside Cinderella, Prince Charming and especially stepmother Lady Tremaine – the latter’s supervising character animator was Frank Thomas (an animator for the Seven Dwarfs on Snow White, supervising animator for Tod and Copper on 1981’s The Fox and the Hound) – are the two other characters heavily rotoscoped in the film. Lady Tremaine’s imposing posture and manner of dress gifts her a wordless authority over everyone residing in the Tremaine château. In contrast to Cinderella’s stepsisters – characters who act and look in ways that one might expect in a bawdy animated short film – her stern demeanor, realistically angled long face, and deliberate movements effuse opportunism, menace, spite. Lady Tremaine’s appearance, in respect to how much it contributes to the film, is a pronounced upgrade from the Queen in Snow White. She relates a spectacular amount of characterization in just a glance, a scowl. Yet, Lady Tremaine’s darkly charismatic character design would only be the appetizer to even more iconic villainous designs to appear later that decade.

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The incidental score by Oliver Wallace and Paul J. Smith is dominated by quotations from the songs, and is not nearly as independent from the soundtrack as previous Disney animated canon scores. For the first time in a Disney animated feature, the studio looked outside its Burbank campus for its songwriters. Looking towards Tin Pan Alley, Disney hired Mack David (the title songs to 1959’s The Hanging Tree, 1963’s It’s a Mad, Mad, Mad, Mad World); Al Hoffman (“Papa Loves Mambo”, “A Whale of a Tale” from 1954’s 20,000 Leagues Under the Sea); and Jerry Livingston (the title songs to The Hanging Tree, 1965’s Cat Ballou). Cinderella possesses a wonderful musical score, headlined by “A Dream is a Wish Your Heart Makes”, “Bibbidi-Bobbidi-Boo”, and “So This is Love” – ignoring “The Work Song” (squeak-sung by the mice in something that set a precedent for Alvin and the Chipmunks), of course.

One of these, obviously, is unlike the others. “Bibbidi-Bobbidi-Boo”, sung by the Fairy Godmother (voiced by Verna Felton, who voiced the Elephant Matriarch and Mrs. Jumbo in Dumbo and, over the 1950s, became a Disney voice cast regular), is an exuberant frolic, and easily one of the best songs with nonsense lyrics in film history. Nonsense and novelty songs in Hollywood typically wear out their welcome, running a minute or more longer than they should. Clocking in at roughly one minute, the Fairy Godmother performs her magic, and promptly whisks Cinderella away to Prince Charming’s ball by song – a musical exemplar in narrative brevity.

Thirteen years following Snow White, Cinderella benefits from advances in recording technology and a richer – if not necessarily fuller – orchestral sound. Ilene Woods was primarily a radio singer, and her voice’s timbre is suited to play Cinderella. “A Dream is a Wish Your Heart Makes” parallels Snow White’s “I’m Wishing” in its exceptionally early placement and nowadays-formulaic function. But it is a serviceable introduction to Cinderella as a character, even with no specific dream mentioned in the lyrics. Sung with Mike Douglas (as Prince Charming), “So This is Love” is a dreamy duet, a waltz that musically defies a typical waltz. Waltzes, in ¾ time, usually have a pulse that even those not versed in music can “feel”. That pulse is usually on the downbeat, the “1”. Yet “So This is Love” generally begins its phrases and pulses on the “and” of the second beat (as one would count a measure as: “1 and 2 and 3 and”). The song’s frequent use of slurred notes, even fermatas, gives it its romantic flow and dramatic ebbs. This is an unconventional waltz, one that resists categorization and a song that would have been quite difficult to compose – despite its outwards simplicity.

Walt Disney appreciated the financial cushion that Cinderella provided (funding for the project met fierce resistance from his brother and the company’s CEO, Roy), and never truly worried about funding issues after the film’s release. The funds from Cinderella were injected across the company: for feature animation, live-action narrative features, the True-Life Adventures nature documentary series, Disney’s eventual television presence, and into purchasing a tract of orange groves in Anaheim. As for Cinderella itself, Walt could see the artistic shortcuts (rotoscoping included) in most every frame. It was no Snow White, he thought to himself. And though this 1950 adaptation was technologically superior in every way from the 1922 silent Laugh-O-Gram* short based on the same story, there seemed to be no artistic fulfillment for Walt in this Cinderella’s success.

Cinderella heralds the start of the Disney studios’ “Silver Age” – the second half of Walt Disney’s tenure as the creative ringleader at his namesake studio. Various film writers will provide conflicting definitions for these periods in Disney animation history. According to this blog, the Silver Age (1950-1967) is named as such due to the cessation of the package films and the return of more traditional animated features, Walt retreating from his once-omnipresent role in the artistic decision-making for those animated features, and the limited animation of the 1960s. However, the Silver Age is also the beginning of the studio consciously crafting large portions of these movies (if not the entire movie) explicitly for children. This is not to say films specifically for children are not worthwhile – Dumbo being a prime example. But to introduce characters, plot devices, and humor geared for children at the expense of the film’s storytelling or thematic resonance to viewers of all ages is the Disney studios at its most cynical and business-minded. These trends – that are not solely the fault of any single film – have persisted into modern animation, and are artistically incompatible with Disney’s Golden Age animated features. Those cynical trends are absent in the next Disney animated feature – an adaptation of a Lewis Carroll work that embraces a tsunami of colors and its own looniness.

To audiences in North America who had not seen a non-package animated feature in almost a decade and to war-weary audiences abroad reintroducing themselves to Disney films, Cinderella must have been an astonishing work after episodically-structured movies without a natural through line. In this Silver Age, Walt Disney and his animators would define the studio’s hallmarks – princesses, fairy tales, comic relief intended for children inserted for non-artistic reasons, and the distinctive visual style of artists like Mary Blair. Cinderella is the genesis for these developments. The Silver Age’s most innovative, accomplished work would still be several years away.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

* Founded in 1921 by Walt Disney, The Laugh-O-Gram studio was located in Kansas City, Missouri, and was the short-lived predecessor of the modern-day Walt Disney Animation Studios. Alongside future animation industry stalwarts Ub Iwerks, Hugh Harman, Rudolf Ising, and Friz Freleng, the Laugh-O-Gram studios made short animated silent films. Many of these films were based on fairy tales – including Cinderella (1922).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

This is the twentieth Movie Odyssey Retrospective. Movie Odyssey Retrospectives are reviews on films I had seen in their entirety before this blog’s creation or films I failed to give a full-length write-up to following the blog’s creation. Previous Retrospectives include 12 Angry Men (1957), Oliver! (1968), and Jingle All the Way (1996).

#Cinderella #Walt Disney #Clyde Geronimi #Hamilton Luske #Wilfred Jackson #Mary Blair #Marc Davis #Eric Larson #Les Clark #Frank Thomas #Ilene Woods #Eleanor Audley #Verna Felton #Oliver Wallace #Paul J. Smith #Mack David #Al Hoffman #Jerry Livingston #My Movie Odyssey

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obsessively-obsessed-fangirl · 5 years ago

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The Rise of Skywalker was the downfall of Star Wars (MAJOR spoilers)

Oh, J.J. Abrams, I had high expectations for you. I trusted you with one of my most important things...And you absolutely destroyed it. After seeing both your contributions to Star Trek and Star Wars, all I can really say is that you may know how to start a story...but you sir, do not know how to finish it and it is my own fault in believing that you could.

Yes dear reader, I have just come back from watching the final installment of the series of Star Wars movies. I have just come home feeling out of sorts because The Rise of Skywalker wasn’t necessarily the worst movie I’ve ever seen, yet it wasn’t that great nor what I expected the final installment of a Star Wars movie to be. In fact, the only way I can describe it, is just OK, and as we know from my favorite TV commercial, just OK, is not OK.

Why were Finn and Poe even in this movie?

From what I hear, the actors who play Finn and Poe tried hard to play the characters as if they were in a romantic relationship, despite Disney’s specific instructions. I would have loved this! These two characters have amazing chemistry when they are around each other, but that’s not how the story played out, and that’s not exactly why I’m so upset with them. I’m upset because despite being part of the main trio of the current installment, Finn and Poe had no growth in this final movie, and at the end of the day, I can’t really say they had TONS of character development in the series. At least within the first two movies, Finn and Poe were given their individual “tasks” and started to grow towards their final selves ...yet in the final movie, they were constantly being sidelined and overshadowed by Rey and Ben.

