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mostlymovieswithmax · 3 years

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Movies I watched in July

Once again I’m doing my monthly round-up of movies I’ve watched. This was a good month for the cinema getting back on track and seeing new releases including the new M. Night movie, Old and James Gunn’s The Suicide Squad. Pretty sure Marvel put out a new movie also. I’m hoping that this list can help in guiding a decision about what to watch (or what to avoid) and introduce people to movies they may otherwise not have heard of or bothered to see. These short reviews are my own subjective opinions on each individual movie and maybe a more informal approach to movie criticism can help include others who are just passing through. Here is every film I watched from the 1st to the 31st of July.

Bridesmaids (2011) - 4/10

Off to a good start. I won’t say Bridesmaids is a terrible movie but I don’t think I’m exactly the target audience. As far as I know, this is a beloved comedy but I just can’t get on board with all the boring, juvenile humour; with Maya Rudolph shitting in the street, with Rose Byrne and Kristen Wiig trying to one-up each other at a toast that went on forever, with Melissa McCarthy shitting in a sink… the conflict is so done to death and makes the movie feel unspecial. I do understand the appeal of the film, especially for women in that before this movie the likelihood of seeing something like this, where women play up the more crass and gross side of comedy, was probably few and far between. But the story is very tired and while I did appreciate some moments, namely a couple of decent jokes and some of the more intimate scenes, for the most part it felt like they wanted to corner a more quiet type of line delivery in a way that was supposed to be understated but very funny so as to not rely on over the top body language or musical cues, and it ended up being super dull.

Spectre (2015) - 7/10

As far as I can tell, a lot of people don’t like this instalment of the James Bond franchise… but I really enjoyed it! I’ve really taken a shine to these Daniel Craig-era Bond movies and while I can’t say any of them are the most amazing thing, I have a lot of fun with them. The biggest problem I have with Spectre is the villain being utterly pointless and uninteresting in basically every way. The idea of every villain Bond has fought before being tied to this one organisation controlled by this one guy is ridiculous, and what makes it worse is that the villain is barely in it! There’s so much that doesn’t come together in this but as it goes, I still had a really good time. Daniel Craig holds the whole thing together; he is excellent as 007 and the main reason I’m up for each of these movies is because of him. Sam Mendes directs again after the previous instalment and for what it’s worth I do think he does a good job with some of the action set pieces and the locations. I’m so ready for No Time To Die.

Shazam (2019) - 7/10

Shazam is a genuinely fun superhero movie that doesn’t take itself seriously at all. I was having a great time throughout and while it could conform to some of the same tropes we’re used to with these kinds of movies, it still remained playful and used the character of Shazam to his fullest potential in a way that showed an understanding of just how silly the idea of a kid who can turn into an adult and shoot lightning out of his hands is.

High School Musical (2006) - 6/10

So as you may or may not know, I co-host a podcast: The Sunday Movie Marathon. It’s a film podcast and every week I get together with my other co-hosts and watch movies. For episode 38, we watched the High School Musical trilogy. This first movie blew me away. I was really surprised with just how much fun I had, and if you want to hear more of my thoughts on the film, please listen to episode 38 of the podcast.

High School Musical 2 (2007) - 4/10

We then jumped into the second and while it’s certainly not as good as its predecessor, there are still some brilliant songs that manage to top the last movie. Again, more of what I have to say can be heard on episode 38 of the podcast.

High School Musical 3: Senior Year (2008) - 3/10

Senior Year was pretty hard to get through. I don’t remember it being as bad as it was, but then I didn’t really remember it anyway. It did however have one redeeming quality, which you can discover on episode 38 of the podcast.

The Piano Teacher (2001) - 9/10

What the fuuuckkkk. The Piano Teacher is horrendously affecting and I was so upset when it ended, maybe not because it’s not what I wanted but because it’s just so fucking dour and unrelenting. This is the second Haneke movie I’ve seen (after the original Funny Games) and I’m so impressed with how well executed it is. Following a woman who teaches piano, we get a glimpse into the life she lives, how sheltered she is from living with her mother at an age where you’d reasonably expect a person to be living alone or with a partner or friends (even going so far as to be sleeping in the same bed as her), and how repressed she is sexually. It’s clear she’s never experienced any kind of sexual interaction or romantic love with another person, so she goes out of her way to take control and make that happen. The upsetting nature of it comes from just what she does in pursuit of it or as a result of her repression, and what is done to her. It is by no means a movie to recommend to your parents but The Piano Teacher offers so much in terms of the ideas it presents (and I’ll admit there seems to be a lot more going on than I think I picked up on a first go round) about women in modern society, and about the portrayal of sex and expectations of people when it comes to how that is represented in a person’s character depending on their gender. I really enjoyed this movie but it is not for the faint of heart.

Sharpay’s Fabulous Adventure (2011) - 1/10

My podcast co-hosts decided it’d be a right laugh to add Sharpay’s Fabulous Adventure to this episode and that might have been a fun idea for them because they got to watch it together, but I was just watching it alone. Just a 24-year-old man watching Sharpay’s Fabulous Adventure alone and having a miserable time, I might add. But for a short and sweet ramble on what we all thought, please listen to episode 38 of The Sunday Movie Marathon podcast.

Dr. No (1962) - 6/10

A lot of very iffy parts of this movie. A lot of discomfort arising from how black people are portrayed that really didn’t sit right with me. As far as a Bond movie goes, this first instalment in the series is one I’ve seen before and it’s not wholly engaging but it plants the seeds for the rest, with Sean Connery breathing life into the role and making an otherwise lacklustre plot bearable.

Black Widow (2021) - 6/10

I think probably the best part about Black Widow is the experience I had while watching it. It was great being back in the cinema with a couple of friends in a packed theatre. The energy was high and I’m sure for a lot of people, this is the first time they’d been to the cinema since Endgame. For what it’s worth, I did have a lot of fun with Black Widow and I’ve explained more of what I thought about the movie in episode 39 of the podcast.

The Climb (2020) - 10/10

The Climb was added to Now TV recently and I already knew I loved it, having seen it in an empty cinema theatre last year, which I had an absolute blast with. The Climb details the years of a rocky friendship told over scenes filmed as one-shots. Not only is the presentation something to gawk at, but the performances by the two leads playing these friends with a terrifically dysfunctional dynamic is truly captivating. They’re both trying to figure out their own lives and where one can come across as being rather selfish, the opposite is true in his counterpart, whom everyone loves. This is a truly funny and heartwarming movie with a lot to say about how we choose to live our lives and who we choose to be with. It’s a shame the distributors of The Climb didn’t do a very good job because if not for it being available on Now TV, it would be near impossible to watch without forking out more money than is necessary to purchase a film.

From Russia With Love (1963) - 5/10

The second Bond movie. I thought perhaps I’d change my mind on it with another watch, having seen it for the first time maybe a year ago. But no, it’s still largely boring and it treats women like absolute garbage. From Russia With Love is one of those movies I forget as I watch it, and I was trying very hard (in the middle of the day!) not to fall asleep.

The Good, The Bart, and The Loki (2021) - 1/10

I don't usually talk about the short films I watch but for this I'll make an exception. As we all should know, Disney owns The Simpsons now, through their acquisition of Fox, so, coupled with another of their properties, that being Marvel, they decided to make a six-minute animated film wherein Marvel’s Loki is stranded in Springfield. This felt as though it was a minute long due to the horrendously jarring pacing; it is a movie that feels adamant that it needs to exist, while trying as hard as it can to be over as soon as possible. It serves only to stare the audience directly in the face and say “look, characters from The Simpsons are dressed as Avengers”, shit out three credit scenes, then end before you’ve even processed the atrocity you just bore witness to.

Russian Ark (2002) - 8/10

For this next episode of the podcast, we watched a few Russian movies, starting with Russian Ark, a film shot completely in one take as the camera moves about a luxurious museum in a first-person perspective as this main character watches what is happening around him, seeing people moving about the place but unable to interact with them, guided only by another man who seems to be just slightly out of his own perception of reality. This is a tremendous feat in filmmaking and more can be heard about what I have to say in episode 39 of The Sunday Movie Marathon podcast.

Ivan’s Childhood (1962) - 7/10

For my own pick of Russian movies to discuss on the podcast, I chose the debut feature from one of my favourite directors, Andrei Tarkovsky. It’s amazing that while this is not his best film by far, Ivan’s Childhood is still such a stellar debut, jumping around in its timeline as it details a child’s experience in the second world war. Again, I do go into more depth in episode 39 of the podcast, so be sure to check that out.

Outlaw (2019) - 1/10

The third movie chosen for this marathon is apparently the fourth Russian LGBTQ+ movie ever made. I’m unsure of the ultimate goal of this movie but what seems to be clear is that it hates the LGBTQ+ community. This is perhaps the worst film we’ve discussed on the podcast to date, so listen to episode 39 to understand exactly why it’s such trash.

Almost Famous (2000) - 7/10

I too love heavy music and also studied journalism so it stands to reason that a movie about a teenager who makes his way onto a band tour, following them through America and interviewing them as they hang out and play shows is going to be a premise that resonates with me. This certainly did. I enjoyed Almost Famous a lot; this kid is living the dream and I was so along for the ride, seeing a lot of myself in what was being portrayed. That said, the story itself is at times a bit by the numbers and I really would’ve been more on board if the visual component was more interesting. For what it is, technically it’s fine enough but nothing in that department ever jumped out at me.

