#you can see i’m a kevin stan first and foremost | Explore Tumblr Posts and Blogs

found--family · 4 years

Text

@ Blue Heart Nonny in my inbox (yes, i can answer your ask without posting it. no worries 💙)

here are the cliff-notes for everyone else:

there ARE Bronly blogs that are unhappy with Dean's ending because it wasn't fulfilling/he didn't get happiness/was killed off/the narrative undid years worth of character growth

those same blogs as well as others think Sam's ending was lacklustre

okay. so because i don't interact with such blogs i wasn't aware of this, but after a quick inspection thanks to Nonny, i find that it's true.

I'm not surprised, exactly. most of the Bronly blogs I've come across over the years have been vocal about Dean as an individual, a character who deserves his own narrative journey separate from Sam as well as Cas (of course 99% of them were anti-Cas so ofc i skiddadled out of there). And Sam Stans wanted a happy ending (domestic or otherwise) for him, one that's full of sunshine and smiles and yes, Found Family (the members of which do change from blog to blog).

all ships and Cas-hate aside, it was reassuring to see these bloggers recognise the endgame narrative as lacking, regressive, depressing and OOC for both Sam and Dean.

they didn't like the ending.

*cue solidarity meme*

this is important to note because what makes this fandom so special is our love for these characters and the complexity of the characters themselves (as has been mentioned on a fair few reaction posts already). we all want them to be happy, but we also want their journey not to have been for naught, we want their individual endings and the narrative as a whole to make sense because we've been with them through all of their struggles to learn and grow and try to find some peace and their own sense of purpose and meaning.

what I'm trying to say, is that while I'm a Destiel shipper I am first and foremost a fan of the characters - Dean and Cas, and Sam and Jack and all members of the collective Found Family the boys have met and embraced along the way.

I've shared a LOT of anti-Bronly content over the past 24hrs, but i'm not just angry that the bros-only ending pushed Cas and Destiel out of the narrative, I'm angry because that ending also did a disservice to these beloved characters as individuals. it brought back the toxic codependency after 15 seasons of the brothers fighting to be their own people, to be in each other's lives but not have their happiness dependant solely on each other.

Dean didn't get to live his own life and he died laughably, pitifully. His Heaven wasn't even his own and he ended up right back where he started: on a roadtrip to nowhere, alone. And in the end (Heaven) Dean was denied being allowed to embrace the self-love he'd learned on his journey and discover a life of his own and happiness that he deserved, /before/ reuniting with Sam. Sam got a liftime, Dean deserved the same, especially considering Dean's the one who never really believed that he deserved such a thing (but was recently convinced he was worth saving, worth happiness, worthy of giving and receiving love - yes, thanks largely to Cas) and canon chose to hammer home that idea like the nail in Dean's back, like the blunt little instrument Dean thought he was (but isn't).

Sam's domestic montage was lacking substance and emotion and the overall vibe was wholly depressing, sending the message that he couldn't live a happy life without his brother when we know he has managed that/wanted that through the seasons. It was like he was just going through the motions for Dean's sake until they could be reunited by death.

Frankly, Sam's montage would've been a LOT more heart-warming if his Found Family was present, or at least if Eileen was his wife (we still don't know) and they shared smiles/kisses/dancing in the living room. Maybe the Found Family thing was Covid, but for Eileen i call bullshit on the account of Jenny's presence and the fact that Shoshannah is also one person, not a bridge-full. Worst case scenario they could've shot her scenes separate and blended them with body doubles etc. Hell, i would've accepted a video call presence as a last resort. It would've made for an ending I was emotionally connected to. Instead we got strangers, a swiss-cheese life (missing pieces), and a depressing oldman!Sam. I could've bought the oldman!Sam dying after a long full life - but the montage left me (and Sam) unsatisfied with that Life. I mean, 15 years worth of content took.. 15 years to go through and emotionally invest in, so you really have to bring your A game to condense 50-odd years into a minute or two - and they didn't. That was some C-minus bullshit.

And then there's the Heaven thing.

Sam pretty much shows up in Heaven right after Dean dies. I reiterate, Dean didn't get to live his own Life nor his own Afterlife. Sam had the chance at a Life, and Dean could've easily had his own Afterlife if the writers had allowed it: a montage of Dean fishing in Heaven, sharing drinks with Bobby, Miracle the dog showing up, Dean working or karaokeung in the Roadhouse (an improvement on the Rocky's bar fantasy) Dean experiencing all kinds of happy and domestic things - and it should've been with Found Family, but again if Covid is to blame there were ways to work around that with blurred background people and body doubles and voices off-screen.