One example of this is the idea that Finn is force sensitive. Now we don’t know “for sure” if this is true or not because of a scene within TROS where Finn tries to tell Rey something but never gets the chance to. Now some, especially those who remember how Finn flirted with Rey in episode VII might believe that he was planning to say that he loved her, but according to the actor who plays Finn, John Boyega, he says that Finn was planning to tell her he was force sensitive. This would have been a great plot point for Rey and Finn’s friendship, yet we never saw ANY sign of this within TROS or the other installments of the current trilogy. In fact, J.J. Abrams instead chose to continually portray Finn as almost overly concerned about Rey in TROS, like he was leaving the option open for those who ship Finn and Rey. Along with this, we were also lead to believe there could be a possible romance between him and Rose, one of the characters introduced in Episode VIII. Now I love Rose on her own, I think she is absolutely fantastic. Yet in TROS we barely saw her and she said maybe 3 lines to Finn. Why create a budding friendship/relationship between Rose and Finn, to completely sideline it in the final movie?

Now, to be quite honest, I wasn’t a huge fan of Poe within this trilogy. He is definitely one of those “know-it-all” characters who needs to be taken down a few pegs (which Leia 100% does in episode VIII). But, I don’t think it’s totally fair to Poe or the actor who plays him, to give him the beginnings of a backstory in the final movie. At some point during the film, we learn that Poe used to work on a planet and royally angered a girl. OK, great, glad to hear he is more than just a resistance pilot, but this adds nothing to the story being told in TROS, and I’ll be quite honest, I don’t remember the name of his “girl who is a friend” or even what planet they were on. All of this seemingly important character information would have served the audience a lot better if had been introduced A LOT earlier, like in the second movie when we were actually learning about his headstrong and destructive character.

Rey is a Palpatine?

So I guess the question of who is Rey’s family finally gets answered. Yet, it makes absolutely no sense and was a huge plot point that was not set up well at all. Yeah, so we find out that Rey is the granddaughter of Emperor Palpatine and everyone pretty much knew about it except for her. Also, Palpatine somehow survived and is really been the one controlling Rey and Ben, not Snoke, who was killed by Rey and Ben in Episode VIII. Now I do not know if this was J.J. Abrams plan all along, or he felt that the story needed to change after the events in Episode VIII and Rian Johnson’s vision, but bringing back Palpatine and making him the big “villain” of TROS was so underwhelming and underdeveloped.

TROS should have focused on Rey walling herself off from Kylo Ren after the events of episode VIII. As we saw during the film, her powers and the bond between Kylo and Rey were getting stronger to the point where they could manipulate items between each other and fight with lightsabers as if they were together. This should have been a huge problem for Rey as she battles with the idea of her going to the dark side, yet instead it just became a thing between them that they could do, where they just had the same conversation over and over again.

Rey should have just been the daughter of nobodies. They should have left her as someone who had a calling, not the granddaughter of someone who had no purpose being in this movie. TROS should have focused on Rey resisting the pull of the dark side while Kylo Ren wrecks havoc as the new supreme leader. It should have been about the Rey battling Ben and pulling him away from Kylo Ren and back to the light. Not about her defeating someone who wasn’t part of her story until now.

Ben was finally redeemed and it was done poorly:

Like with Rey, Palpatine served no purpose in Kylo Ren’s story. The whole point of episode VIII and of killing Snoke, was to show how Kylo Ren is no longer a puppet to anyone else. He is now his own master and in charge of his own choices (that of going to the dark side). Yes, he was conditioned by Snoke to listen to his darkness, but at the end of Episode VIII, it was about him CHOOSING the dark side, and TROS should have focused on this instead of making him a puppet to someone else.

While there were some good moments for Kylo/Ben within TROS, like when he is confronted by the memory of Han Solo, it wasn’t nearly enough. Ben had no interaction with Luke and only 0.1 seconds with Leia which really hurt to watch. While her death was absolutely pointless and really made no sense, it hurts even more to see how much it impacted Ben. We saw nothing of a relationship between him and his mother in any of the episodes. They were shown to be so far away from each other, that it really made no sense to see how much her death impacted him. If you were going to do this, give her a death that matters, and at least give to us after you show some development between Ben and Leia.

I was also extremely upset at how Ben was treated after he chooses the light side. When Ben chose to throw his lightsaber into the water, that should have been his welcome home in the eyes of the Jedi who came before him. They should have been there for Ben like they were for Rey during her battle with Palpatine. Along with this. Ben should have been there helping Rey to defeat him. Showing her she wasn’t alone, not on some rocks down below forced to wait until the battle was over. When he climbed back up to Rey after the battle, the force ghosts should have been there with him, helping him to bring Rey back to life.

As some fans have noticed, Rey and Ben’s final moments together were shot very...off. As in, it looks like the events of Ben’s death were really shot in reverse and he wasn’t supposed to die. I’ve also seen that Daisy Ridley, Rey, was recently talking about the last scene of the movie. From certain reports, it seemed as if Ben was supposed to be there with her in the final shot. According to Ridley, the ending was supposed to be emotional and “tear worthy.” Yet, the ending wasn’t even close. Which once again leads me to believe that what we saw in the theater was not the original ending and instead was some last minute change that shows how much J.J. Abrams doesn’t care for Ben or his other characters.

Final thoughts on trash:

I could go on...and on…..and on about what bothered me in this movie because there is a lot that does (LANDO’S POINTLESS PRESENCE). But, in the end it really doesn’t matter. I know deep down that whatever happened with J.J. Abrams and the team behind TROS, that it wasn’t meant to be this way. Maybe it was Disney’s fault, maybe it was J.J. Abram’s fault ...I don’t know. All I do know, is that every character and every actor that was part of Star Wars deserved far better things from Episode IX than they got. I’m so sad this is where we ended up and I’m so sad at how we got here. And all I can do now is hopefully move on and up.

#Star Wars #The Rise of Skywalker #Episode XI #Spoilers #J.J. Abrams #TRASH #Reylo #Kylo Ren #Rey Skywalker #Palpatine #Finn x Poe #poe dameron #ben solo #ben skywalker #luke skywalker #leia organa

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popculturebuffet · 4 years ago

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Top 10 Sealab 2021 Episodes (Comission)

Happy 2021 Everyone! After an utterly AWFUL fucking year, it’s nice to be in a brand new year with brand new possiblities, new projects you’ll see soon, finsihing the old.. and all that good stuff. And good friend of the blog and only patron and contributer kev had a great suggestion to comission to kick off the year. Since it’s 2021 it’s only fair ot honor one of the very first adult swim shows, one taking place in the same year and still one of it’s funniest and fucking weirdest, and as we’ve seen that threshold is vast: Sealab 2021 Sealab was created by the wonder twins of Adam Reed and Matt Thomspon, and if those names sound familiar.. that’s because their the guys who created Frisky Dingo, a cult classic i’ll defintely have to write about someday soon, and more famously and in Matt’s case still to this day, Archer. Yup, after adult swim jerking them around lead to the closing of their initial studio, the two moved to FX and here they are. So yeah this is where the roots of a lot of archers workplace shenanigans and petty dickery come from. But even ignoring what it’d lead to, Sealab on it’s own is pretty damn good and holds up pretty well. Some jokes.. have not aged well, especially the treatment of Debbie as the villiage bicycle, but on the whole most of the humor is just really funny, really weird and really insane and I still love it after this revisit even if some episodes didn’t hold up so good, most of them held up good or even better than I remembered. The show was THE first abriged series, taking bits of old forgotten and seemingl really damn boring hannah barbara show sealab 2021, and using the footage to tell the tale of a bunch of assholes, weirdos and what have you running an underwater research station.. and being so bad at it or getting into such other insane bollocks it often blew up. Continuity was loose, jokes were the priority, and dialouge was key since the animation was not great in any way shape or form, but the cheapness was enough of a charm and improved enough with time that it didn’t really matter. The show was good and set the bar for adult swim shows for better or worse alongside other greats like Home Movies, Aqua Teen Hunger Force and others. It also had a unique cast of mostly small time actors, and bafflingly one respected news pundit as local asshole idiot head Stormy, and broadway legend Henry Goz as series MVP Captain Murphy. It was good, it was part of my childhood and teen years, and I love it so. I bought the dvds, quoted it decently and will again now Kev’s brought my fire for the series back. So naturally for a series like this since regular reviews just don’t.. work on something this insane sometimes, i’m instead counting down my top. 10 . episodes. Yes top 10 lists are comissionable, 5 bucks a pop. As long as I know the series well enough i’d be glad to and here I ws more than honored to. I also uped my game this time and rewatched every cantidate and thus I feel this may be one of my best lists yet. So without further adeu... grab your grizzlbees oninon burst , your bebop cola and your pitcher of whale cancer. this is the top 10 episodes of sealab 2021!

10. Tinfins This one’s a classsic just for it’s uniquness, taking the piss out of glitzy and vapid hollywood insider shows and their annoying hosts, while also being delightfully weird, from mocking the show’s own animation by having detailed cgi used to map the limited animation, to Erik Estrada’s interview where his fictional self is clearly having none of toni and is also clearly getting wasted, to the utter bizzarity of Kid N Play being the films directors.. it’s just a good time.