Minari (2021) - 8/10

It’s crazy that this didn’t get a theatrical run where I live in the UK. It feels as though I complain about film distribution all the time but I really don’t understand the process by which a movie gets no cinematic release and yet, months later will pop up on the front shelf of hmv, taking pride of place. But of course I got the blu-ray straight away. Minari has a lot to say about the immigrant experience, specifically in America as a family comes over from Korea and tries to start a business and make something of themselves. You get to see a lot of what you might not think twice about when you think about immigration: the hardship of coming from a place where you know everyone to somewhere rural and sparsely populated, having to make friends with locals and integrate within the community; the strain it can put on a family and on a marriage where this idea is presented about the importance of making it on your own in order to live and not just survive, while also taking into account why you’re doing it in the first place and the value you place on being part of a family that you decided to make because that was more important than money, than economy, than proving you were good enough to make it in a place that gave you very little advantage from the offset. This concept of the promised land, of the American dream is a construct. There are times when it’s not pretty, when you have no running water, or you’re in debt, or a family member is dying and it just feels like you’ve been dealt as bad a hand as you can get. But it is better to know you’re not facing all that alone.

Roma (2018) - 10/10

This was my recommendation for the podcast episode on Alfonso Cuarón movies. Roma is as beautiful as it is heart-wrenching and I would recommend listening to episode 40 of the podcast to find out more about my thoughts.

An American Werewolf In London (1981) - 8/10

In all fairness, London is enough to make anyone a little crazy at the best of times. An American Werewolf in London showcases some fantastically grotesque effects, akin to something like Carpenter’s The Thing, in showing the dead brought back to life and a horrifically gory transformation scene. Although the film is from the perspective of an American protagonist, directed also by an American, the depiction of British culture and climate is something I’ve not seen many films pull off quite so well, and I was pleasantly surprised at the more comedic tone the film has overall, which is something that works more in its favour than straight horror would.

The Party’s Just Beginning (2018) - 6/10

Karen Gillan’s directorial debut is… pretty good! There are a lot of ideas I like in this movie: a woman living life and through convenient circumstances, is confronted with death in many ways. Gillan obviously knows her homeland as well as she can, imbuing the whole thing with an intensely Scottish vibe (though maybe not in the same vein as something like Trainspotting) that makes it a bit more unique than a more run of the mill movie of this ilk, backed up in no small part by her own main performance. The plot itself is no great diversion from the kind of story I’m used to with these smaller movies and for something that’s trying to include messaging about transgender issues and suicide, it probably could have been handled better or done in a different way.

Solaris (1972) - 9/10

Another Tarkovsky joint, one I thought I’d revisit to see if there was indeed more to get out of it a second time. Well, it’s no surprise that yes, there was certainly more to get out of it. Solaris is a crazy trip of a movie and I would liken it to Kubrick’s 2001 in terms of how grand the scale of it feels. Yet this is a film that comes across as deeply personal, choosing to focus on a specific character as he goes to a space station to help those on board who are experiencing some kind of emotional crises, only to feel the effects of the planet, Solaris invading his own mind as it has the crew. To many, I can see this lengthy Russian sci-fi being a tad slow but my personal experience is one of deep engagement. Solaris pulls its viewer in a lot of different directions and it is always doing something unexpected in terms of where its narrative goes. There’s a lot to think about with the movie and thankfully it’s no chore to watch again.

Y Tu Mamá También (2001) - 9/10

Another recommendation for the podcast episode on Alfonso Cuarón movies. This is a very relaxed experience, following three young people as they go on a road trip, visit different places and have sex. Listen to episode 40 of The Sunday Movie Marathon podcast for more of my thoughts.

Children of Men (2006) - 10/10

My favourite Cuarón movie, one that never stops being tense as its characters are constantly moving towards the end goal. Set in a future where humans are infertile, the oldest living person is 18, and London is the last city in the world that’s still keeping it together, somewhat. This is masterclass filmmaking. Listen to episode 40 of the podcast for more insights.

Minority Report (2002) - 5/10

I’m really not the biggest fan of Spielberg… Minority Report is an interesting movie in terms of its concept of stopping crimes before they happen by way of prediction, but I just didn’t connect with the heart of it. The colouring is way too overexposed in a way that’s supposed to be eliciting a futuristic vibe but instead feels so early-2000’s in the worst way. My biggest problem with Minority Report is just how long it is, clocking in at two hours and twenty-five minutes which allows for a lot of meandering, all while never quite developing characters enough for you to care about.

Caché (2005) - 9/10

Oh god! Another Michael Haneke movie! Here we see a couple periodically sent video tapes featuring hours of footage of the outside of their house. The anxiety ratchets up and the mystery gets deeper with every minute. There’s always at least one moment in any of his films that have so far made me realise just how out of my depth I am. Caché is no exception, and I won’t spoil anything here because I think it’s better just to watch the movie and see for yourself. He is a director that wants the audience to know something and that something is never what is explicitly shown at face value; it is pressed into the fabric of the film - plainly evident, yet hidden. Caché is so stupidly clever in displaying its themes and messaging - making reference to the Siene Massacre of 1961 as well as a deeper study of colonialism - and there’s no way to change a single detail of it without risking the Jenga tower crumbling to the ground. It all works in tandem. It is passion and fury and haunting.

Coco (2017) - 7/10

Pixar had a string of around seven forgettable movies before this point so thankfully Coco emerged to show the company still had something good in them. Coco deals a lot with themes of death and legacy, remembering those who are gone in order to preserve them and while its plotting is quite basic and there are certainly moments that either drag or cannot escape the same Pixar formula, most of what the movie has to offer is a lot of fun, with creative, colourful animation and emotional beats that resonate the way they’re supposed to.

Incredibles 2 (2018) - 5/10

Oh, they almost had it! There's a lot here that could have been explored in far more interesting ways. Setting Incredibles 2 directly after the events of the first movie was not a good idea. If it had taken place five or ten years after, the characters could have been in different places in life and it would feel as though they'd actually changed and developed. But instead of trying to be a film that actually cares about its characters and the journeys they go on, a lot of the film is wrestling with the idea that Bob isn't supportive of his wife and Jack-Jack has to fight a raccoon… They have to shoehorn in a villain that in no way compares to the genius of the original. The ending of the original introduces another antagonist that gets wrapped up within this film's first ten minutes, except they don't catch him and he's never mentioned again. It's a real shame because the animation is fantastic and the acting is superb and there are great ideas sprinkled throughout. It just doesn't come together.

Toy Story 4 (2019) - 6/10

I was rather reluctant to watch Toy Story 4 because from the get-go I’m not really here for sequels being made just for the sake of it. Everyone loves Toy Story and making another one is a sure fire way to make money. This is the first time I’ve seen Toy Story 4 and for what it’s worth, I did enjoy it. The animation is immaculate and that alone feels like a huge flex from Pixar who tend to step up the game when it comes to animation in film, despite not having the best track record for films generally at this point. While it was nice to see these characters again, I found a lot of them to be side-lined (namely Buzz) in favour of a story that focuses mainly or entirely on Woody, who I just don’t like as much as in the previous movies. Generally the movie is good and decent enough but there’s no real antagonist and the plot is quite loose… it doesn’t feel as though it needed to be made from a story point of view.

Onward (2020) - 6/10

And with that I have seen every Pixar movie. And Onward is a fine one to go out on. While I don’t think it compares to the likes of earlier Pixar it’s still pretty fun. Or maybe I’m just a sucker for a medieval setting filled with bright colours and magic! Speaking of which, the animation was super and the medieval quest element is something that hooked me with the film. Again, plot-wise it does feel very familiar and I don’t know, maybe I’m past the point now of expecting Pixar to mix it up where their formula for story-telling is concerned but the movie is quite predictable. Nonetheless, while I’m not rushing back to see Onward I would hardly turn it off or refuse if someone wanted to watch it.

Old (2021) - 3/10

Oh boy! New M. Night movie dropped and my word, was it fun! For more of my thoughts on this… masterpiece (?) of a movie, please direct your attention to episode 41 of The Sunday Movie Marathon podcast.

T2 Trainspotting (2017) - 5/10

Trainspotting is perhaps one of my favourite movies and I had never bothered with the sequel, 20 years on, because the ending of that first movie is so conclusive. T2 felt more an excuse for these guys to get together again and in that, I probably would have preferred a couple of pictures on Twitter of the main cast and director, Danny Boyle having dinner or something. This is a fine movie - very arty in its presentation but meandering and dull in its story that doesn’t offer much in the way of proof that it had to exist.

Taste of Cherry (1997) - 9/10

What makes life worth living? This is a central question and theme of Taste of Cherry, and one that leaves such interpretation not only up to its central character but to the viewer as well. This film got me thinking about times in my life when I truly have had no answer to hard questions. Because it’s hard to convince people of things they are so adamantly against and harder still to rationalise what you believe if you’re not even entirely sure why you believe it in the first place. We are all of us alive and in recognising that, does that make it precious? And if indeed living is not a happy thing, why then should we fight so hard to preserve it? I felt upset as I watched this movie because I’ve been asked these kinds of questions before and it makes me feel stupid when I’m unable to answer. But the only real answer I can give is, everything. And if you can’t see the point then you’re not looking hard enough. Taste of Cherry is beautiful in its exploration of these topics and in its overall presentation, offering some of the best visuals in any movie I’ve seen - fitting for a feature with so much to say about the beauty of life - and an ending that as much pulls the rug out from under you as it does pull you out of the dark and make you realise just how lonely you’ve felt.

Bones (2001) - 2/10

Snoop Dogg is Jimmy Bones! This film is super funny but I’m not sure it’s trying to be and I really didn’t love it overall. But I do talk more in depth about it in episode 41 of the podcast.

The Duchess (2008) - 5/10

Another recommendation for the podcast. The Duchess was pretty much exactly what I thought it was going to be and there’s a lot to like about it but generally it’s a bit sparse. For more chat on the movie, listen to episode 41 of the podcast.

The Man With One Red Shoe (1985) - 1/10

This was another one for the podcast and man, was it awful. We had to watch it at 1.5x speed towards the end because it just wasn’t getting finished otherwise. To find out more, make sure to listen to episode 41 of the podcast.