Instead, Dean's individual storyline is erased as he's reduced to a footnote in Sam's afterlife. No happiness in life and no meaningful afterlife he can call his own. Sam's family will eventually join him in Heaven, but Dean is left lacking in friendships as well as a romantic partner. The real Sam's heart would've broken at that, and the real Dean would've been unhappy and would've sought out people and meaningful relationships (again, Found Family).

BTW: i saw mention that the lack of Found Family in Heaven is because they're not dead yet.. *cough* let's recap some dead loved ones who could've made an appearance shall we: Jo, Ash, Ellen, Rufus + Mary + John (all mentioned but none shown), Pamela, Kevin, Adam, OG!Charlie, Missouri.. hell, even Henry or Ketch or Frank.. i would've been overjoyed at seeing Cassie again, because we don't know who's dead or not. Krissy, Cesar, Jesse - they could've died, especially since in the time it took for Dean to take his little roadtrip, Sam lived 50-odd years on earth. So, if we're going by canon's timey-wimey rules they could've easily brought back any Found Family member they wanted.

but, again, we got random vamp Jenny.

simply put, Covid is not to blame and there were many simple tweaks that could've made the finally on some level. instead the characters and the audience are left devastated and wanting.

i know we don't see heart-to-heart on shipping matters, but even Destiel shippers and Bronlies can agree Sam and Dean didn't get the happy, satisfying endings their characters and 15 years worth of narrative deserved.

* note: Bronlies (not Bibros) are invited to share their thoughts on this post about Sam and Dean's individual endings, but please avoid negative Destiel talk, negative Cas talk, and any wincest talk.

#q and a #spn spoilers #spn 15x20 #dean deserved better #sam deserved better #thoughts #Bad Writing #meta #ooc writing #this is probably a bad idea.. *shrug* we shall see..