But what REALLY makes the episode are two things: The first is a series of increasingly bizzare commericals for Grizzlebees, a fictional restraunt that would become a staple of the show: From a simple commerical showing off their onion bursts, to their kids meals with tonic water, to Henry Goz’s utterly bizzare farm based commerical for it, to finally a commerical about depression being okay because grizzlebee delivers that’s pitch black as it is utterly hilarious, it’s just one hit after the other. The crown jewel of the episode of course is the trailer ofr tinfins itself, which is insane and includes great bit after great bit, the best being the titular mecha shark cutting the power “How the hell can it cut the power? It’s a shark. “ Holy Crap indeed.

9. In the Closet A bottle episode, which Sealab really excelled at and not the last on this list by a mile, as the show’s key was it’s dialouge the episode had a simple premise it quickly managed to have make some pretty insane turns. Marco, played by the glorious Eric Estrada and Muprhy, played by the late and very game Harry Goz, have been trapped in the suply closet for a few days, with Muprhy, being muprhy, having already married a bucket who has a history as a “Hookermop” named wendy. Soon other sealabians get caught inside too, and it results in plenty of hilarious gags, From muprhy sucker punching the hell out of everyone, to Sparks panicking under claustrophiba, to the repair guy getting sucker punched and no one caring much about his well being. This one lives off of Muprhy as while the others are good, Goz as he usually did during his time on this earh and on this series before his untimely passing, steals the whole damn show, and the ending, where it turns out Muprhy adopted and starved a bunch of fighting dogs, is a nice twist on everything. And the punchilne to it is utterly fantastic “It could be worse” “How in the hell could it possibly worse?!” “We could be out there.. with Stormy”.

8. The Legend of Baggy Pants Speaking of Bottle Episodes and Captain Murphy being awesome.... this one narrowly beat out the episode it’s a spirtual sequel too, the classsic all that jazz, but this one is easily better. Like that one it’s a bottle episode that’s almost entirely just Captain Muprhy on some sort of shenanigan, with only abit of other cast, in this case Hesh, Eggers, and an unfortunate phone operator. In this case the premise is simple, kind of nuts, and utterly hilarious and utterly captian murphy: Captain Muprhy is having a round of Golf in Sealab, which is weird but fits the character but what ratchets it up to funny is apparently this underwater research station, for no reason, has a pro shop. So after loosing his last ball in a reactor, and sending poor hesh in to get it leading to the advent of the glorious Monster Hesh, Muprhy spends the entire episode tooling around in his “Muprh Mobile” trying to find the pro shop. As a result it’s basically 11 glorious minutes of Harry Goz going absolutely mental as muprhy, and it is as great as that sounds. From Muprhy’s sudden hatred of pod 6, to his bullying of Eggers, a hapless sealabian he runs into and then tries to run over, his bullying of dolphin boy and then trying to run him over, to his compuance as eggers steals his stuff and then his muprh mobile, it’s just glorious riffing from one of the best in the buisness and Harry is still deeply fucking missed by yours truly. RIP you magificent stalion.

7. Cavemen One of the series final episodes, and easily one of it’s best. While the later Seasons get some flack. While season 3 is a bit weak,a s Goz’ tragic passing left them stumbling, Season 4/5... it’s complicated, is REALLY damn good and has some of the series finest episodes which many probably never saw. Case in point, Cavemen. Cavemen is another spirtual sequel this time to lost in time, which also didn’t make the list, but this one is also better. Like LIT, it focuses on one of the series best dynamics: Brainy super scientest and often only sane man Dr. Quinn and all around idiot, moron and bane of everyone’s existance, Stormy, played by Brett Butler and Ellis Henican, both of who nail the two and this episode. The two are trapped in a cave after Stormy’s stupidity blew up sealab, and his trail of dead rabbits lead a shark to him and quinn. The result is a TON of great back and forth as Stormy tries to make Quinn see him as his best friend, Quinn rightfully shouts at Stormy for... everything, and Stormy tries to show off some ancient cave painting she himself made, that quinn quickly figures out because he left his paint around, and shows that off in a very clever gag I can’t convey correctly here. We also get knife fights and Quinn beating stormy over the head with a dead rabbit, an da surprisingly solem ending where the two hold hands as they die before heading up to heaven for a happy and weird ending. Overall an episode that’s really hard to dive into as it’s just relaly damn good and all in the performances, gags and pacing, as it’s done entirely in real time. Easily worth a watch.

6. Shrabster Another great late season episode and another really experimental one. This one’s told from back to front, then we’re given the ending. It ends up working really well as it not only jacks up interest but the story itself is great. Asj it ends up turning out over the episode Dr. Quinn’s created the solution to world hunger: The shrabster, a hybrid of crab, shrimp and lobster. Grizzlebees, naturally wants it and after finding out Sparks didn’t actually own the rights, have Shanks, muprhy’s replacement, try and steal it, only for him to fall in love with the creature and spirit it away to give it a better life.. before shooting it in the end and eating it himself. We also get some good runners as Sparks starts speaking in slang and gets his neck rightfully snapped for it by Quinn, Stormy keeps eating shellfish despite being allergic, and we get the glory that is dan and don, two grizzlebees reperceives played by reed and thompson who are just an utter delight. I also ALMOST forgot the fucking announcer whose just fucking hilaroius the whole damn time with his various segways.

5. HappyCake An early classic and damn worthy with a simple, batshit premise, which as should be clear by now was Sealab’s Bread and Butter. Muprhy’s happycake oven has been stolen, so he sends Stormy (who knows about the captain’s bedwetting and thus must be silenced) Quinn and a fishman out to find it in the ocean. Turns out it’s Sparks, in a character defining episode, fault as he’s working on world domination, and thus is working on driving murphy insane and thus stole it. He and marco discuss Marco becoming his henchman and getting metal teeth, Muprhy goes nuts, it’s a damn good time. Also a lot of talk of Michael Cain so that’s always a plus now I know who he is. And of course it has one of the series best lines period “Pudding can’t help the void inside” but it’ll help. Only this low because i’ts a bit structually messy compared to what’s to come and given it beat out two really damn good structurally episodes for this slot, that should say something.

4. Hail Squishface! No best of list would be complete without this one. Once again the show banks itself on a simple premise: Captain Muprhy buys a white blob, a gloop, from a vendor and gives it liquor and gremlins style his little buddy multiplies and he soon gives them out to the crew. Everyon’es on board except Quinn.. whos naturally proven right ot be suspicious as the gloops methane output will doom them all and only muprhy, whose gone insane and is wearing squishface like a fez as you’d expect, wants them alive leading to what you’d expect: a flamethrower battle between muprhy and the crew with murphy decked out like a transformer. This one’s just endlessly creative, from the various glooptransformations to the finale to the gags, i’ts just great. The fart gags are also.. actually pretty funny, which given i’m not a fart gag guy most of the ttime, speaks to how well executed they are and use the gags of htem being fart machines. Also we get muprhy in a fez and that alone cements it as top 5 matieral.. but as for the top 3.

3. Moby Sick

Our last late season entry and the third to last episode of the show ever, this is top 3 for a reason, even above a classic like Hail Squishface. This one just has so many insane jokes packed in I forget quite a few despite them all being pretty damn great. The premise is dour: A whale named Avalard shows up in Sealab wanting to die, as he has whale cancer. Stormy recognizes him as the star of the show “Gotta Have that Dick”, even saying “I gotta have that dick!”.. which of course they have a loop of ellis saying in the credits he correctly assumes will haunt him for the rest of his days. And if a whale starring in a cheesy 90′s tgif sitcom wasn’t enough we get the best gag of the episode as Marco eats some of avalard’s whale cancer leading to an insnae kool aid style add

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And of course Marco later puts on a Mayor F Whale outfit and eats the cancer.. and his way out of avalard. But before that we get fights over wether the whale should die or not, including the guy on the pro whale side stabbing him, Debby’s rambling nosense and Shanks, who first builds a wooden whale to put his brain in .. that promptly sinks “and all my puppies were in there!” and then goes on a far right pundit show and gets into a giant robot phsyical challenge.. which frankly we need more of. Tucker Carlson would be .0001 percent more tolerbale if he were getting his ass kicked in a gundam is what i’m saying.

2. Feast of Alvis I’ll be brief here, which in an article where i’m already trying to be brief says a lot but since I JUST covered this one a few weeks ago for my best holiday special lists: Feast of Alvis is, like most of sealab, deeply creative, deeply batshit and deply fun as Muprhy pushes his violent frontier version of jesus on everyone, with predicably great results. I watch it every year for damn good reason, it has some of the series best gags, including “Cram a penny o nthere” And great satire about the supposed “War on christmas”. I’m only being so breif as I said pretty much all I had to say last time. Exxcept this: Adam Reed is a DAMN talented voice actor both as virjay (though in hindishgt he REALLY shoudln’t of been playing a hindu man, especially since otherwise the series actually cast poc), and in various rolls and kills it as alvis here. So what could top one of my faviorites? Wellll.