The Emperor’s New Groove (2000) - 7/10

Pull the lever, Kronk! Haha! Slays me. I do quite miss this era of Disney, where the animation was hand-drawn and the stories were actually compelling and funny. The Emperor’s New Groove is vibrant, it’s got great characters and memorable moments that will forever be ingrained in the memory of culture. All in all, it’s just a solid flick that doesn’t waste time, developing the standard fall from glory type of arc but smoothly and in an entertaining way.

The Suicide Squad (2021) - 8/10

Oh, bloody hell! They actually made a good one! The Suicide Squad is not only better than the ‘Suicide Squad’ of 2016 in every way, it’s a genuinely great film! This time, James Gunn (director of Marvel’s Guardians of the Galaxy movies) is at the helm and it seems clear that Warner Bros. basically let him do what he wanted with the movie, as it doesn’t seem to bog itself down with the restrictions of a more family-friendly rating. The result of this is a far cleaner, colourful film with a clearer vision that takes from early Vietnam movies and uses that style to craft a superhero/villain movie that differentiates itself among the copious amount of existing films of the genre. The Suicide Squad wastes very little time, introducing fun, crazy characters we’ve not seen on the big screen before and isn’t worried about killing a whole bunch of them, with standouts being Elba’s Bloodsport, Melchior’s Ratcatcher 2, Stallone’s King Shark (expertly rendered with fantastic visual effects), and Robbie’s returning interpretation of Harley Quinn. A lot of Gunn’s trademark sense of humour is laced throughout and more often than not, it hits. The audience at the cinema were truly loving this movie and I’ll admit, I was right there with them. This mix of the gritty, gory and absurd is not something that should work as well as it does but the basic premise of the film is already so silly (and boy, do they know it) that it just works! Certainly one of the best DC movies since The Dark Knight and one I’d be more than happy to watch again. This is what the modern comic book movie should be: just balls to the wall fun!

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grigori77 · 3 years

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2020 in Movies - My Top 30 Fave Movies (Part 3)

10. WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination. Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work. It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020. I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look. It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves. Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area. One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create. Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself. This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9. WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be. A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam! Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future. In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings. Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us. She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon. Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure. Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do. It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power. Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie. After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8. LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas). Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises. Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons. The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up. Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him. He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero. Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface. The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed. Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in. One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7. PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all. It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers. Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity. Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically. But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon. This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect. The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon. This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away. Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade. Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6. THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered. Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan. The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here. Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

5. MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year. The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs. I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA. How? Why? It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be. Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then? Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again. The only catch? The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances. As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history. Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times. The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story. Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”. Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane? Boy, that’s a tough one …

4. ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now). Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way. Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer. Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings. Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady. Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years. Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade. Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers. Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon. Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3. 1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed. Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed. The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from. Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league. It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack). They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos. That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING. I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same. Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2. BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen. It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies). It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist. Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to. Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain. Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy. My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT. Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms. It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!). It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists. Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020. Give it all the love you can, it sure as hell deserves it.

1. TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with. I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March. Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT. Still with us? Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine. The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic. As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals. Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven. As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

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greygullhaven · 3 years

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Fan-Fic FAQ

Thank you for the tag @greyhavenisback

1. How many works do you have on AO3?

2. What's your total AO3 word count?

121309

3. How many fandoms have you written for and what are they?

Only been on Ao3 for less than a year…

So right now It is 90% Haven with a few things for Resident Evil, Final Fantasy VII, and Lord of the Rings/Silmarillion thrown in.

4. What are your top 5 fics by kudos?

Kissing Scars- (2485 words) HAVEN. First story that I ever posted up on Ao3!

Love Lost and Love Found- (13775 words) HAVEN. Most read fic on Ao3 so far!

Harmless Flirting?- (4185 words) HAVEN. Sweet, sappy, angsty, all rolled into one!

Giving Thanks For You- (4637 words) HAVEN. Yes, another Nuke story- I have an addiction!

All I Want for Christmas Is….You?- (3159 words) HAVEN. First Three Gulls Story I ever wrote!

5. What's the fic you've written with the angstiest ending?

I have a collection of oneshots. One of them is an angsty piece that actually has the warning of “no happy ending found here.” It’s a small thing of only a few hundred words but yeah… angsty Duke feels all around!

6. What's the fic you've written with the happiest ending?

Almost all my stories have a happy ending or at least are well in line for there to be a happy ending in the readers’ mind when the story ends. As far as the happiest? I’d have to say Love Lost and Love Found- runs the full gamut of emotions and Duke saves Nathan. A close second would be Making a House Into a Home- small little thing but its part of my Three Stars of Haven works (Duke/Nathan/Dwight) and is a sweet sappy thing!

7. Do you write crossovers? If so, what is the craziest one you've written?

I usually despise crossovers but I have read some that are winning me over. I have not gotten to the point of writing a crossover yet, but I am considering the possibility, which is a big thing for me!

8. Do you write smut? If so, what kind?

Hehehehe Ummm yeah. Nothing toooooo hard yet, I read it but am still getting to the point of being able to write it well. But yeah, there’s some smut and plans for many more. And who know, I get one year under my belt finally maybe I will be able to write it more easily!

9. Do you respond to comments, why or why not?

Yup- every comment gets at least a thank you reply of some kind. If a comment is nothing but a negative troll then I delete it and move on.

10. Have you ever received hate on a fic?

Thankfully no, but less than a year into posting my stuff online so I am sure they are to come eventually.

11. Have you ever had a fic stolen?

Nope.

12. Have you ever had a fic translated?

No though that would be awesome!!!!

13. Have you ever co-written a fic before?

Not fully- the amazing GreyHaven has helped me plot out sections and scenes before. I would LOVE to do rps and write fics that way again!!!

14. What's your all time favourite ship?

Since I mostly write Haven stuff tight now I will rank my three faves for the fandom:

1 Nuke- Nathan and Duke

2 Three Gulls – Nathan, Audrey, and Duke

3 Three Stars – Nathan, Duke, and Dwight

15. What's a WIP that you want to finish but don't think you ever will?

Any of them? I have… *glances at WIP list* eeep! 6 different stories I am working on for various characters and pairings in Haven…. So yeah I will get them done eventually…. Life is just being a bugger right now and my brain is only letting me get out drabbles and 1k word oneshots. But I will take what I can get. At least I am still writing right?

16. What are your writing strengths?

I’ve been told its characterization, blending angst and fluff, story/setting creation, and conveying emotions/toying with reader and character emotions.

17. What are your writing weaknesses?

Aside from getting past brain blocks to actually write I struggle with dialogue at times and overthinking certain scene sand details that get me stuck when they honestly probably don’t even matter to the reader or to the grand scheme of the story.

18. What are your thoughts on writing dialogue in other languages in a fic?

Nope, I don’t do it. I don’t speak any other languages so I don’t trust myself to do it correctly. I might imply another language is being used. “Duke showed off his mastery of the Japanese language again by….” But beyond that, naw. I write in English.

19. What was the first fandom you wrote for?

First ever was Lord of the Rings when I was like 8 or 9. Wrote for dozes on fandoms (mostly animes) when I was in college. A year ago I got back into it after a 12 year break and its been mostly Haven ever since!

20. What's your favourite fic you've written?

Hmm. Hard one. I don’t have a lot to choose from yet… so I kinda feel like Im lacking anything worth being overly proud of yet. I really like Love Lost and Love Found because of the premise and emotions and all… and I am proud of any of my Three Stars fics – This is My Christmas Wish, and Making a House Into A home- because I had to create a name for that pairing as nothing existed for Duke, Nathan, Dwight. It’s kinda nice to help bring a great rare pair to the fandom.

Tagging, with no pressure- @lawlessferalgay @divingintohope @lovingmoose @mythoughtsaretroubled

@ anyone else who wants to do this and hasn’t been tagged.

#Ao3 #Fnafic #Fanfiction writiers

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ncisladaily · 3 years

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Renée Felice Smith was only six years old when she knew that she wanted to be an actress and storyteller, but people tried to dissuade her from her chosen career path, telling her it was an impossible goal. Luckily, Smith’s parents weren’t among the naysayers, and today she’s living her dream, starring as Intelligence Analyst Nell Jones on NCIS: Los Angeles (Sundays, 9 p.m., CBS) and co-authoring her first children’s book Hugo and the Impossible Thing with her creative partner Chris Gabriel.

So, when her French Bulldog Hugo was diagnosed with a brain tumor, Smith once again ignored the doubters and found the best vet possible to give Hugo a shot at life rather than listen to those who told her it was “just truly impossible.”

“We just knew we had to try for our little guy, and we’re so glad we did because he was with us for another two beautiful years, just grinning, growling and running around the yard like the wild man that he always was,” Smith tells Parade.com in this exclusive interview. “So, we’re so glad we fought for him and advocated for him.”

When Hugo finally passed, Smith and Gabriel knew they had to tell his story to inspire others to conquer the seemingly impossible things in their life. So they wrote a story about a little dog named Hugo, who succeeded where others didn’t even try as a result of his bravery, curiosity, teamwork and persistence.

“The love is still here, and it needed someplace to go, so now we have the book and Hugo’s message that now we get to share with the world, which I’m just so grateful that it’s become real,” Smith adds.

Related: NCIS: Los Angeles‘ Daniela Ruah Speculates About Whether Kensi and Deeks Will Survive the Obstacles Ahead

This Sunday night, Smith will be back with some teamwork of her own when NCIS: Los Angeles returns with a new episode dealing with technology, which is something that Nell excels at. In the “Imposter Syndrome” episode, NCIS obtains a hard drive containing a realistic deep fake video of a deceased terrorist and must retrieve the dangerous technology behind it. However, when the team’s comms are hijacked during their mission, they find that one of their own has been a victim of its potential.

And, spoiler alert, Smith says that in the May 23 Season 12 finale, Nell will finally be reunited with Hetty (Linda Hunt)! But how that will play out remains to be seen.