11 notes · View notes

fivepercentgodsandearths · 7 years

Quote

9 Reaches To Decode Black Panther **SPOILERS ALERT** After seeing the Black Panther film I knew I had to pen a think piece to share what I saw. Not to debate the pros or cons of seeing it but to share with those who did see it some deeper insight into the symbolism, folklore and science throughout the film. Even though Black Panther is a 1966 comic developed by a couple of Jewish guys, Stan Lee and Jack Kirby, when Christopher Priest, a black man, began writing the Black Panther comic in 1998, this character served as the inspiration behind the Marvel Studios film Black Panther. The story is about T'Challa, heir to a mythical NE African throne in the land of Wakanda; an isolated society comprised of 18 tribes who for centuries has possessed an alien element called vibranium that they acquired from a fallen meteor. Nearly indestructible and one of the most powerful substances on the planet, vibranium is used to create wealth and the highest technological advances known to humans. It is also the element that was used to forge Captain America's shield. Wisely hidden away from the outside world, the Black Panther and his council of tribal of elders known as the Taifa Ngao, have primarily kept Wakanda safe and free from outside influence for the majority of their existence. Like the Five Percent as in Wakandan culture, education or knowledge is viewed as a fundamental building block of its nation. As all things change, Wakandan culture is eventually discovered and the 10% [world’s powers] plot to pillage their vibranium. T’Challa’s father T'Chaka, the current Black Panther and King of Wakanda, is assassinated at the UN thus forcing T’Challa to step up and lead his people as the next Black Panther. The film covers his transition into that role and the challenges, literally, that come along with it. Before I get into the symbolism, folklore and science throughout the film, I think I need to give some context into why Black Panther Ain't Nuthing Ta F' Wit. First and foremost he is wealthier than any superhero in the DC or Marvel Universes. In other words, he's got more paper than Bruce Wayne, Tony Starks and Floyd Mayweather combined, and he has actual superpowers. Black Panther has super strength, psychic abilities, invisibility, super stamina, clairvoyance, master acrobat, healing factors, necromancy and other powers. If you, and especially the youth around you, have never really checked out the Black Panther comic I would encourage you to. If it's not you, what other fictional or nonfictional images of power are youth exposed to? If you cannot think of any, don't complain; either create them or support those who are creating them. Alright, here are some things I peeped in the Black Panther film that I think are worthy of sharing with you: 1. For my Yonians, central to the Wakandan culture was the worship of the Neteru Bast. Bast, in her ancient Kemetic zoomorphic form, is the symbol of the cat; what some people, particularly men, call a p*ssy. Partly symbolizing a protectress, Bast is the reasoning behind the powerful woman-led Dora Milaje warriors. This is also why present day f*ckboys seek to shack up with Bast women and take advantage of her Okoye loyalty. The heart-shaped sacred herb, a symbol of Bast's transferred power that enhances a person's strength, mobility, stamina, endurance and instincts, resembled a yoni and was cultivated in the subterranean regions of Wakanda... 2. A 'Monger' is a dealer or trader. 'Erik' is a Norse or Proto-Germanic name which means eternal ruler. Thus Erik Killmonger means "an eternal ruler who deals death." As a sexual innuendo of his toxic masculinity, his notches for "bodies" [body counts] went well beyond his belt and covered his entire upper body. He clearly had no love for women as shown by the non-relationship with his mother, shooting his Bonnie & Clyde companion in the head, choking out a elder caretaker of the heart-shaped herb and demanding that she burn its sacred garden, slitting the throat of one of the Dora Milaje, slicing Nakia across her leg and almost murdering Shuri. This is what he did, yet many women have still shown sympathy for Killmonger's actions. "I understand what he was trying to do" I've heard many women say, "to fight for oppressed people" -even though there was no tangible evidence of him working with oppressed people, which includes women. This helped me better understand why some women, not all women, rationalize staying in abusive relationships, keep dudes around because the sex is Killmonger and follow conscious community miscreants; Stockholm syndrome. Some of us love words and potential yet fail to acknowledge what folks are actually doing. I've seen the argument that Killmonger is the result of being left in America, disconnected from his people, and it's not his fault. I agree that abandonment was not his fault and Killmonger's feelings about that family dysfunction were understandable; many black people in the wilderness of North America can relate and feel the same way. Yet his resolve with those feelings, as an eternal ruler who deals death, was not wise nor did it make him a hero. From his own mouth he prided himself on his assimilation into "the white man's" society, via his military experience, and he brought those colonialist ways to Wakanda. King T'Chaka was wrong for abandoning Killmonger as a child in America and Killmonger was wrong for how he handled that disappointment, as an adult, with his family and people. We need warriors with the aggression and passion of a Killmonger, especially as a Border tribesman, but not sitting on no throne. His inconsideration for other men and insensitivity to women, children and the society at large were qualities of a self appointed tyrant who rules by fear, not the qualities of a just and true King. Killmonger's "Bury me in the ocean with my ancestors who jumped from ships, cause they knew death was better than bondage" quote and other revolutionary words were noble but I didn't see one act that demonstrated his capacity to be a loving Husband [King], a Father raising children [successors to the throne] with integrity and a Man of his people wisely working with his counsel of elders. 