1. Chickmate Another early one and as should be clear the best. It incapsulates the series the best, has the funniest jokes packed into it’s 11 minutes and in general is just an outstanding episode that throughly defined the cast and their rolls and chemistry. Debbie’s biological clock is ticking and she wants to have a baby, and after mothering a dolphin dosen’t help decides one of the sealab men will be the father and auditions them. It goes as well as you’d expect: Muprhy thought she’d become his mommy, and not in a kinky way, Sparks provides one of the series best gags by giving her a modest proposal by jonathan twist and giving us the utter black comedy joy of him describing “ribs dripping off the bone”, Stormy’s tape gets interrupted by Hesh who clasically screams “Hesh wants some sex”, Marco freaks her out with his muscles and quinn seems sucessful before ultimately botching it and Debbie decides none of htem are worth it. We also get stormy’s untieontally racist and throughly stupid use of the term “Black debbie” to describe the other debbie, which he gets rightfully called out on. We also get this exchange as a result Quinn: What if everyone started calling you white stormy? Stormy: You mean there’s a .. black stormy Quinn: (Beat to take in the stupidity) no.

It’s funny, it’s clever, and it’s just damn fun. Easily the series best outing and the reason it became what it became. And overall.. the series is just really good. it’s on HBO Max if your curious, and if you haven’t vistied that lab underneath the sea. maybe i’ts time to. Goodbye, Goodbye, goodbye for now, until then.. play us out marco and debbie.

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#adam reed #sealab 2021 #archer #cartoon network #adult swim #captain murphy #harry goz #tornado shanks #debbie #stormy waters #sparks #marco #dr quinn #new years

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skamfrance · 6 years ago

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Interviewer : You can find SKAM on france tv and on other platforms.

Hi Axel!

Axel : Hello!

I : How are you?

A : I’m great, what about you?

I : Axel, how do you manage to have this much energy? I know people usually ask me this, but you’re currently on tour all around the country with your show ‘Une vie sur mesure’, and not ‘Une vie meilleure’, as I’ve been saying (mumbled, i don’t understand the rest of his sentence). ‘Une vie meilleure’ is a movie. I confused the two of them.

You’ve just finished filming season 3 and 4 of SKAM. We’ll explain the special format soon, you filmed both seasons together. You’ve just come back from filming a movie and you’re going back tomorrow. How are you living? What’s going on?

A : Listen, it’s cool, you have to enjoy it and I’m really happy and aware of how lucky I am to be able to live out my childhood dreams. But I’m also aware of how ephemeral it can be and that you have to work. You have to enjoy your opportunities but also be aware that everything can be over tomorrow. You have to live everything out as much as possible. This is insane and amazing.

I : And how old are you, Axel?

A : I’m 21.

I : You’re 21. I’d like to say, I’ve seen the first two seasons of SKAM. I just saw the last two, or at least the 3rd one, the leaked episodes. Leaked episodes? No, the ones that came out.

This season is amazing. First of all, we’ve been waiting for LGBT representation for a long time. We can find them after 18 years old, but not never from the point of view of a high school life. I know it’s been good for a lot of young people, I’m thinking about the kids from Le Refuge (French LGBT organisation that’s a shelter for LGBT kids who’ve been kicked out of their homes) who are listening to us. Just for that, congrats on having had the choice to do this role. It’s not an obvious choice for lots of actors. I know it was never a problem for you, but it is for a lot of actors.

On a technical level, this season is extraordinary. The use of lights has nothing to do with first two seasons. I’m only saying that because of cinema fans who might have skimmed over the first two seasons. I’m telling you, this is on another level. I was amazed - not that I didn’t like the first seasons-, I was amazed by this one.

When you got the script, did you know it was well above the first two seasons? Did you realise it? And did you understand that it would be so good on a technical level? The technical work on the lighting is great, especially considering the fact that I know you have really long filming days. 8... 18 usable minutes per day?

A : No, no, it’s about 12 to 14 minutes minimum.

I : Why don’t you explain to us the SKAM experience, after this onslaught of questions?

A : I at least felt, not that it was gonna be above, far from it, but that it was gonna be different. Because for one, for the first two seasons, David Hourregue, the director, and even the writers, we’d signed a contract with France TV... I mean, ‘we signed’, I didn’t sign anything, but they signed the fact that they really had to stick to the original, be the same narrative framework, be close to the original script, and the camera angles, and the story.

So they had this constraint of the Norwegian version in this french adaptation.

I : It was crazy, a huge success over there.

A : And I understand that! It talked about the teenage years and really important matters.

I : With a different tone.

A : With a different tone, not overly emotional. And in this third season, from the beginning, David... David Hourregue, the director, who’s a magnificent conductor, to be able to make 14 usable minutes of footage every day, it’s truly... He’s an amazing team leader, and always with benevolence. He knows how to direct each person with different words, but always in an admirable way... Uhm, he immediately set his conditions, meaning he really wanted this season to be true to his vision, he wanted to be able to change some things from the framework, so that it wouldn’t be a copy and paste from the original.

So right from the beginning, when he showed me the script...

I : Had you seen the original version?

A : Yes, I’d seen it. I’d seen it. And it reassured me too, because it’s true that the characters came from us a lot more, he took inspiration from us because he knew us, to write the characters and to write Lucas’ evolution.

I : He’s a very dreamlike character, he’s a bit like you. We’ll talk about it later.

A : Do you think so?

I : Yeah. He’s a bit like you. There are a lot of differences, but I think he’s a bit like you, in regards to the poetry or the dreamlike quality... He’s someone who could be from the 18th century, the 19th century...

A : That’s nice.

I : It’s a compliment!

A : I’m glad I came!

I : Did you work on... When you got the script, did you tell yourself, ‘okay, when it come to gay representation, or just the representation of a high shcool, love story, but between two guys...” Did you need to look for other movies, or novels? Did you do research work on this? Did you just go on the set spontaneously, as an actor, without any research beforehand.

A : No, no there was research work before. I saw Call Me By Your Name, I saw Moonlight, I saw The Office. Not for the LGBT representation, but for references David wanted me to have. I also did a lot of preparation with Maxence Danet-Fauvel, who plays Eliott.

I : He’s amazing, the two of you have an incredible chemistry.

A : He’s a genius, it was a really beautiful meeting with him. We got very lucky, and we did a lot of work beforehand to have this chemistry, and to know and trust each other. So that when we got on the set, we could just let Maxence and Axel go and really be in character. We trusted the whole team.

You were talking earlier about the photography, and I would like to thank Xavier Dolleans, who’s doing amazing work. He’s an unbelievable operating chief. To do 12 to 14 minutes of usable footage everyday... I don’t know if you guys realise this, it’s truly a lot...

I : 12 to 14 minutes, it’s 12 to 14 minutes of scenes that can be used in the cutting room. Usually, it’s 2 to 3 minutes in movies and 5 to 7 minutes for tv shows. It’s a lot.

A : And to be able to have this maturity with the light, and...I saw him manage his team and it’s really a fantastic team, and it was a team which was dedicated to this story, and everyone really wanted to...There was a week when we did at least three hours of overtime every day.

And there was really a thing where every one was carried by the same energy, and to really...give life to this story, which we all thought was beautiful, and the whole team was really motivated and that also really contributed to the fact that we really had fun, we really enjoyed ourselves, and it really has been a crazy experience to live as these characters and to live this story.

I : And did you know...did you see what we call the rush combo (??), did you realise that from a technical standpoint it was superior? I’m really impressed by the editing, the filming, the music. I actually texted you about this when I watched the episodes. I really liked seasons 1 and 2, but here, we’re clearly at the next level, especially since I know you were filming 18 usable minutes a day, which is huge. Did you realise that you were going to the next level?

It’s promising for seasons 5-6, which are coming soon.

A : No, season 4.

I : But you’re filming seasons 5-6 soon, right?

A : Uh... No. Not that I’m aware of. I might not be invited.

I : Oh, well, we’ll talk about it. So, for now, season 3 is filmed and season 4...

A : Season 4 is also filmed.

I : It’s also filmed.

A : But for seasons 5-6, we don’t have any news yet.

I : Yes, but it’s so successful, it would surprise me if you didn’t... you have to say it’s really successful. It’s even more successful than the first two seasons if I’m not wrong. I know you’re humble and won’t say it. I’m telling you, it’s smashing everything on the platform.

A : Yes, it’s crazy, and we’re so happy. We see people’s reactions, and we get messages in which... young people tell us it can help them, give them confidence, show them they’re not alone. An we realised, and I realised more and more while we were filming, while trying to live this story, how difficult it could be for young people today. That it was still relevant.

I : What do you mean, you realised it?

A : Because the character ends up having to lie, to hide his feelings...