“Linda was essentially sidelined by the pandemic, but, very exciting, I do share a scene with her in our season finale and it’s one of the most memorable scenes of my time on NCIS: LA, so I’m very grateful to have her back as my scene partner,” Smith says.

For more of what Smith had to say about her real-life Hugo and Hugo and the Impossible Thing, as well as more NCIS: Los Angeles scoop, read on.

With your background, a movie seems a more natural project than a book about Hugo. How did it turn into a book?

Chris, my other half, and I are lovers of all types of books. We grew up with children’s books and some of the most impactful stories and lessons we feel that we’ve learned in our lives we learned in the pages of those books, so we really wanted to create this modern classic, a book that kids, or quite frankly, anyone nowadays could really benefit from.

Especially right now, we’re all dealing with our own version of the impossible thing, and we’re trying to find our way to the other side. What better way to inspire you and yours to go out and conquer whatever your impossible thing is than through a storybook following this spirited French Bulldog through the forest, kind of this yellow brick road, Wizard of Oz structure? He meets up with his forest friends and they end up helping him through the impossible thing. It’s really a story about bravery, curiosity, teamwork and persistence. We wanted to encourage that in our readers, both young and young at heart.

Tell us about Hugo and his battle with his brain tumor.

Hugo was diagnosed with a brain tumor and we were truly beside ourselves. It was an out-of-body experience. He was a feisty, curious, wild man who was quite literally sidelined by this potentially terminal disease, and we just knew that we didn’t want to give up on him, and he wasn’t giving up on himself. Every step of the way, we would say out loud, “Hugo, just let us know, buddy, do you want to keep going?” And he met us with this enthusiasm for the process every step of the way. And that is truly why we kept going.

Did Hugo instill in you the belief that the impossible might be possible? Or did you already have that?

That’s interesting. I think the process really showed us that if you ask the questions, oftentimes the people who ask the questions are the people who find the answers, and this process really reiterated that. He inspired us to advocate for him, because animals are helpless on their own, but we could do something about it. We could ask the questions; we could be his voice. I’m just so thankful that he was always this bright light that had this insatiable curiosity for life. He definitely imbued that in me, and I know he imbued that in Chris. He did inspire us to help him conquer his impossible thing. If he didn’t have the fight in him, if he wasn’t such a spirited dog, I don’t know if that would’ve happened, but he was singular in a way. I reference him as my canine son, because he was. He was my baby.

On NCIS: Los Angeles, Nell is torn these days. She feels Hetty tricked her into taking the job when she said she didn’t want it, but she has the support of her team and also Kilbride. So how do you think she’s feeling these days?

She really is at a crossroads in her life. I think a lot of young women find themselves at this point, where they are very good at their job, but is it the job that they always saw themselves in? Is it the job they saw their future selves thriving in? I think for Nell, she’s really questioning whether she wants this to be her story, and in the process, she’s really finding her voice this season. There’s a scene with Sam Hanna, LL Cool J‘s character, that recently aired, where she spells out her frustrations in her position as de facto operations manager and how she’s struggling to keep the plates spinning. And she tells him that he needs to get on her team. It was a really stern moment for Nell.

I don’t think we’ve really ever seen that. Actually, LL Cool J and I were talking about what a different flavor this scene is bringing to the show because Nell usually is quick with a quip, but she doesn’t often drop the hammer in this way. And this season, we really do get to see Nell drop this hammer, stand in her power, and let people know that she needs help and she’s questioning this process.

I think that’s the side of being the operations manager that we didn’t really get to see very much with Hetty because she had everything under control. So, it’s kind of fun and new to see the person, who may be greener in the position, find her way in this new position of leadership.

How much has COVID affected what we’re seeing this season? Is that why we don’t see more of Linda Hunt, to keep her safe? And I noticed there are fewer people in scenes, especially in ops.

You’re absolutely right. Our show did an incredible job managing the crisis that was the pandemic and continues to be the pandemic. We are tested five days a week. Our crew was incredible in keeping everyone safe. The was goal to keep everyone safe, and we were, in turn, able to create 18 episodes of television, which is incredible.

You were just picked up for your 13th season, so it isn’t over yet, but when you look back, what will you take away from it?

Oh, my goodness. We’re a family, you know, but it’s been a mini-film school for me as well. My time at NCIS: LA has been educational. I just pinch myself how lucky I am that I was able to quite frankly lock onto a job like this for so long. In our industry, stability as an actor is not something you often experience. So, to have this group of people who I’ve grown to love and really consider extensions of my family, I’m just so grateful for the time. I feel like I’ve been a student. I feel like I went to school all over again for 10 years.

With Linda being this master in her craft, I can’t even quantify what I learned from her and most of it happens when we’re waiting to do our scene. It’s in those moments that I hear the stories from her childhood and the stories from early in her career, just these nuggets of wisdom that I have now in my little carpet bag.

From your work outside NCIS: LA, it seems as if maybe long-term, you’re more interested in being behind the camera and writing, producing, directing.

It’s interesting, often as actors, we’re part of someone else’s story, we’re carrying out someone else’s vision, but I’ve always been a storyteller. As a kid, I would essentially write my own little plays and perform them in the yard and direct my friends and family, my sister, namely, in those plays. And for as long as I remember, I’ve always wanted to tell stories. So, yeah, that is where I see myself heading in the future.

You’ve said that you knew at age six that this is what you want to do. And you were lucky that your parents supported you.

Oh, 100 percent. I wouldn’t be standing here today if they hadn’t instilled confidence in me and in my creativity. They really created an environment that fostered out-of-the-box thinking, and I’m so grateful for that.

Which takes us full circle back to the impossible just might be possible.

It’s so true. If you’re curious enough and brave enough and you have the support, obviously, of your community, I think that’s the missing piece in a lot of these puzzles. It’s really the support because you can’t get there alone. No one can. The one-woman show does not exist. It’s an ensemble; it’s a production.

#s12 #Renee Felice Smith #Linda Hunt #ncis la #ncisla #NCIS Los Angeles

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beneaththetangles · 3 years

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Star Wars: Visions (Review)

Though Star Wars: Visions—a series of animated shorts from about the franchise’s universe created by anime studios (including some of Japan’s most high profiles ones) and now available to stream on Disney+—was initially announced at last year’s Investor’s Day event, the idea of a Star Wars anime has lived in fans’ imaginations from a long, long time ago. The combination of anime and Star Wars feels like a (cybernetic) hand in (black) glove, but for it to come to fruition still feels unreal.

My first love, when it comes to geekdom, fantasy, and media in general, was Star Wars. It captivated my imagination as a child, and with the prequels arriving as I came of age. I had dabbled in anime when I was younger, but that medium didn’t take ahold of me until I was in college, and thus grew simultaneously with this new explosion of Star Wars media that came with the prequels, living and growing side by side (in a symbiotic relationship, if you will).

With that context, I want to present a review of Star Wars: Visions—short reviews of each episode, followed by a fuller evaluation of the entire series—from the perspective of one with a twin passion for Star Wars and anime. I trust you’ll fine many reviews from those who admire the franchise and who love animation, but perhaps a uniqueness here on this post coming through my expertise and passion.

You can jump to any of the reviews through the links below, or just read through by scrolling down:

Episode 1: The Duel

Episode 2: Tatooine Rhapsody

Episode 3: The Twins

Episode 4: The Village Bride

Episode 5: The Ninth Jedi

Episode 6: T0-B1

Episode 7: The Elder

Episode 8: Lop and Ocho

Episode 9: Akakiri

Comprehesive Review

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“The Duel” (Episode 1)

Directed by Takanobu Mizuno (Kamikaze Douga), 14 min.

A remarkable start to the collection, it’s obvious why “The Duel” is featured first: It is an obvious and direct meeting of Star Wars with Japan, taking the form of an old samurai film and featuring a storyline familiar in the country, of a ronin protecting a village from bandits. The Star Wars influences come through in choice of weapon (only the lightsabers and energy blasts are in color) and the presence of droids and other familiar forms. Brian Tee and Lucy Liu perfectly capture the leads in a tale that brings a necessary suspense the titular event, while being animated in what looks like a rotoscope style. A kicking introduction to the new show, and one tied to other media also.

Score: 9/10

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“Tatooine Rhapsody” (Episode 2)

Directed by Taku Kimura (Studio Colorido), 13 min.

Studio Colorido has quietly become a steady creator of strong anime films in recent years. While they haven’t quite made a classic yet, with movies like Penguin Highway and Netflix’s A Whisker Away, the company does present stories with strong narratives and beautiful animation. The latter is especially on display in “Tatooine Rhapsody,” which has some authentically lovely moments in its simple tale of friendship within a rock band, as the anime company gets the honor of featuring Jabba, Tatooine, and Boba Fett in what might (?) be considered the only canon part of this series. It’s a bit anticlimactic, but well worth the short run time. Also, Joseph Gordon-Levitt voices the lead, so I do believe that’s him singing. I don’t know much about the actor aside from his movie and TV roles, so at least for me, that was a surprising and fun addition to the short, too.

Score: 6.5/10

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“The Twins” (Episode 3)

Directed by Hiroyuki Imaishi (Studio Trigger), 17 min.

Gurren Lagann. Kill la Kill. Promare. Star Wars. This was the short that most seemed to look forward to, on our Instagram bringing countless comments saying, “Looks like Gurren Lagann.” Indeed, it was created by Studio Trigger the director of that colorful series. But for the uninitiated, “The Twins” might bring the most dissatisfaction; it does, after all, kind of feel like a bunch of Star Wars pieces thrown together with cheesy dialogue and people breathing and yelling in space. But the fantastical elements and the style of it is what it’s all about. Imaishi’s colorful and outlandish animation is on full display here in the story of two dark-side force conceived twins duking it out over yet another Death Star-like weapon. The dialogue, again, is corny and the visuals matter more than anything, but for those who enjoy the studio (or can see the episode for was it is), this episode is a feast. I’m personally not particularly a fan of Studio Trigger, but I do like their work in short bursts, and so “The Twins” works especially well for me, while being the first of many episodes in Star Wars: Visions that is clearly setting up for a possible series.