3. The burial ritual to connect with Wakandan ancestors and inherit the Bastian power of the Black Panther is similar to the Recapitulation technique some warriors in indigenous tribes use to also connect with their ancestral past and gain clarity of their life purpose. In Freemasonic lore it's also symbolic to the shallow grave the Master Architect Hiram Abiff was buried in before he was raised with a lion's paw grip. After you select an appropriate burial spot, usually among trees and in an isolated area beyond human disruption, a shallow grave is dug East [head] to West [feet] about 2 feet deep that's a little longer and wider than ones body. Next layer the bottom with a blanket. After that search the area for sticks and large leaves to cover the tomb that stops the soil from filtering through. You start covering the grave from the bottom to the top and once it's almost complete you climb in and finish covering it as you lay inside leaving a small hole for air. Fasting is important before you do it and the length of time you remain varies. I've done it for 24 hours and the best time to leave the grave is sunrise or sunset. The whole idea is to meditate on our demise as a form of detachment from the world. An earthen self-deprivation chamber, this is literally a place to reflect upon the past and present life and what they can do in the future. 4. M'Baku, King of the Jabari Tribe, in the comic he is the leader of the White Gorilla Cult because he gained his superhuman powers by killing a white gorilla, bathing in its blood, eating its flesh, and then he took on the name Man-Ape. The M'Baku line, "If you say one more word, I'll feed you to my children! I'm kidding. We're vegetarians" in the film was a play on that comic book backstory. Although the mountain ranges M'Baku and his tribe inhabit is nowhere near the Caucasus Mountains, I found it interesting that pre-Farrakhanian Nation of Islam members under the Honorable Elijah Muhammad [THEM] openly taught that white people [devils] that were exiled from our homeland and living in the caves tried to graft themselves back into the original black man. In the process some became [white] gorillas. In fact, he taught that the entire monkey family are from the 2,000 year history of the white race living in the Caucasus Mountains. Although M'Baku carried a shillelagh, THEM also taught that the guards of these mountain boarders kept weapons [flaming swords] to stop these humanoids from coming back among the original people. The above image is from the first page of the 1998 Black Panther comic by Christopher Priest where Agent Ross remarks that, "ZURI was into his THIRD re-telling of how the great god T’Chaka ran the evil white devils out from their ancient homeland." Naw I don't think Stan Lee, Ryan Coogler & Joe Robert Cole drew these parallels and wrote that. Christopher Priest obviously had knowledge of this and I could see the parallels. 5. After Get Out Chris Washington got WOKE, changed his gubment name to W'Kabi and started a rhinoceros farm on the fringes of Wakanda as leader of the Boarder tribe. After Rose 'Beckyed' him it's obvious he ain't been right since. 6. Tobias Whale is Killmonger's uncle; Killmonger's mother's brother. Whale developed a hatred for Black Lightning because N'Jobu reminded him of the Wakandans and the metahuman Black Panther who exiled albinos to the lands where they were hunted, killed and their bones ground up as a power potion, as Lady Eve reminded him. Green Light is a synthetic form of vibranium and when Quentin caught wind of what Killmonger was doing he came back to the Chi to re-stake his claim as a Frank Lucas-like vibranium plug for the 100. Lastly, Kevin was around at the end of the film asking T'Challa questions about his ship because he was with his family in Cali who happened to stay in the hood Killmonger grew up in. Kevin was out there laying low after shooting Ronnie. 7. When it comes to even just conceptualizing a Wakandian society, one of the downfalls of many men is trying to f*ck the Nakia's, Okoye's, Ayo's, Shuri's and Xoliswa's on their team instead of working with them. One of the downfalls of many women is allowing them to. 8. I loved seeing all of the Wakanda inspired regalia at the Black Panther movie premieres around the country. I haven't seen it since Kwanzaa and I look forward to seeing it again during Juneteenth. 9. Black Panther had the fifth biggest opening of all time and broke box office records during its opening weekend. It's the largest opening for a black Director, the second biggest opening for a Marvel Studios film and currently the #1 RATED FILM OF ALL TIME via Rotten Tomatoes. Not only does this demonstrate the earning potential of films told from our perspective but this, along with Get Out, is reshaping the false narrative that black themed films not doing box office numbers domestically and internationally. While some may see this as production houses and film companies becoming more open to our pitched ideas and potential larger pay dates, I see it as a watershed moment of self reliance and cooperative economics. Many of us already know our buying power as a black community, but willfully this galvanizes us to do more, culturally and artistically. Some felt as though nothing could top the response of Get Out, but here we have it, and this film won't be the last. Peace, Saladin Black Panther stars Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright and Winston Duke, with Angela Bassett, Forest Whitaker and Andy Serkis. The film is directed by Ryan Coogler and produced by Kevin Feige with Louis D’Esposito, Victoria Alonso, Nate Moore, Jeffrey Chernov and Stan Lee serving as executive producers. Ryan Coogler & Joe Robert Cole wrote the screenplay.