I : Did you meet people, I’m thinking about all those young people from Le Refuge who are listening to us.... Did you meet young people who... Because, in your life, you’ve met people who...

A : I met people around me, I have friends who... I have a friend who came out two years ago. And to see how the way people look at you can change too, people who said they were your friends and suddenly turn their backs on you...

That’s something that’s very violent and I never had to live through. I saw it through my friends. And there, I was at the center of the story, and even if it wasn’t my life, when I got on the set, and I was Lucas and we were filming scenes where things were going badly, I realised what this could be like in real life, at least at my scale.

And I also realise how important it is. That’s why the message from the show is that, even if society gives more and more importance to assholes who think they have a right to judge other people, well, you’re not alone, and love prevails, love will win and you have to be proud of who you are.

You have a right to love a girl, to love a guy, to change, and it’s really important to say you have a right to do that, and that a love story like Lucas’ and Eliott’s is beautiful, and that’s what you should remember.

I : And have you gotten... I know we had Medhi Meskar for the show Les Engagés (french web serie about LGBT activists; it’s amazing, you should watch it) and he said he got quite a few messages from young gays from the Maghreb, I got some when I was on Clem (another tv show). Have you gotten messages... you blew up and social media recently and you deserve it, I’m really happy for you, but did you get messages from young people saying thank you?

A : A lot, yeah! And that’s what I wanted to talk to you about! We started the show, and that’s true... Maxence and I had a drink together, which ended pretty late... And we told each other the purpose of the show was to have an experience above everything else and on top of that, to help even just one young person to be able to accept themselves to realise they could and should be proud of who they are. And when we get messages like that, it feels like we’ve won everything. Because this crazy experience lasts longer, and seeing what the show’s impact on people can be is amazing.

I : What did your work on this show teach you as an actor? How did it make you grow as an actor? And did you have time to look at the technical parts? I know things go really quickly on this show, but the technique is so amazing, did you take advantage of that to see how an operator works etc?

A : So, I’m super naive about technique, to be honest. I know we used the same camera as Avatar. I mean, the same model. Beyond that, I’ll admit I don’t really know... I learned that... I mean, I learned... it went really fast, so you had to be in it right away. And I was lucky, I was in every frame of the story, so you had to be quick, go from one state to the other. It was real work, getting on set and already having all of the script in your head, what moment we were shooting, to know that if I was shooting the scene from episode 9 before the scene from episode 4, to know what had happened before the episode 4 scene even though I’d just shot episode 9. It was a lot.

I : How did you do it? Did you have a notebook?

A : I did have a notebook and post it notes each day with what had happened before, what my relationship was with each character at this point, what I was thinking when I got there etc. It was a lot of work before shooting.

#skamfr #skam france #axel auriant

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introvertguide · 5 years ago

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On the Waterfront (1954); AFI #19

The next film on the AFI top 100 under review is the award winning crime drama, On the Waterfront (1954). This film was nominated for 12 Academy Awards and picked up 8 including Best Picture, Best Actor, Best Director, and Best Screenplay. The film is based on a series of articles in the New York Sun from 1949 that depicted the condition of the eastern seaboard and all the corruption that was involved at the time. I did a lot of historical digging for this film and realize how important the accuracy was and it seemed pretty spot on. Before I get into story, let me give the standard announcement...

SUPER SPOILER WARNING!!! I TOOK A LOT OF NOTES DURING THE FILM AND THIS WILL SPOIL THE ENTIRE THING!!! WATCH THE MOVIE FIRST AND THEN COME BACK AND CHECK OUT THE ARTICLE!!!

The film starts out with the murder of a man named Joey Doyle. Terry Malloy (Marlon Brando) calls to Joey’s window at night to have him meet up on the roof concerning a pigeon. We see that Terry is with a bunch of gangsters who are waiting up on the roof for Joey. The audience doesn’t see the actual meeting, but a person falls off the building a couple seconds later and it is assumed that Joey is dead. It seems that Terry was not aware that Joey would be killed, he thought they were going to rough him up or intimidate him.

Terry is not put out too much because he goes to a local pub right after and we meet the local crime boss. Johnny Friendly (Lee J. Cobb) is a stereotype mob boss who runs a tight ship and could snap at any moment. It is an awkward scene where one person in the room is having fun and everyone else is nervously waiting for something to go wrong. Friendly’s right hand man is Terry’s brother Charley (Rod Steiger) and Friendly has a fondness for Terry because of the relation and also that Terry used to be a boxer. Before the night is over, Terry is given a stack of cash for his help with Joey and the promise of a cushy job on the dock the next day.

The next morning, a group of people look over Joey’s body on the street and his sister Edie (Eva Marie Saint) is understandably angry about the event. She shames her father and the other workers for not saying anything and she yells at the local priest (Karl Malden) for not being more involved. She wants to get involved and help her father get work so she goes down to the docks with the priest to see what the situation is really like. People attached to the mob are given preferred treatment (including Terry) and all the other workers have to scramble in hopes of getting work. The priest sees the corruption and decides to hold a union meeting in the church to encourage the workers to speak out against Friendly to improve the working conditions.

A group of dockworkers not part of the corruption meet at the church, but all remain quiet. The stay “D & D” (deaf and dumb) to what is going on so that they don’t get hurt. Joey is sent by Friendly to the meeting to see if anybody talks and he sits in the back. It seems apparent that he is there to intimidate the others into remaining silent. Before the meeting is officially over, a brick comes through the window and a bunch of gangsters pound sticks on the ground, waiting for the workers in the meeting to leave. Most everyone is attacked and beaten on the way out except for the priest, Edie, and Terry. The priest convinces one of the workers named Dugan (Pat Henning) to talk to the Waterfront Crime Commission to prevent another attack like this.

Dugan agrees to testify and we move forward to the day before he is supposed to go in front of the court. He is working on unloading a ship of Irish whiskey and an “accident” occurs in which a pallet of booze falls on Dugan, killing him. The priest comes to give last rights and gives an impassioned speech to the surrounding workers about how keeping quiet is a crucifixion and good men would not let this happen if they could stop it. Some of the gangsters through garbage at the priest while he is talking, but he continues on and Terry starts to feel guilty about his part in the deaths and injustice. He punches one of the enforcers who is going to throw something and this does not go unnoticed. In a very symbolic image, the priest rides a crane up out of the ship and ascends out of the hold like an angel ascending towards heaven. Very cinematic and full credit to cinematographer Boris Kaufman for this fantastic shot that no doubt contributed to his Oscar win for his work on this film.

Terry starts to fall for Edie and considers testifying against friendly. He knows, however, that she will learn of his connection to her brother’s death and fears show will hate him. Friendly gets wind of Terry’s connection with Edie and sends Charley over to convince him to not testify. In a very poignant scene, Charley and Terry talk in a taxi and Charley tells him that he needs to promise not to squeal or Charley will take him to the docks to be executed. Terry says that he can’t live being a bum. He used to be a prizefighter and Friendly had convinced him to take a dive during a fight and all his potential was wasted. It is the famous “I could have been a contender. I could have been a somebody” scene. Charley let’s Terry go and goes in to stall so the Terry can escape and instead Charley is killed and left hanging from an ice hook in an alleyway as a message to Terry.

This goes too far and Terry goes to the local bar to shoot Friendly. Instead of the crime boss, Terry runs into the priest and is convinced to testify in court as a better form of revenge. He agrees and Terry identifies friendly in court as being corrupt and ordering the murder of both Joey Doyle and Dugan. After testifying, Friendly threatens Terry and says that he will never find work on the docks. Terry is shunned by all the other workers for squealing and only finds kindness from Edie.

Terry shows up the next day for work recruitment and every person there (including a random hobo) is given work except for him. Terry goes to confront Friendly and is summarily beaten by a group of gangsters. The dock workers see this and say that they will not work unless Terry is allowed to work as well. Friendly has lost his power over the docks and can’t kill Terry since he has already talked and is now being protected by the police. The priest shows up and tells Terry to stand up and lead the workers onto the ship, cementing the shift in power. A severely beaten Terry is helped up and he stumbles onto the boat followed by the rest of the works. The movie ends as the plank doors to the ship’s hull close.

Although the characters are sensationalized, the situation was very representative of what life what life was like on the East Coast docks during the late 40s and early 50s. This film is a time capsule for American life right after WW2 and a lesson concerning what can happen with complete corruption. Very fascinating from a historical perspective as well as an artistic one.

I have a little bit of an issue with Brando and his acting in this film. I do not think he is that good. He mumbles his lines like he does in every movie and it is apparent that he is a good actor but not that great at line delivery. Also, when I say he is a good actor, I don’t mean this film. He comes across almost whiny and conceited and I never really get behind the character. I freely admit that I don’t really like Brando in general as a person (at least from the stories I hear, I have never met him) and that might taint my judgment of his performances. I never bought him as a boxer and I never bought him as being tough. He is acting like a soft hearted bully, but it just doesn’t impress me. He got top billing and his name is bigger than the movie credit on the opening title cards, but I thought Karl Malden did a much better acting job. I am thankful for Brando’s contribution to creating method acting, but that doesn’t make this a great performance and I don’t think he deserved the Oscar.