Score: 7.5/10

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“The Village Bride” (Episode 4)

Hitoshi Haga (Kinema Citrus), 18 min.

My fear from the time these series had been announced was that the studios would simply ship it in, which worried me further when I saw some of the names associated with Star Wars: Visions—both the overworked studios and directors that seemed to be experimental. But Kinema Citrus, which has quietly animated some of the best (Made in Abyss, Barakamon) and most popular (The Rising of the Shield Hero) series of the past decade, did nothing of the sort with their episode. They created a beautiful short (one of the longest, too), with amazing landscapes and a storyline celebrating Japan’s concern for nature, complete with original, haunting music and a tale both mythical and sci-fi that echoes “The Duel” in being about a ronin-type Jedi saving a village. And while I see “The Twins” as possibly become a series due to its commercial value, I would be far more interested both in seeing the character of K (Seto in Japanese) getting a fuller show and Kinema Citrus animating it.

Score: 9/10

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“The Ninth Jedi” (Episode 5)

Kenji Kamiyama (Production I.G.), 22 min.

The presence of Kenji Kamiyama, who if you don’t recognize his name now, you will soon when Netflix’s The Lord of the Rings anime comes to fruition with him at the helm, and Production I.G. added big, legitimate names to Star Wars: Visions, but The Ninth Jedi is far more than that: Right in the middle of the nine episodes, and titled as ninth, it is the high point of the episodes, capturing the feel of Star Wars better than any of the other shorts without losing a bit of its anime feel, including the inclusion of heroes and a heroine that would fit perfectly well in either anime or another sci-fi medium. There is time set aside in this tale to develop characters and to bask in the Star Wars universe, master strokes by a genius director. And although I’ve mentioned it with other shorts, this one, too, and more heavily than most of the rest, feels like a test case for a series; I would not be surprised if this short about the recovery of the Jedi taking place in a time far past the events of the films, is meant to be a fuller show, and would be absolutely thrilled if that were the case.

Score: 9.5/10

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“T0-B1” (Episode 6)

Abel Góngora (Science SARU), 14 min.

Whenever Science SARU creates an anime, there’s a lot of buzz in the anime community, an excitement to see what creativity they’ll bring to a series or movie. Góngora has been an important part of the team that develops the studio’s unique and often outstanding work, so it’s no surprise that “T0-B1” (pronounced “Toby”) is an utterly beautiful series to watch. Much like “The Twins,” this short is all about the style, and it is impeccable, both imaginative and exciting. The storyline exists to honor Osamu Tezuka, “The Father of Manga,” by serving as an homage to Astro Boy, whose anime adaptation is a turning point in the form’s history; as such, it’s to be taken very much in light of being a self-contained and purposeful piece rather than as a simple addition to the Star Wars universe.

Score: 8/10

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“The Elder” (Episode 7)

Masahiko Otsuka (Studio Trigger), 15 min.

Among the aspects that the prequels introduced to the Star Wars universe was the Sith, and with them an increasing brutality to the franchise. Tonally, this is on display in the seventh episode of the series, and the second from Studio Trigger. As a standalone, it’s awkward and stilted during its first half (and wastes David Harbour as the voice of its lead), though it steadily leads toward what we assume will be a duel and at least one tragedy. That duel itself is effective and worth the long build-up, while the episode also presents some new information (canonical?), at least to this Star Wars fan, to chew on. It allows us to listen to the glorious voice talents of James Hong, as well, while additionally basking in another episode that brings a Japanese-looking environment to the world of Star Wars.

Score: 7/10

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“Lop and Ochō” (Episode 8)

Yuki Igarashi (Geno Studio), 20 min.

At twenty minutes, “Lop and Ochō” is the longest of the films, though not long enough. Focusing on how the Empire has twisted a family (and introducing a furry Jedi into the Star Wars universe), the plot feels familiar, with it’s story seemingly plucking plot points out of all three original films but set against the backdrop of a classical Japanese world. But as I inferred, it reaches its climax without the emotional impetus is should; there needed to be more family and world-building here. Still, it’s a lovely piece, with lots of ambition, heart, and incredible animation from the talented artist at Geno Studio. Here’s another full series I would adore if it were greenlit.

Score: 7.5 / 10

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“Akakiri” (Episode 9)

Eunyoung Choi (Science SARU), 13 min.

The final episode of the series is the one I was also most curious about. Once again, it’s an offering from the always-imaginative studio, Science SARU, but this time directed by co-founder Eunyoung Choi, who has no experience in direction. How would she handle this piece? I was rooting for her, both as an “underdog”—a woman in the business and creative side of anime and a Korean in the Japanese industry—and simply as a head of a favorite anime studio. And she delivers as well as an experienced director. Episode nine, with its tale of a Jedi returning to help a friend but also tempted by the dark side, is by storyline the closest to pre-existing Star Wars work, borrowing liberally from the stories of Luke and Anakin Skywalker, and thus, with its connection to the latter, is also the most disturbing. Wondrously animated, it additionally takes a native peoples aesthetic and weaves it in with Japanese and sci-fi ones exceedingly well. Funny, fearsome, and tightly tied together, “Akakiri” is one of the best episodes of this franchise.

Score: 9/10

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Comprehensive Review

As mentioned earlier, my fear for Star Wars: Visions was that the short films would be treated by the Japanese studios as after-thoughts, big money projects that would give them a further foothold in American markets and tie them to Disney, while they put less-experience animators to work on them. The Animatrix, in all its inconsistency, also loomed large in the back of my mind, though I would gladly take ups and downs and be happy with it for this beloved series with the thought that we finally have an official Star Wars anime! But a show of all or mostly call-ins would be extremely disappointing.

Thankfully, the limited series if far more than that. Star Wars: Visions is a triumph, a creative, engaging, and enjoyable reimagining of Star Wars by taking the series’ themes, history, and aesthetics and combining those aspect with the same from Japan and the anime medium specifically, leading to the some of the most exciting and best parts of this franchise in its long history. The consistency of the shorts—not in style and story, for part of the appeal, of course, is in the diversity of studios and directors, but in quality—is astounding: The worst of the stories, “Tatooine Rhapsody,” is still a fun entry, and the best (a trio or quartet of the shorts would apply here) had me on my feet and eager for more.

Which leads me to this question: What was the ultimate purpose of Star Wars: Visions? It seems that it exists to open the possibility of future series, for more than half of the episodes felt like one-shots, attempts at gauging the possibilities of fuller entries, either shows or movies, in these new worlds. I’m on board with virtually all the stories being extended further, though I would be most interested in seeing “The Village Bride,” “The Ninth Jedi,” “Lap and Ocho,” or “Akakiri” receiving such treatment.

Still, the focal point here must still be how lovingly Japanese artist expressed a pride for their homeland’s tradition, both thematically and through the history of their films and animation, while combining them (often lavishly) with the same from Star Wars. These series could never be and weren’t meant to be canon, an argument point among fans leading into the show. It’s best to think of them as reimaginings of the universe, and are best enjoyed that way.

Even those who aren’t fans of anime will find the richness of the art direction appealing, while Simu Liu, David Harbour, Lucy Liu, Neil Patrick Harris and others form a prominent English dub (I haven’t yet watched it in original language), guided in part, some will notice, by veteran Stephanie Sheh. The fanservice is also strong with this one, largely in the form of so very many droids, by a famous piece of dialogue repeated over and over, and most of all, through duels, a number of which will rank among the franchise’s best. Often short (by necessity), they’re nonetheless exciting and well-choreographed—and include Japanese sword-style lightsabers, to boot!

With a number of recent franchise entries that received mixed reception, Star Wars: Visions is what was needed: something original, fantastic, and forward-looking. It goes beyond quenching a near life-long thirst for me to see the world of anime come together with Star Wars—it gives a pleasurable taste and has me thirsting even more. I think that was why these shorts were created, and you know what? I’m okay with being manipulated toward that end, as it gives me hope for the future of my favorite franchise. After all—fandoms are built on hope.

Score: 9/10

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Star Wars: Visions can be streamed on Disney+. All images courtesy of Disney.

#Anime #Reviews #Anime Reviews #Star Wars #Star Wars: Visions #Articles #Author: TWWK

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theredherb · 3 years

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The Red Herb’s Top 10 Games of 2020

Hey, fuck 2020. You might notice that many of the “Best Of” lists you read this year and last can’t help but mention how terrible 2020 was. That’s because every day was like hitting a new, splinter riddled branch on our 365 day plummet off a shit-coated tree. The year brought with it a viral pandemic that served as a pressure cooker for the societal and systemic issues boiling beneath the surface of our every day life. And we’re not out of it.

At least one positive holds true of 2020: the games were pretty darn good. One has to wonder, though, if 2020 was the last year of what can be called “normalcy” for the video game industry. Now that the remainder of titles brewed in pre-Covid times are out in the wild, what will the future of gaming look like as studios shift to work-from-home and distribution models migrate to digital as the primary bread winner? What will games look like going forward?

I have no fucking clue. We’ll get there when we get there. But looking back, I’m glad to have had such solid distractions from the stress and strife. If 2020 is any indicator for the industry going forward, then my takeaway is that games will continue to grow in prominence because of their ability to help us cope and, more importantly, stay connected.

Anyway, here’s video games:

10. MARVEL’S AVENGERS

Oh, Marvel’s Avengers. I know you expected to be on more prestigious Top 10 lists than mine. Truthfully, I debated whether or not you should be here. But I had to search my soul (stone) on this one. Really assemble my feelings. Tony Stark my thoughts (?). Here’s the short of it: Marvel’s Avengers has a great story campaign with a surprising amount of emotional weight thanks largely to Kamala Khan’s quest to reassemble the heroes of her youth. Once the final cutscene ends, though, players were expected to take their play box of Marvel heroes, jump online, and duke it out against hordes of villains for the privilege of precious loot and level gains. It would be impossible to get bored because Crystal Dynamics was going to continually Bifrost in new quests, cosmetics, and heroes -- for free!