http://atlantisschool.blogspot.com/2018/02/9-reaches-to-decode-black-panther.html

#black lightning #Black Panther Movie #Prince Hall Freemasons #Free Masons #Black Africa #Afrikan #african #african gods #chadwick boseman #Angela Basset #Michael B Jordan #Elijah Muhammad #nation of gods and earths #Nation of Islam #African Tribes #lupita nyong'o #Black Love #Black Family

15 notes · View notes

weekendwarriorblog · 4 years

Text

The Weekend Warrior Home Edition June 12, 2020 – THE KING OF STATEN ISLAND, DA 5 BLOODS, ARTEMIS FOWL, YOU DON’T NOMI and more!

Sorry about the delay in this week’s column. Some stuff came up that was out of my control… like the actual summer.

If this were a normal weekend, I’d be writing about the box office prospects about a few movies, including Judd Apatow’s new comedy THE KING OF STATEN ISLAND (Universal), which teams him with “Saturday Night Live’s” enfant terrible, Pete Davidson. Instead, I’m once again writing about movies mostly not playing in theaters except for a few sporadic drive-ins across the country.

I already reviewed The King of Staten Island earlier this week – you can read that here – and though I know it will be playing in some regional drive-ins, I have no idea how many nor do I think Universal will report any box office if it does make decent bank. I think there will be general interest among younger people who like Pete Davidson on SNL but I’m not sure anyone over a certain age, say 30 or 40, will have much interest in what Davidson and Apatow can do together. The general gist of the movie is that Davidson plays Scott, a Staten Island slacker whose widowed mother (Marisa Tomei) starts dating a fireman, much to the chagrin of Scott, who lost his fireman father at an early age. You can read my review to see what I think, but it’s relatively tame for Apatow compared to his earlier films. I’m not sure that makes it necessarily better but people seem to be digging it.

One of my favorite movies from last year’s Tribeca and what is essentially this week’s “Featured Film” is Jeffrey McHale’s YOU DON’T NOMI (RLJE Films), which takes an in-depth look at Paul Verhoeven’s 1995 movie Showgirls, thought to be one of the worst movies and biggest bombs in its day but also a movie that has grown a built-in cult audience that adores it. It’s a pretty straight-ahead doc that relies on a number of experts to discuss the problems and virtues of Verhoeven’s film, including David Schmader, who did the DVD commentary for Showgirls, and author Adam Nayman, who is responsible for the book, “It Doesn’t Suck: Showgirls.” While I never fell into either the love it or hate it camp for Showgirls, I love how McHale’s doc acts as a thesis piece to explain exactly why so many critics took issue with Verhoeven’s much-maligned follow-up to hits Basic Instinct and Total Recall.

I won’t spoil the movie’s climax showing Showgirls finally achieving redemption, but it’s a pretty amazing event from 2015 that shows that maybe Showgirls has gotten past the hatred and ridicule that followed it around for decades. If nothing else, You Don’t Nomi will make you want to rent and watch (or rewatch) Showgirls almost immediately after seeing it. You might even agree with this film that it’s a misunderstood masterpiece on second viewing.

I’ve also decided to scrap the sections in this column, since two of the other big movie releases this week are going straight to streaming services, although both would probably have gotten some sort of theatrical release if not for COVID.

One of the other major releases of the weekend is Netflix’s streaming of Spike Lee’s DA FIVE BLOODS, his look at the Vietnam War through the eyes of four black Army vets who return to the country to retrieve the body of their fallen comrade… as well as a cache of gold bullion they found and hid during their previous tour.

I’ll be the first to admit that the quality of Spike Lee’s filmmaking over the past couple of decades has been somewhat spotty at best, although BlacckKKlansman was probably one of his better films over the past couple decades. Da Five Bloods reunites Lee with his BlackkKlansman co-writer, Kevin Willmot, and though it’s a fictitious tale, there are a few themes and elements in common.

Delroy Lindo and Lee regular Isiah Whitlock Jr. star as two of the Bloods, Paul and Melvin (along with Clarke Peters’ Otis and Norm Lewis’ Eddie). We meet them as they’re reunited in Vietnam, soon joined by Paul’s son David (Jonathan Majors) along to keep an eye on his father’s health. Chadwick Boseman plays the group’s leader, “Stormin’ Norman,” in the flashback sequence to the war era showing what happened to the Bloods on the fateful day their chopper went down behind enemy lines. There are a few satellite characters, played by Mélanie Thierry and Paul Walter Hauser (making a return from BlackKklansman), as well as Jean Reno, Jasper Pääkkönen and Johnny Trí Nguyễn, who all become involved in the Bloods’ search for gold

When you think of Vietnam War movies, it’s impossible not to think of Apocalypse Now, and Lee throws in a few obvious nods, whether it’s using “Flight of the Valkyrie” or the Chamber Brothers’ “Time Has Come to Day” but in general, the musical choices are solid. I wouldn’t say that the screenplay is particularly enlightening, the story being far more simple than

Just when you have settled into what you think is a fairly laid-back pace, Lee throws a “Holy shit!” moment at you that completely changes the complexion of what you’ve been watching, and that’s when the movie starts breaking into a few more action setpieces, some better than others.