Also, just like with The Godfather, Brando played a part that was memorable with great lines and won the award for Best Actor while the rest of the male cast who gave outstanding performances were relegated to Best Supporting Actor (three actors nominated in both cases) and came home empty handed. Brando kept getting quirky character roles in well written films and surrounded by incredible talent...and then he was given all the credit for the incredible result. I just don’t like that guy and I realize it is a personal bias. I just don’t like how he is given all the credit (and takes all the credit) for projects he was a part of. But moving on...

I again want to point out the cinematography for this movie because I am not generally impressed by this aspect of films, especially when they are in black and white. I think On the Waterfront, Citizen Cane, and Who’s Afraid of Virginia Woolf are all examples of how prop placement, camera angles, pans, and lighting can be used to tell a story beyond just the acting and dialogue. A well deserved Best Cinematography award for Boris Kaufman.

So does this film deserve to be on the AFI top 100? Yes. For the famous “contender” speech, the reflection of history, the visual storytelling, and the wonderful acting, it absolutely deserves a spot. Would I recommend it? Well...I would say yes but not for Brando. I was so bored by the part of Terry Malloy that I found many other things that I liked to get through the film. The first time I watched I was expecting this great performance and I was thoroughly disappointed. Watch the film for everything else besides Marlon Brando and you will be impressed.

#on the waterfront #marlon brando #karl malden #eva marie saint #elia kazan #crime drama #longshoreman #union #movie review #afi films #introvert #introverts

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wonderfulworldofmichaelford · 5 years ago

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Is It Really THAT Bad?

There really is only one way I could ever kick this series off: with the very movie that inspired it. Robot Monster is a B-movie with a reputation that precedes it by many miles. Even f you’ve never actually watched this, you might have heard that it is one of the worst films of all time, because as we all know, independent B-movies with no budget need to be held to the same standard as Hollywood blockbusters. These days most people have settled into calling it a prime example of “so bad it’s good” cinema, with folks like film historian Leonard Maltin calling it “one of the genuine legends of Hollywood - embarrassingly, hilariously awful.”

But even back in the day when it came out there was some claims this film wasn’t so bad. Variety, of all publications, said that “Robot Monster comes off surprisingly well, considering the extremely limited budget ($50,000) and schedule on which the film was shot." After years of hearing nothing but that this film is an utter travesty, it can be especially bizarre to hear that even in its day, there were people who understoof that maybe this film shouldn’t be held up to the same standards as something like Citizen Kane or a Hitchcock film. Maybe it should be judged… as a low-budget B-grade sci-fi film! GASP! What a concept!

THE GOOD

I think perhaps one of the genuinely greatest aspects of this film is the score, which was done by, of all people, Elmer Bernsetein. If you don’t recognize the name, you will almost certainly recognize the vats body of work he has, with his resume including composing work for The Magnificent Seven, The Ten Commandments, The Blues Brothers, Heavy Metal, Ghostbusters, The Black Cauldron, Wild Wild West, An American Werewolf in London, and even the music video for “Thriller.” This is one of his earlier works, and it is still absolutely fantastic, to the point where some (but not I) might feel it belongs in a better movie. It quite frankly uplifts the material onscreen and gives it a grander weight that a lesser composer might not have been able to accomplish.

Contrary to the popular concept of B-movies, most of them have pretty decent acting at least, and this one is no exception; most of the cast is relatively solid, with even the little boy actor managing to turn in a solid performance; he’s not overly remarkable, sure, but he is just as petulant as he needs to be, and he does contribute some genuinely good ideas at points. Of course, the real stars of the show here are the physical performance of Geroge Barrows and the astounding vocal performance of John Brown as the legendary B-movie monster Ro-Man. We never see his face, and yet the physical acting of this man in a gorilla suit and fishbowl combined with the powerful voice of Brown really comes together.

And speaking of Ro-Man, I’m just going to come out and say it: the cheapo monster design that has been so widely mocked for decades is something I find to be incredibly inspired, unique, and genuinely great. Yes, I’m sure when you hear the phrase “robot monster” the first thing that comes to your mind if you’ve never heard of the film would most likely not be “gorilla in a diving helmet.” But it has such a creative charm born from a lack of finances that it’s truly impossible to really hate the creature. It helps that Ro-Man has gone on to make various appearances in cameos in pop culture, as well as helping to inspire the design of the character Minion from the cinematic masterpiece Megamind.

And all that aside, are you really so stone-hearted you can bring yourself to hate this guy?

The Bad

There are a few issues that pop up within this, with one of the more major ones being with the story structure. While the plot itself isn’t super bad, with it being basic B-movie fluff and the short runtime gives it a decent pacing, there’s a weird amount of padding, most noticeable during a stretch of time where it just cuts back to Ro-Man walking up and down a hill as dramatic music plays. The use of weird stock footage from old dinosaur movies also comes off as a bit weird. Still, the strangest bit of all is Ro-Man’s sudden and inexplicable lust for the human woman, to the point where he almost screws up his entire mission because he’s suddenly become horny. It’s rather jarring and out of nowhere, though it at least leads to some good lines from Ro-Man.

Out of all of the actors, the little girl is probably the most annoying. She’s so annoying, in fact, that it almost comes across as a mercy when Ro-Man finally strangles her. And her death is kind of underplayed, especially by her brother, who doesn’t seem too shaken up by how his sister has been strangled and that the extremely low amount of people left on Earth has now gone down.

And speaking of the boy, the ending reveals that the entire film was just his dream, which is one of the absolute worst endings a work can go for. A last-second reveal shows that the prior events may have actually been some sort of prophetic dream, as it is implied that Ro-Man and his masters will invade the Earth after all, but it still is a bit of a cop out. It takes a really great work to pull off the “all just a dream” twist ending, and while this movie is certainly not awful, it’s definitely not The Wizard of Oz or Super Mario Bros. 2.

Is It Really THAT Bad?

This movie really did not live up to its reputation at all. I went in expecting some hilarious disaster of a film, and instead what I got is a flawed yet charming B-movie that managed to be extremely creative despite its low budget and features a lot of good elements. While I don’t think it all comes together perfectly, and I’ve definitely seen far better cheesy B-movies, this is certainly not the bottom of the barrel as its legendary infamy would have you believe.

Its solid 3 on IMDB I feel is a bit too harsh; while certainly no masterpiece by any stretch of the imagination, it definitely feels like a three is a bit two low when there’s actually quite a bit good going for it. Realistically, I think a score in the mid-to-low fives would be a much better score for the film. As for its status as a “so bad it’s good film,” I think it is at least somewhat fair in this case, as the story itself is rather wonky, but I don’t think the film is bad for its quirky creativity, such as Ro-Man or the bubble machine; unique little quirks of the film I feel are genuinely good and help set it apart from other B-movies from the time and give it a unique identity that not many movies can match.

I think this film is most comparable to something like fellow B-movie The Giant Claw, where most of its more ironic fandom comes from the goofy monster than anything. I think that is warranted, as Ro-Man is just such a wonderfully iconic B-movie villain; maybe we should get Guillermo del Toro on the phone and see if he wants to do a sexy reimagining of this movie next. It’s what he deserves.

#IIRTB #Robot Monster #pilot episode #feedback would be appreciated!

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moviemunchies · 4 years ago

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The Patriot is a weird movie that has somehow grown on me? I think it’s a good movie, but I don’t know if it’s a great movie, and it’s about as subtle as a brick to the face. I wouldn’t say it handles the subject matter very well, cutting a few corners to make the story work.

So The Patriot tells the story of Benjamin Martin (Mel Gibson), a South Carolina...farmer? Plantation owner? Whatevs. He’s a widower with several kids and a veteran of the French and Indian War, so despite the beginning of the American Revolution going on, and his oldest son Gabriel (Heath Ledger) joining the Continental Army, he advocates a peaceful solution to the conflict with Britain because he doesn’t want to be drawn into another war. But when a British dragoon leader Colonel Tavington (Jason Isaacs) shows up and shoots his son, Martin joins the war effort, and attacks the British in a brutal guerilla campaign leading a group of local militia.

If you’re from South Carolina, you’ve probably heard about this movie quite a lot, in part because it takes place and was filmed there, but especially because the protagonist is heavily based on American Revolutionary hero and militia leader Francis Marion (and some other South Carolinians from the time but they didn’t have a cool nickname so that’s the one we usually go with). It’s not precisely an accurate depiction of Francis Marion’s life by any means, other than he was a guerilla militia leader in the Revolution that hung out in the swamps. For starters, Benjamin Martin’s anti-slavery, which is not quite the attitude Francis Marion held towards the practice (but fellow SC native and Revolutionary hero John Laurens certainly did!); his plantation is staffed entirely by freedmen--a facet of the character that even Mel Gibson felt was a bit of a cop out, avoiding a chance to do a warts-and-all look at American history. Admittedly, this is a bit much to ask of the movie, I think. And Roland Emmerich, probably.