Except, after fans blasted through the campaign (took me a solid weekend), they found a multiplayer mode filled with repetitive fights against non-descript A.I.M Bots, a handful of dull, un-Marvelous environments (the PNW?! In a video game?! Wowwee!), and a grind for gear that became useless minutes after it was equipped. Oh, and bugs. Tons of bugs. It must be hard for A.I.M. to take earth’s mightiest heroes seriously when they’re falling through the fucking earth every other mission.

So why the Kevin Accolade™? Of all the mistakes and underbaked ideas, Crystal Dynamics got the most important thing right: they made me feel like I was a part of the Avengers. Cutting through the sky as Iron Man; dive bombing, fists-first as the Hulk; firing gadgets at cronies as Black Widow; cracking a row of skulls with Cap’s shield… Avengers is a brawler on super soldier serum.

The combat is crunchy and addictive, and surprisingly deep once you unlock your character’s full suite of skills and buffs. The gear matters little. But choosing a loadout that works for you -- like ensuring enemy takedowns grant you a health orb every time or turning area clearing attacks to focused beams of hurt -- does matter. When it comes to games with disastrous launches, Avengers is the most deserving of a triumphant comeback story because, if you clear the wreckage, I think there’s a solid game here. If I was able to spend hours playing it in its roughshod state, I can see myself digging in for the long-term once it’s polished up and given a healthy dose of content. You know...if Square Enix doesn’t outright abandon it.

9. STREETS OF RAGE 4

Here’s a fact about me: I love beat ‘em ups. From Final Fight to X-Men to The Simpsons, I prioritized my quarters for the beat ‘em up machines (and House of the Dead simply because House of the Dead fuckin’ owns). Unfortunately, Streets of Rage wasn’t in arcades, and I didn’t own a Genesis growing up, so I didn’t get around to the series until Sega re-released as part of a collection. Though my history with the 29 year old brawler is shorter than some, the basics stand out out right away: it’s an awesome side-scrolling brawler filled with zany character designs and high octane boss fights.

SoR4 nails that simple spirit while adding an electric soundtrack, buttery smooth animations, and an art style that looks like a comic book in motion. You can button-mash your way through the game or master your timing to combo stun the shit out of bad guys. Same screen co-op is a requisite for the beat ‘em up genre but I have to call it out nonetheless given that it's next to obsolete these days. The story campaign is, of course, finite but a stream of unlockables and a Boss Rush Mode pad out the package nicely.

I really don’t have to go on and on. I’m on board with any game that captures the arcadey high of classic beat ‘em ups, and Streets of Rage 4 does it with flare.

8. RESIDENT EVIL 3 REMAKE

Resident Evil 2’s remake was my game of the year in 2019. It’s a pitch perfect revision that captures the pulse-pounding fear of the original while beautifully updating its graphics and gameplay for modern audiences. The most striking aspect of RE2’s remake is how it expands and reconfigures the classic game’s environments and set pieces. Capcom managed to recontextualize, and even improve on, the original’s design while staying faithful to its tone and atmosphere.

Resident Evil 3’s remake is less successful in modifying and improving on its source material. If the game feels like it was handled by a different team than RE2R, your gamer hands have good eyes (roll with it). It was developed by a separate internal team (three different teams, in fact), but that’s actually one of many choices mirroring its 1999 forebear. Just like the original, RE3R is a tighter (i.e. shorter) experience that launched less than a year after its predecessor. And just like the original, the game skirts away from survival horror in favor of action horror.

Unlike last year’s remake, however, RE3R paints in broad strokes with the original material much in the same way that 2004’s Dawn of the Dead remake shared a vague resemblance with Romero’s ‘79 classic. Capcom at least nails down what matters: you play as Jill Valentine, beaten and discredited after the Arklay Mountains incident, during her last escape from the zombie besieged Raccoon City. Her exit is complicated by Nemesis, a humanoid missile that relentlessly pursues her from minute two of the game. Her only chance of making it out alive is by teaming up with a gaggle of Umbrella dispatched mercenaries, including an overly handsome fellow named Carlos Oliveras that you control for a spell. But fans struggled to get over what Capcom didn’t remake. Several enemies, boss fights, and a “divergent path” mechanic that had you choose how best to escape the Nemesis in a pinch were omitted from the remake. Even an entire section set in a clock tower was cut. But, let’s be honest, the biggest omission is a secret ending where Barry Burton saves the day using only his beard. For real, YouTube that shit.

If you look at what the remake does instead of what it doesn’t, you’ll find a lightning paced action game highlighted by tense, one-on-one fights against the constantly mutating Nemesis. The tyrant’s grotesque transformations evoke the mind-rending, gut turning creature designs found in John Carpenter's The Thing. It’s sad that Nemesis doesn’t pursue you through the levels as diligently as he did in the original, or as Mr. X had in last year’s remake, but these “arena fights” end up being harrowing and fun, culminating in a memorable final encounter. The remake also treats us to the best incarnation of Jill to date. She’s a cynical badass, exasperated at how Umbrella upended her life, and can take a plunge off of a building yet still muster enough energy to call Nemesis a bitch. RE3R also shines thanks to its snappy combat, including a contextual dodge that feels rewarding to pull off, less bullet-sponge enemies than RE2, and an assortment of weapons to get you through Jill’s Very Bad Night(s). It makes for a necessary, though shorter, companion to last year’s stellar remake.

7. HADES

I’m experiencing a new type of shame including a title that I haven’t beaten on my Top 10 list, but I can assure you that I’ve dumped hours into its addictive death loop. It’s probably because of my resistance to looking up any tips, but given the skill-check nature of the difficult boss fights, I’m almost afraid the top shelf advice will amount to “die less, idiot.”

My failings aside, Hades is brilliant. It’s the perfect merger of gameplay and storytelling. You play as Zagreus, son of Hades, and your entire goal is to escape your father’s underworld domain. You pick from a selection of weapons, like a huge broadsword or spear, and attempt your “run,” seeing how far you can make it before an undead denizen cuts you down. It’s familiar roguelike territory, but where Supergiant separates their game from the pack is in the unique feeling of constant progression, even as you fail. With each run, not only is Zagreus earning a currency (gems or keys) that unlock new skills that make the next go a little easier, you’re also consistently treated to new lore. The fallen gods and heroes that line your father’s hall greet you after each death and provide a new insight into their world. The writing is bouncy and hilarious, the voice acting ethereal and alluring, and the character designs could make a lake thirsty.

Supergiant’s stylistic leanings are at their peak here. They’ve managed the impossible feat of making failure feel like advancement. Sure, it totally fucks up other roguelikes for me, but that’s okay. None of those games have Meg.

6. DEMON’S SOULS

Whereas Capcom takes liberties with their remakes, Bluepoint took the Gus Van Sant approach and made a 1:1 recreation of the 2009 title that launched the “Soulslike” genre. The dividing difference is a 2020 facelift brought to us by way of the PlayStation 5’s next-gen horsepower. There’s been online arguments (surprise) regarding the loss of Fromsoftware’s visual aesthetic in translating the PS3 original in order to achieve a newfound photorealism. It’s true, some beasties lose their surreal weirdness -- a consequence of revisiting designs without the worry of graphical or time constraints -- but the game’s world is still engrossing, morbid, and bleakly gorgeous.

That’s not to say all Bluepoint did was overhaul the graphics and shove this remake out the door. No, their improvements are nuanced, under-the-hood changes that gently push the genre into the next-generation. For one, the loading times are incredible. You could hop between all five archstones in under a minute if you wanted. And this game is a best DualSense controller showcase outside of Astro’s Playroom. You can feel a demonstrable difference between hitting your sword against a wall compared to connecting it with an attacking creature. Likewise, the controller rumbles menacingly as to let you know enemies are stomping across a catwalk above you. “Better rumbles” was not on my wish list of next-gen features, but the tactile feedback goes great lengths to make you feel like you’re there.

Granted, sticking so closely to the original means its pratfalls are also carried over to the next-gen. The trek between bonfire checkpoints is an eternity compared to the game’s successors, and Fromsoftware hadn’t quite mastered the sword ballet of boss fights prevalent in Dark Souls. Instead, a handful of bosses feel more like set pieces where you’re searching for the “trick” to end it versus having to learn attack patterns and counters. Still, it’s easy to see the design blueprint that bore a whole new genre. From having to memorize enemy placements to hunting down the world’s arcane secrets in the hopes of finding a new item that pushes the odds in your favor. Bluepoint’s quality of life improvements only make it kinder (not easier) to plunge into the game, obsess over its idiosyncrasies, and begin to master every inch of it. That is until you roll into New Game+ and the game shoves a Moonlight Greatsword up your ass.

5. YAKUZA: LIKE A DRAGON

Here’s a fact about me I’m sure you don’t know: I love beat ‘em ups. Streets of Rage 4 had an easy time making it on this list because it can be classified as both a “beat ‘em up” and “good.” Here’s another fact about me: I’m not the biggest fan of JRPGs. I’m told this is not because of any personal preferences I harbor, but rather due to a distinct lack of culture. I’ve made peace with that. At least my uncultured ways are distinctive.

But my disinterest in JRPGs is notable here because it illustrates how very good Like A Dragon is. Transitioning the Yakuza series from a reactive brawler (entrenched in an open-world SIM) to a full-blown turned-based RPG was risky -- especially 8 entries into the mainline series -- but it pays off explosively for Like A Dragon. Not only does the goofiness, melodrama, and kinetic energy translate to an RPG -- it’s improved by it. Beyond a new protagonist -- the instantly likable and infinitely affable Ichiban Kasuga -- we’re finally treated to an ensemble cast that travels with you, interacts with you, and grows with you. Their independent stories weave into Ichi’s wonderfully and end up mattering just as much as his.