Honestly, it’s a little strange seeing all these old black guys running around and shooting guns without Samuel Jackson being among them. Make no mistake that this is first and foremost Delroy Lindo’s film, as he gives a strong if not somewhat erratic performance, and he’s the crux of the story, but Whitlock and the other actors have some nice moments, as well. The bonding between the four guys is pervasive, to the point where it almost feels like the other characters are interfering, maybe because they are.

It’s a great time to release Da 5 Bloods, due to what is going on in this country, and like with BlackKklansman, Lee throws in a few shots at Trump, the guys referring to him as “President Fake Bone Spurs.” At least in this case, it’s incorporated into the story, but I hope Lee realizes that these Trump references will ensure these movies will feel dated if watched ten or twelve years from now.

That all said, Da 5 Bloods is a decent Spike Lee Joint, maybe not quite on par with BlackkKlansman but better than his last attempt at a war movie, 2008’s Miracle at St. Anna.

Rating: 7/10

As expected by quite a few people earlier during this pandemic, Walt Disney Pictures decided to send the Kenneth Branagh-directed ARTEMIS FOWL movie directly to their Disney+ streaming service, despite the movie having been in various stages of development for a decade or more. Unlike Da 5 Bloods and The King of New York, this movie based on Eoin Colfer’s book series, is far more streamlined with a kid-friendly running time of 95 minutes. Phew!

It centers around 12-year-old super-genius Artemis Fowl (Ferdia Shaw) whose father (also named Artemis Fowl and played by Colin Farrell) goes missing, forcing the young “Artie” to look for a powerful mystical device called the Aculos. Joining him on this quest are his non-butler Domovoi (Nonzo Anonsie), Dom’s daughter Juliet (Tamara Smart), an elven police officer named Holly Short (Lara McDonnell) and an oversized dwarf played by a bearded Josh Gad. Oh, yeah, and in this world, fairies, trolls and dwarves are real, but most humans don’t know about their existence due to their secrecy as well as having a way to erase humans’ memories ala Men in Black.

I’m quite sure the latter will be a qualifying benchmark for those who review the movie without having read any of Colfer’s fantasy series – like myself -- but it takes similar ideas as David Ayer’s Bright and the Amazon series Carnival Row and transforms them into something that attempts to be in the vein of Harry Potter or Fantastic Beasts but maybe comes across more like Percy Jackson. The irony is that Chris Columbus directed the initial chapters of both Potter and Jackson, but Artemis Fowl benefits from having Branagh at the helm.

I will freely admit that I’m very much a bonafide Branagh stan, and much of that is due to the way he’s handled bringing fantasy worlds to life in movies like Thor and Cinderella. Artemis Fowl is right up his alley, and he does an exemplary job even if most of his cast other than Gad… oh, yeah, and Dame Judi Dench, who plays the head of the “fairy police” – are fairly inexperienced. You can kind of tell that’s the case with first-timer Shaw, and his inexperience might be one of the tougher things for which older viewers might have to contend. Younger viewers won’t take issue with any of the problems that might throw off those expecting more from Artemis Fowl, because the storytelling is kept at a fairly brisk pace with a few decent action setpieces.

Artemis Fowl could have been released theatrically and been one of the summer’s sadly forgotten films. It finds a fun way of setting up the characters and ideas – presumably most of them taken directly from Colfer’s book – plus it sets up the possibility for even more fun family-friendly fantasy storytelling.

Rating: 7.5/10

There are a few other movies below I was hoping to get to, but see my note at the top of this column about why it was delayed by a day. If I get to any of the ones below, I’ll update and mention on social media.

One of the movies delayed from March but now getting a digital release is Carl Hunter’s drama SOMETIMES ALWAYS NEVER (Blue Fox Entertainment) -- not to be confused with Never Rarely Sometimes Always with the two movies at one point in danger of coming out on the same weekend! It stars Bill Nighy as tailor Alan, who has been searching for years for his missing son Michael, who stormed out after a Scrabble Game. When a body turns up, Alan must try to work things out with his younger son Peter, played by Sam Riley, and an online player they think could be Michael.