Still, it’s a bit jarring to have a subplot about one of the militiaman, a black man, finding out that the Continental Army will free any slave that fights for the Revolution for a year when that’s not really a thing that happened at all. And Francis Marion wasn’t nearly as great of a guy as Benjamin Martin; although that may be exactly why there’s a fictional stand-in instead of the actual historical figure in the lead role.

There is often a conversation about the atrocities that the British (mostly Tavington, if we’re being real here) commit during the course of the film. Yes, he’s based off of the real British officer Tarleton, who is infamous in American history for being vicious and giving no quarter. And yes, atrocities happened. And to be clear, in-film, Cornwallis and other Redcoats call out Tavington on his brutality throughout the film, to the point that none of the Brits seem particularly torn up when he dies at the end. But burning a church full of people is a _Nazi war crime._ There’s no record of the British doing anything like that during the Revolution, and so people accuse this movie of demonizing the British. But while the British didn’t do this to American colonists, similar atrocities were committed against the Irish a hundred years before. So no, the British didn’t do this to _US_, but they did do it at some point. That probably doesn’t justify its use here in this movie, but I feel like it’s all important to keep in mind.

This all leads me to the idea of _The Patriot_ not as a history--it’s Hollywood, of course it’s not--but as a sort of mythologized version of the American Revolution. Maybe that’s a weird take, and that might make some people turn off from this movie, but for me it works. I guess that I haven’t been one of those “This movie’s inaccurate, so it SUX!” people for a long time.

The hero of our movie isn’t a man who wants to go to war--he does everything he can to try to avoid going to war, to convince his neighbors that war is not in their best interests, even though he believes in independence for the American colonies. It’s not until the war refuses to leave him alone, and begins to harm his family, that he fully commits to fighting the injustices he sees being perpetrated. Yeah, it’s kind of American _Braveheart_ but is that really a bad thing? As long as we know that’s what it is, I don’t think it is. If there were people out there who took this movie seriously, I don’t know that I’d be as lenient, but I have yet to meet someone whose opinion of history was seriously influenced by this film. Which is probably for the best.

I do understand though that the Plot kind of feels like it’s making the main character way too important to the war effort. It makes it seem as if Benjamin Martin is the only officer in the Continental Army who actually knows what he’s doing against the British. And while I like the character and his arc, I do think it’s a bit silly the way it frames the story in a way that would lead one to think that he’s fighting this war by himself. It’s not fantastic when a story dumbs down the rest of the Good Guys in order to make the Hero stand out--there are ways of accomplishing that without making everyone else incompetent.

And I’ll admit that the story’s structure is a bit… weird, I think. Sometimes Tavington just does terrible things, and I don’t know what this contributes other than adding angst. Towards the end of the movie, he gets information from some colonials before locking them in a church and burning it, but it’s not as if we see him do much with that information. It’s not really Plot Relevant. It just provides motivation for Gabriel to go after Tavington and shoot him with what should have been a fatal shot, and get killed, and give Ben MOAR ANGST. Of course it’s better to show the war as something that has casualties and consequences, but I felt that there were better ways to do it than this.

But this movie is telling an almost mythical epic story set in the American Revolution. Benjamin Martin isn’t a real person; he’s a legendary hero vaguely based off of a real hero. And in epics, seemingly pointless terrible things happen to the hero all the time to make his life suck. And like I said, this is a war movie (albeit, in an 18th century war), made before a lot of the discourse about Fridging came into public forums. Yeah, bad stuff happens, and it doesn’t always seem to make sense--that’s war. And the audience getting invested in the story, and being bothered by character deaths; well that’s kind of the point of character deaths in the first place, isn’t it?

Also it’s kind of an awesome historical action movie--I really like this period in history, because it’s a point where firearms have become commonplace, but haven’t yet become practical enough to completely replace melee weapons in battle. So we’ve got Benjamin Martin taking out Lobsterbacks with muskets, knives, and a tomahawk. It’s great, I love it. This is a huge part of why I love Assassin’s Creed III so much.

Maybe this movie isn’t that great, and I’m just projecting on it because of the lack of good American Revolution movies in the last twenty years…

I dunno. Decide for yourself. It’s a worthwhile watch. It’s got problems for sure, but I think it’s probably one of Roland Emmerich’s greatest films (maybe not a high bar), and a great film on its own merits.

[Also you know Logan Lerman is in this movie? Yeah, Percy Jackson. He’s the youngest son in the family. And Adam Baldwin is a loyalist officer, which is so off from how he’s usually portrayed it’s weird.]

#The Patriot #Mel Gibson #American Revolution #movies #Movie Munchies

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ljones41 · 5 years ago

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"SALT" (2010) Review

”SALT” (2010) Review It has been a while since I last saw a movie or television series directed by Philip Noyce. In fact, the last Hollywood production I can recall was the first episode of the 2016 miniseries, ”ROOTS”. Then I came across an old DVD of the 2010 political thriller, “SALT”. Imagine my surprise when I realized that Noyce had been the director of this film, as well.

Starring Angelina Jolie in the title role, “SALT” told the story of a CIA agent named Evelyn Salt, who is accused of being a KGB sleeper agent. She eventually goes on the run to try to clear her name.

The movie begins when a Russian defector named Orlov arrives at the CIA Headquarters in Langley. Salt’s supervisor, Ted Winters, orders Salt to interrogate Orlov. And the latter informs her about an operation featuring a group of sleeper agents that is still being managed by a powerful Russian with Soviet ties since the Cold War. This organization, according to Orlov, will lead to the destruction of the United States. Orlov mentions that at the funeral of the late Vice President in New York City, the visiting Russian President will be killed by Soviet sleeper agent - Evelyn Salt. Shaken at the accusation, Salt attempts to contact her husband Mike, a German arachnologist, fearing for his safety. Meanwhile, Orlov escapes, which prompts Salt to escape. This causes Winters and a counterintelligence agent named Peabody to believe she actually is one of these sleeper agents. After finding her husband missing at their apartment, Salt grabs a few essentials and continues her flight. After barely escaping a highway pursuit, Salt takes a bus to New York City to deal with the threat of the Russian president being assassinated. When I first learned about the plot for ”SALT”, the first thing that came to mind was that it was a female variation on the BOURNE movie franchise that starred Matt Damon. And in a way, it was. After all, Jolie portrays a CIA agent, who finds herself pursued by her former colleagues. And her character performs stunts that would make Damon . . . or his stunt man rather proud. However, after the movie’s setting had switched to New York City, Kurt Wimmer and Oscar winner Brian Helgeland’s script took an unexpected turn that left me a little breathless. And if that was not enough, another plot twist awaited, once the movie shifted back to Washington D.C. and a plot to kill the U.S. president. Another aspect of ”SALT” that surprised me was that the movie was released on the heels of news about a real Russian spy ring that was recently discovered in the U.S. Angelina Jolie had come a long way since her two LARA CROFT movies. In her portrayal of Jennifer Salt, she was more assured and matured. And thankfully, she had also dropped a poseur attitude that had slightly marred her performances as Lara Croft. Not only did Jolie do a first-rate job with her action sequences, she also skillfully guided the emotional turmoil that her character endures throughout the movie. Adding solid support was Liev Schreiber, who portrayed her supervisor, Ted Winters. Beneath the charm and intelligence, Schreiber did a great job in conveying Ted’s emotional reaction to the possibility that Salt might be a Soviet deep-cover mole. And Chiwetel Ejiofor was also effective as the intense and determined counterintelligence agent, Peabody, who genuinely believes that Salt was a mole. He managed to convey this without indulging in any hammy acting. Daniel Olbrychski gave a fascinating performance as the Russian defector, Orlov, who accused Salt of being a Russian agent. August Diehl portrayed Salt’s husband, the soft-spoken arachnologist, Michael Krause. Although he hardly had any lines in the film, he quietly conveyed his role as Salt’s emotional center. One of my favorite performances in the film came from Corey Stoll, who an engaging performance as one of Salt’s former colleagues, who had ended up at the Pentagon. I was surprised to see Hunt Block, who portrayed the U.S. president. I have not seen him since the 1980s nighttime drama, ”KNOT’S LANDING”. I was also surprised to see Andre Braugher in the movie. He portrayed one of the President’s aides, yet he only had one or two lines. At first, I thought his career had really taken a nose dive back then, until I remembered that he was on the TNT television series called ”MEN OF A CERTAIN AGE” around the same time of this movie’s theatrical release. So, how did he get stuck in a role that called for only two lines? Noyce worked well with cinematographer Robert Elswit and film editors Stuart Baird and John Gilroy to create some very interesting action scenes . . . especially the fantastic sequence featuring the attempt to assassinate the Russian president in New York. Jolie contributed to these scenes with some of her own stunt work. Yes, I realize that some of the stunts seemed implausible – especially one that featured a jump by Salt from a Washington D.C. expressway to the top of a moving truck. But I have seen stunts in other movies that I found a lot more implausible. It seemed a pity that the movie was set either during the late fall or the winter. Although the cold season did not take any atmosphere away from the Manhattan sequences, I cannot say the same about the Washington D.C. exterior shots. I have always believed that the capital looked a lot better on film during the spring, summer and early fall seasons. In the end, I enjoyed ”SALT” very much when it first hit the theaters ten years ago. I still do. I believe that it was one of the better summer movies from 2010. Director Philip Noyce did a first-class job with a solid script written by Kurt Wimmer and Brian Helgeland, and skillful performances from a cast led by Angelina Jolie. I noticed that the movie ended on a vague note that I would usually find annoying. I had originally given that ending a pass in hearing rumors about a sequel. But the sequel, much to my disappointment, never materialized. Hmmm . . . pity.