The combat doesn’t lose any of its punch now that you’re taking turns. In fact, it feels wilder than ever and still demands situational awareness as your enemies shift around the environment, forcing you to quickly pick which move will do the most damage and turn the fight in your favor. RGG purposefully made Ichi obsessed with Dragon Quest (yes, specifically Dragon Quest) as an excuse to go ham and morph enemies into outlandish fiends that would populate Ichi’s favorite series. It’s a fun meta that never loses its charm.

This is the best first step into a new genre I’ve ever seen an established franchise make and I hope like hell they keep with it for future outings -- and that Ichi returns to keep playing hero. There’s plenty of callbacks and treats for longtime fans, but RGG did a masterful job rolling out the virtual carpet for a whole new generation of Yakuza fanatics.

4. GHOST OF TSUSHIMA

Sucker Punch’s dive into 13th century Japan doesn’t redefine the open-world genre. But like Horizon: Zero Dawn before it, Ghost of Tsushima takes familiar components of the genre and uses them exceptionally well, creating an airtight experience that can’t help but stand out. I can tell Sucker Punch mused on games like Assassin’s Creed and Breath of the Wild, tried to figure out what makes those games tick, and then brought their own spin to those concepts. You can feel it in their obsession to make traversal through the environment as unobtrusive as possible, letting the wind literally guide you to your destinations instead of forcing the player to glue their eyes to a mini-map. You can feel it in how seamless it is to scale a rooftop before silently dropping on a patrol, blade first. You can feel it in the smoothness behind the combat as your sword clashes against the enemy’s. Every discrete part is fine-tuned yet perfectly complements the whole. The game is silk in your hands.

The mainline story can be humdrum, though. It mirrors the beats of a superhero origin story, which isn’t surprising when you account for the three Infamous titles and satellite spinoffs under Sucker Punch’s belt. But Jin Sakai’s personal journey outshines the cookie-cutter plot. His gradual turn from the strict samurai code to a morally ambiguous vigilante lifestyle (to becoming, eventually, a myth) is a fascinating exploration in shifting worldviews. This is bolstered by the well-written side-missions dotting your quest, some of which play out in chains. It’s these diversions about melancholy warriors and villagers adjusting to life under invasion that end up being the essential storytelling within the game. Whatever you do, don’t skip a single one.

Before GoT can overstay its welcome with collectible hunting and stat-tree building, the ride is over. If you find exhaustive open-world titles, well, exhausting, Sucker Punch coded enough of a campaign to sticking the landing and not more. But if you were looking for more, the game’s co-op Legends mode is the surprise encore of the year. It strikes its own tone, with vibrant, trippy designs, and a progression system that embarrasses other AAA titles in the space (I mean Avengers. I’m talking about Avengers).

3. THE LAST OF US PART II

The Last of Us is widely regarded as a masterpiece. It’s a melancholic trek through a realistic post-apocalypse, driven by the budding bond between a world-weary survivor and a would-be teenage savior. The fungal zombies and violent shootouts with scavengers were scary and exciting, but ultimately just window-dressing compared to the level of complicated, and honest, human emotion on display throughout the tale. While a segment of detractors helpfully pointed out that The Last of Us’ story isn’t unique when compared to years of post-apocalyptic books, comics, and movies, that argument seems to forget that a narrative more concerned with the human protagonists’ connections to one another instead of saving the world or feeding into a hero complex is pretty unique for games -- especially a high profile, AAA budgeted game.

Still, fans made heroes out of Joel and Ellie because of their own connection to their journey. And that connection is almost instantly challenged in the opening hours of The Last of Us Part II to heartbreaking effect. But I’m here to tell you that any other sequel would have been dishonest to the legacy of the original game. To be given a hero’s quest as a continuation, an imagined sequel where Joel and Ellie do battle against the viral infection that’s swept the earth, would have been a despicable cash-in. It would have been a mistake to follow-up the original’s careful examination of human nature just to placate an audience that seems to have missed the point Naughty Dog made. The Last of Us Part II hurts. But it has to or else it wouldn’t have been worth making. It’s a slow-burn meditation on the harmful ripples revenge creates, how suffering begets suffering, and how, if we don’t break the cycles of violence we commit to, suffering will come for us.

To drive this point, we’re given two distinct perspectives during the meaty (and somewhat overlong) campaign, split between Ellie Williams, the wronged party seeking revenge, and Abby Anderson, an ex-Firefly whose actions set the sequel into motion. The greatest trick Naughty Dog pulls off isn’t forcing us to play as a character we hate, it’s giving us reasons to emphasize with them. It was gradual, and despite some heavy-handed moments meant to squeeze sympathy out of the player (how many times do I have to see that fuckin’ aquarium?!), I eventually came to love Abby’s side of the story. The obvious irony being that she unwittingly walks the same path Joel did in the original.

My love for the narrative shouldn’t distract from how well designed the world is. Being a King County local, the vision of a ruined Seattle strikes an uncomfortable note -- it was eerie seeing recognizable buildings overgrown with vegetation but otherwise devoid of life. Maybe the heart-wrenching story also distracts from the fact this game is, by definition, survival horror. Exploring toppled buildings in the dark, hearing the animalistic chittering of the infected, defending yourself with limited resources… It manages to be a scarier entry into the genre in 2020 than even RE3R. There’s a particular fight in a fungus covered hospital basement that easily goes down as my Boss Fight of the Year. Human enemies make for clench-worthy encounters, too, with incredibly adept AI that forces you to keep moving around the environment and set traps to avoid getting overwhelmed.

Admittedly, the subject matter -- or more to the point, the grim tone -- was tough to stomach during an actual pandemic which has happily treated us to the worst of human nature. Still, The Last of Us Part II is absolutely worth playing for its balance of mature themes and expertly crafted world, and the way it juxtaposes beauty and awfulness in the same breath.

2. SPIDER-MAN: MILES MORALES

The most impressive thing about Miles Morales is that, despite being a truncated midquel rather than a full-blown sequel, it’s a better game than 2018’s Spider-Man. It’s not because of the instantaneous loading times or the fancy ray-tracing techniques used on the PS5 version of the game. Rather, it’s how it takes the joyride of the original game and hones it into a laser focused experience filled to the brim exclusively with highs. Like Batman: Arkham Asylum going into Arkham City, Miles starts the game off with his mentor’s best abilities and tools. From there, he discovers his own powers, his bioelectric venom strike, which ends up feeling like the missing ingredient from the first game’s combat.

Your open-world playground -- a locale in the Marvel universe called “New York City” -- is exactly the same size as the previous installment, which helps avoid making the game feel “lesser.” But Insomniac wisely consolidated the random crimes Peter faced into a phone app that Miles can check and choose which activity to help out with. Choices like this really trim the fat from the main game and help alleviate “the open-world problem” where the story’s pacing suffers because players are spending hours on end collecting feathers. This is great because Miles’ story is also great. The narrative kicks Peter out pretty early on, focusing on how Miles assumes the role of city protector, primarily focused on his new home in Harlem. Insomniac avoids retreading the same path paved by Into the Spider-Verse by telling a relatable tale where Miles defines his identity as Spider-Man. With a strong cast led by Nadji Jeter as Miles, the game lands an impactful story that weaves its own new additions to Miles’ mythos (light spoiler: I loved their take on The Prowler).

Miles Morales was pure virtualized joy from start to finish. A requirement of the platinum trophy is to replay the entirety of the game on New Game+. I didn’t hesitate to restart my adventure the minute the credits were over. Everything I loved about 2018’s Spider-Man is here: the swinging, the fighting, the gadgets, the bevy of costumes. But it gave me a new element I adore and can’t see Insomniac’s franchise proceeding without: being Miles Morales.

1. FINAL FANTASY VII REMAKE

I love subversive media, I do. And Square Enix’s “remake” of one the most beloved video games ever made subverts expectations by openly acknowledging that, yes, the original story you love exists and is consistently referenced in this game. But this is not that story. This is something..else. Because the truth is, SE could never have recreated FFVII and delivered a title that matched the Sacred Game fans created in their heads. That impossible standard is like an imagined deity, given power by feeding on raw nostalgia reinforced by years of word-of-mouth and appearances on Top 100 lists. I’m not saying FFVII is a bad game or that fans give it too much credit. Not at all. There’s a reason it’s so influential -- it’s good! But memory works in a funny way over time. We have a tendency to codify our perception of a thing over the reality of it. The connection we make to certain media, especially when introduced at a young age as FFVII had been to a whole generation of fans so long ago, creates a legend in our heads. Unfortunately, it’s a legend no developer could achieve when tasked with remaking it.

So Square...didn’t. Final Fantasy VII Remake has the same characters, setting, and plot beats as the first third of the original game but it’s not the same game, nor is it a remake of it in the traditional sense. It’s something new. And I fucking love that about it.

Everything is reconfigured, including the combat. After years of trying to merge RPG mechanics with more approachable (and marketable) real-time action (see FFXV and the Kingdom Hearts games for examples), Square Enix finally landed on the perfect balance. You fully control Cloud on the battlefield, from swinging your impossibly huge buster sword to dodging attacks. The ATB gauge (no one knows what the acronym stands for -- that information has been lost to time) gradually fills up, letting unleash powerful moves. But best of all, you fight in a party, and you can switch who to control on the fly.

That may not sound revolutionary, let alone for a Final Fantasy, but each character has a completely unique feel and suite of moves. At times, it feels like playing a Devil May Cry game where you can switch between Dante, Vergil, and Nero on the fly (that’s a free idea, Capcom. Hire me, you cowards). You can soften up an enemy with Cloud’s buster to increase their stagger meter, switch to Barret for a quick gatling barrage, and finally switch to Tifa to crush them with her Omnistrike. You can accomplish this in real-time or slow down the action to plan this out. It’s a great mix of tactics and action that prevents the game from feeling like a mindless hack n’ slash.