Jonas Alexander Arnby’s Danish film EXIT PLAN (Screen Media) stars Nikolaj Coster-Waldau from Game of Thrones playing insurance claims investigator Max, who follows the clues of a death to the remote Hotel Aurora, a facility that specializes in assisted suicide, uncovering some disturbing revelations in the bargain.

Joshua Caldwell’s INFAMOUS (Vertical Entertainment), which will be available via VOD and in select Virtual Cinemas, stars Bella Thorne as Arielle, a down-on-her-luck dreamer seeking popularity who runs into Jake Manley’s Dean, an ex-con working for his abusive father who dies in an accident sending the two of them on the run.

The dance drama, Aviva (Outsider Pictures/Strand Releasing), directed by Boaz Yakin (Remember the Titans, Max), was supposed to premiere at the SXSW Film Festival in March, but it will instead get its premiere through Virtual Cinema this Friday. It’s a love story that explores gender dynamics with dance sequences choreographed by Bobbi Jene Smith of the Batsheva Dance Company. Aviva is a young Parisian who gets into an online romance with a New Yorker named Eden, eventually meeting and getting married with the story told by four different dancers/actors simultaneously.

I haven’t had a chance to watch Flavio Alves’ The Garden Left Behind, starring Michael Madsen and Ed Asner, but it was a winner of the Audience Award at the 2019 SXSW Film Festival, so I’m definitely interested in learning more about its story of a young trans woman from Mexico who lives with her grandmother as undocumented immigrants in New York City.

Released in a union between Shudder and RLJE Films, The Dead Lands (Shudder/RLJE Films) hit Digital HD yesterday. The supernatural fantasy set in New Zealand is co-directed by Peter Meteherangi Tikao Burger and Michael Hurst, and it stars Te Kohe Tuhaka as Waka, a murdered Maori warrior who has returned from the Afterlife who goes on a quest with with a young woman named Mehe (Darneen Christian) to discover who broke the world. Not quite sure why didn’t get to this one, as I’m usually interested in New Zealand-based films as well as supernatural fantasy.

Daniel (For the Bible Tells Me So) Karslake’s new doc For They Know Not What They Do (First Run Features), which will hit virtual cinemas this Friday, which looks at the intersection between religion, sexual orientation and gender identity in America through a number of families of faith learning to accept their LGBTQ children. It has pretty much run the festival circuit through most of last year, winning a number of audience awards.

Coming to the Film Forum’s Virtual Cinema this Friday is Bill Duke’s 1985 directorial debut The Killing Floor and Alastair Sim’s 1954 schoolgirl romp, The Belles of St. Trinian’s. Uptown at Film at Lincoln Center, besides the Human Rights Watch Film Festival (see below), they’ll be debuting Hong Sangsoo’s 2014 film Hill of Freedom (Grasshopper Films) in their already quite robust Virtual Cinema.

A few other films I wasn’t able to get to this week, include Return to Hardwick (Gravitas Ventures) and The Departure (October Coast), so I guess I did better than last week?

A few film festivals taking place mostly virtually this week include the annual New York edition of the Human Rights Watch Film Festival, running from June 11 through 20, and the Fine Arts Film Festival in Venice, California (June 8 to 14). The latter is offering 92 films from 27 countries with different packages including the entire festival for $20 or individual series for $10. Also, the Oxford Film Festival continues its virtual festival with two music docs, Dillon Hayes’ short All I Have to Offer You is Me about country-Western singer Larry Callies, as he tries to get his voice back after a degenerative disorder, and Dennis Cahlo’s feature In Flowers Through Space, in which the filmmaker tries to use the Fibonacci Sequence to try to create a unique music album. You can also check out Ben & Bo Powell’s Mississippi doc Nothin’ No Better about Rosedale, Mississippi, and more short blocks, all available on Oxford’s Virtual Site.

Also, the June episode of Hulu’s horror series “Into the Dark” is Good Boy, a movie directed by Tyler MacIntyre, starring Judy Greer, Steve Guttenberg and Ellen Wong (from Scott Pilgrim!) that has Greer adopting an emotional support dog that kills anyone who causes her anxiety. Just in time for Pet Appreciation Week! Yeah, I’m gonna have to see this one.

Next week, more movies (mostly) not in theaters!

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honestly, I do!

#TheWeekendWarrior #ArtemisFowl #DaFiveBloods #SpikeLee #Movies #Reviews #YouDontNomi #Streaming #thekingofstatenisland

0 notes