#salta #salt 2010 movie #philip noyce #brian helgeland #angelina jolie #liev schreiber #chiwetel ejiofor #august diehl #daniel olbrychski #corey stoll #andre braugher #hunt block #kurt wimmer #russian sleeper agents

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supermoviemaniac · 6 years ago

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DEFENDING...

THOR: RAGNAROK!

Okay, so yesterday I asked you guys which is your least favourite MCU movie and why. I said I'd take the most commonly disliked film and try and defend it, using my personal reasonings as well as attempting to counter what issues you had with it yourselves.

Firstly, I'm quite surprised that Ragnarok was the most hated! I was expecting Age of Ultron or Iron-Man 3 (though they weren't too far behind). To make it clear, it's okay to dislike this movie, my attempt at defending the movie is just a bit of fun, but if it lets you see and appreciate the movie in a different light then that's cool! If it doesn't then that's cool too! Here goes...

I'll start with why I personally love Ragnarok, and how it was actually my favourite MCU movie, until Infinity War inevitably took that spot.

Thor was the first character in the franchise to introduce outerspace, and the cosmic side of the cinematic universe. With Iron-Man, Hulk and Cap being restricted to Earth, Thor was key to broadening what types of stories they could tell, what sort of threats and stakes could arise etc. The first Thor movie was certainly a bold move at the time, hoping that audiences would embrace the fantastical themes that he and Asgard brought to the table. Bar Thanos, Thor and Loki are the reason sh*t's going down in the first Avengers movie, so you have them to thank for that.

Flash forward to Dark World however, at this point we've seen Asgard already, so the novelty has worn off slightly. As much as the movie expands our view of Thor's home, we still feel very restricted, as though we're only seeing through a keyhole, when we actually wanna bust the door down and see what an outerspace adventure could really offer, hence why people gravitate towards Guardians of the Galaxy so heavily, because it let loose and didn't feel like it was shying away from the sci-fi elements that made the property what it was.

So with Dark World leaving a bad taste in our mouths (even though I think it's underratedly funny, but perhaps another time), and Thor not quite standing out in Age of Ultron, we're left thinking, do we really even want another Thor movie at this point? Something had to change. The studios' take on Thor was good in ways, but wasn't gripping people as much as say Iron-Man and Cap. If Captain America could have an amazing sequel, why couldn't Thor? With the damage already done via Dark World however, Ragnarok had to be Marvel's shot at redemption and reinvigoration, and I personally think it was.

There's no arguing Ragnarok was a bold step to take Thor, though not everyone agrees it was for the better. Could the Thor we were used to still work given the correct writing and direction? Who knows, but with already 'failing' once with Dark World, it was surely less of a risk to go for something completely unexpected. We go from majestic golds and elegant architecture, to crazy, vibrant, jagged imperfections that you'd expect to see in a retro sci-fi movie. The Thor we knew and expected has lightened up a little, during his few years between Age of Ultron and now, scouring the universe for information on the Infinity Stones. No pun intended, but perhaps his absent couple of years provided some much needed soul searching. So to those that wonder why Thor is suddenly so funny and witty, he's been out and about off-screen for quite a while loosening up! That's how I like to see it at least.

In the first 10 minutes, we're given more cosmic calamity than any of the other Thor movie has provided in their joint runtimes. He's in the fiery realm of Muspelheim, kicking the crap out of hellish minions and their giant demonic flame lord, Surtur, whilst the Immigrant Song plays. Then moments later, there's a damn dragon beast that's on fire that chases him, as the coolest little synth melody twinkles in the background. That cool little action scene not only gave Mjölnir the ultimate send off, but I remember thinking just from that point, "This is what Thor movies are meant to be like! This is already my favourite MCU movie!"

I think the comedy is people's biggest issue with the film. Admittedly, the style of humour was a little jarring at first, but I soon let go of doubts and embraced what the movie was trying to do. Notice how I said 'style' of humour, and not just 'humour' as a whole, because a lot of people forget just how comedic the first two Thor movies actually are. I feel like humour allows a sort of alleviation to what could potentially be something rather odd on screen. That way, if the movie embraces it's outlandish source materials, the comedy allows us to laugh with it, rather than at it. I think people are okay with the inclusion of comedic elements - I think they just weren't expecting the amplification that it had. So as I said, you can either let that ruin the film, or you can embrace/accept it, because there is just as much heart in this film as there is humour.

I know there's people that think Hela was wasted. Having watched these movies countless times, I rarely see any issues with villains anymore. The fabled 'villain problem' springs to mind, where everyone says that they were just there as a device to make the hero save the day. But what's actually wrong with that technically speaking? And how is that any different to other movies outside of the superhero realm? I see most of these villains as stepping stones for the heroes. These movies belong to the heroes, so the way I see it, the villains are there to develop and shape the good guy into whatever the finished product may be by the time the credits roll, just like all the other characters do in the movie. To prove this point, everyone loves Thanos as a villain, but that's because Infinity War was his movie, given the amount of time spent with him. I think the only exception is Loki, but his character is so well-received because he sits within the grey area of good and bad. We've seen both sides of him now.

Yes, I understand that villains are a little lack luster in most of these movies, but I liked what Hela brought to the franchise. We get the shock of discovering Thor has an older sister, she manages to take over Asgard, she demolishes everything in sight, she was the reason Thor is reinvigorated via his new right eye and weapon, she forced Thor's hand, making him enact Ragnarok (even though there's no stopping Ragnarok but it was a cool twist) and destroy Asgard, she was the first main female villain at long last, and she had a giant wolf. Some films spend more time with the villain, and some sacrifice it to focus more on the hero. There's never a straight 50:50 between good and evil in their storytelling, and I imagine it's always a hard call to make when balancing and ensuring that not only do the audience care for the hero, but also everything and everyone around them. Regardless the solo hero is always the focal point. Unless you're watching Breaking Bad or American Psycho or... *Lists shows and movies told from the bad guy's perspective*

I think the underlining disapproval stems from the fresh direction that it took. His hammer goes bye-byes, his warrior friends die just like that, Thor no longer looks or acts like the Thor we're used to, and Jane moved on. People will either be okay with those things, or it'll be too much to accept. Was the film too bold? Perhaps, but Thor can conduct lightning through his body now and that fight scene on the Bifrost bridge was badass.

Jokes aside, I suppose it's up to the individual audience member to decide whether or not the change is too much. A part of me wishes that the Thor we currently have was the Thor from the get go - things would've been different, but I love the character no matter what weapon or haircut you give him. Ragnarok gave the God of Thunder the opportunity to prove why he's a badass and not just a guy that relies on a hammer. They turned the dial up on his power level, and then again in Infinity War, which is good because I feel like prior to Ragnarok, Thor was kinda just there, y'know?

Everyone has their own favourite and least favourite movie, and no one should force you to alter your personal interests and disinterests, but if I were to wrap up what I thought of the film, Thor: Ragnarok to me is a fun, crazy joyride from start to finish, that provided a lot of heart as well as light-heartedness. It introduced some new, diverse characters whilst also giving the Hulk a much-needed story arc. A bold game-changer for the character and the lore he contributes to the MCU. It's the type of change I can appreciate and most definitely get behind!

What do you guys think? Have I swayed your opinions, or do you hate the movie more now! Let me know. Thanks for reading! Shall I do more of these? Let me know that too. I'm off to buy snacks and watch Ragnarok now, no joke!

#marvel #comics #cinema #movies #mcu #avengers #film #comic books #disney #thor #ragnarok #story #endgame #funny #chris hemsworth #tom hiddleston #tom holland #sebastian stan

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