What really, really works here is the character work. Each lead walks in tropes first, but the longer you spend with the members of your party, the more their motivations and fears are laid out. You end up having touching interactions with just about the whole main cast. There’s a small segment, after Cloud saves Aerith from invading Shinra guards, that the two make an escape via rooftop.They make light conversation -- small talk really -- but it’s exchanges like this that feel genuine, perfectly framing their characters (stoic versus heartfelt), and grounding an otherwise larger-than-life adventure.

Many bemoaned the fact that FFVIIR only revisits a small portion of the original game, but I think it was a brilliant choice -- to massively expand on areas we only got to see a little of in the original. I honestly didn’t want to leave Midgar. It’s a world rife with conflict and corporate oppression, sure, but Midgar is beautifully realized, from the slums below the plates, populated with normal people trying to make the best of life, to the crime controlled Wall Market, adorned with gaudy lights and echoing honky tonk tunes. It very well may be years before FFVII’s remake saga comes to a close, but if each entry is paved with as much love and consideration and, yes, storytelling subversion as this introductory chapter… It’ll be worth the wait.

#gaming

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reading-while-queer · 4 years

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The Essential Dykes to Watch Out For, Alison Bechdel

Rating: Great Read Genre: Graphic Novel Representation: -Lesbian ensemble cast -Racially diverse ensemble cast Trigger warnings: Reclaimed D-slur, animal death, cheating, divorce, cancer, casual transphobia, biphobia, and ableism, difficult topics ranging from war to AIDS to 9/11. Note: Not YA; sexually explicit

If you’re familiar with Fun Home or Are You My Mother? you’ll know what I mean when I say that Dykes to Watch Out For is no entry level work - though Dykes to Watch Out For is difficult for different reasons. While Bechdel’s ruminations on her childhood, psyche, and sexuality require a decent amount of outside reading to be fully appreciated, Dykes to Watch Out For requires an equally rigorous knowledge of the political landscape of the past forty years.

But on the other hand, the more things change, the more they stay the same. The wars, elections, discourse, and protests are not so unfamiliar. If I had to pinpoint Dykes to Watch Out For’s continued importance to lesbians today in just one idea, it would be this: “Against the sweeping backdrop of history... everyday life pretty much continues” (371).

It’s not a major theme of the work, yet it is the shape of the final tapestry. Politics, discourse, trauma, and sickness make their ravages, and here we all are, much the same as we ever were 10, 20, 30 years ago: this pattern, far from intentional, emerges from the tide-like flow of 30 years of comics. But it’s why Dykes to Watch Out For is so special. And we have the privilege of going back to look into that reflection of the 80s, 90s, and 00s and recognize familiar features. The political scenery may be different (or, honestly, not so different) but has daily life changed much?

I first tried to read Dykes to Watch Out For as a curious high schooler, and my eyes glazed over. Without having absorbed enough recent history through cultural osmosis, nor having developed a taste for gray morality, I just didn’t get it. Two characters would have an argument on the page, both of them would make provocative points, and then Bechdel would refrain from telling her reader which was in the wrong. Neither character was a straw man; it almost felt like Bechdel was arguing with herself, trying to decide what was right - if there even was a right answer. I couldn’t wrap my mind around it, especially when the vocabulary and context were both tantalizingly out of reach.

Reading now, I found the once alien discourse all too familiar. The same exact discussions were being had in 1985 as are being hashed out on Twitter. One of a hundred examples is whether gay marriage is a buy-in to the privilege bestowed by heteronormativity. Bechdel asks if marriage is a patriarchal model that can be salvaged, but she doesn’t have an answer for you, just a prompt to chew on.

Another example is Bechdel’s discourse on the outliers of lesbian spheres: trans lesbians, trans men, genderqueer people, and bisexual lesbians (Would you believe that term is used in the text - and equally as contentiously?). These are conversations we are all very familiar with. However, this discourse is especially interesting in a work that took 30 years to write. The reader combs through 30 years of metamorphosis in just a handful of hours. Bechdel’s tongue-in-cheek “Whatever will they come up with next?” is printed in the same volume with genuine consternation on who is allowed to be a lesbian.

Trans women start as a punchline. But on most topics, Dykes to Watch Out For tends, eventually, to stop itself to re-evaluate. Thirty years later, one of the main characters IDs as genderqueer, finds herself meeting trans men and doing drag king shows, fights with her friends over their trans exclusivity, and in the end, ends up advocating for and co-parenting a teenage trans girl, who ends up a main character in her own right. It’s one of Bechdel’s firmer positions on right and wrong, although she doesn’t hesitate to mouth the opposite argument, too.

Plenty of sympathetic characters say transphobic things which just hang in the air, unaddressed. It’s maddening - but in sticking with the material, I got to see the characters who flubbed the pronouns and complained about gender confusion eventually get in line - changes which are not commented upon and happen so gradually in the thirty years over which the comic was written, that they mimic how change happens in real life. In our own lives, change may seem impossible, but then you blink, a decade has passed since you first came out, and half the homophobes have come around. Much the same for Dykes to Watch Out For, which is almost as much a memoir as Fun Home (albeit of Bechdel’s discourse rather than her life). I think every cisgender lesbian should read it - it’s a powerful antidote against TERFism, not because it lays down the law, but because it meets you where you are and gives you the chance to say your piece without ridicule, before taking you by the hand and showing you something kinder. If Dykes to Watch Out For has anything to teach us, it’s that hard lines in the sand make you look like a dick thirty years later. Take Sparrow’s story arc. Mo, Lois, and Ginger are thrown when their friend Sparrow starts dating a man. They say some rotten things about how betrayed they are, how they don’t know if they can trust Sparrow anymore, or her politics - but when they are overheard, the “discourse” suddenly becomes real. That’s their friend, and her feelings are hurt. What else can you do for your friend who has spent decades of her life as a lesbian, whose identity is culturally and socially interwoven with lesbianism, and who identifies as a bisexual lesbian - except love her?

A frequent lesson is that anyone can be reactionary - even the left-est of leftists. Years later, when Sparrow faces an accidental pregnancy, her friends overwhelmingly pressure her to keep the baby, not because of their politics, but because of their excitement - yet the impact, if not the intent, is anti-choice. It’s ideas like these being brought to the forefront that make Dykes to Watch Out For something special.

In her introduction to the book, Bechdel frets over both keeping up with the changing current of discourse (XVI)

...and her own role in shaping that discourse (XVII)

But her work speaks for itself: if we are to do right by one another, we must prioritize one another, not the rules. The same conversations will be had again, and again, and again, from 1983 until we all go blue in the face. We can’t control someone angrily shouting into the room (or Twitter timeline) “but WHAT about BISEXUAL LESBIANS?” and the chaos that follows - but we can accept that someone will shout it again in twenty years, and that the following chaos will be so nearly identical to the previous chaos as to challenge whether it is chaos at all, or just the universe putting on a matinee performance of the same old song and dance. Is it useful to put on your tap shoes and sing along? Or do you end up hurting the feelings of a genuine friend who just happens to be one of the outliers this time around?

Dykes to Watch Out For is thought-provoking (as you can see, my thoughts have been well and truly provoked), occasionally in poor taste, but mostly surprisingly sympathetic, both to its more marginalized characters, and to its wrong-doers - this comic doesn’t have any villains. The initial gag, that Bechdel would write a catalog of lesbians like a lepidopterist giving clinical attention to a series of specimens, works to her favor. There are no bad lesbians and good lesbians. At least, not essentially. This approach lends Dykes to Watch Out For more staying power than it might otherwise have had - it’s relatable. You know these people. You’ve had some of these arguments, and hurt each other’s feelings over them. Your friends live in the mildewy house that’s kept at 64 degrees in the winter, where you’re as likely to be walked in on in the bathroom as not, a home where everyone in the friend group feels free to stop by.

Here in the future, we have the immense privilege of watching how these parallel lives to ours play out. The Essential Dykes to Watch Out For may be a comic for a different generation, but Bechdel has given us something fascinating from both a history and literary perspective. She has put to paper a sprawling epic about lesbians growing from their twenties to their forties, getting married (or not), progressing their careers, having children, having PTA meetings, having affairs, and doing civil disobedience with their kids. Rarely do we see the map from here to there laid out so meticulously. I read this book voraciously, both the earlier chapters that relate to life as a new adult, and the later chapters, which serve as a window into what life was, and could be.

For more from Alison Bechdel, visit her Twitter here.

#the essential dykes to watch out for #alison bechdel #lesbian #great read #graphic novel #protagonist of color #not ya #reviews only

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tabloidtoc · 3 years

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National Examiner, April 12

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Mark Harmon quitting NCIS

Page 2: Stars Who Rock Around the Clock -- they believe in the healing power of crystals -- Naomi Campbell, Shirley MacLaine, Adele, Mary-Kate and Ashley Olsen, Uma Thurman

Page 3: Debra Messing, Goldie Hawn and Kate Hudson, Megan Fox, Katy Perry, Gisele Bundchen

Page 4: Eddie Murphy's roles and costumes

Page 6: George Clooney is turning 60 in May, and he says being an older dad to toddlers has its benefits -- his son isn't ever going to feel competitive with him and he'll be gumming his bread by the time he'd feel competitive with him, jokes the Oscar-winning actor, whose twins Ella and Alexander turn 4 in June -- George is well aware that growing up with two highly accomplished parents (his wife Amal Clooney is a successful human rights lawyer) can put a lot of pressure on a kid and that's why the couple is already guiding Ella and Alexander with strong values and kind hearts because George says it's their job to make sure that they care about people and that they challenge people in power and look out for people who don't have power and those are the things he was raised with -- the known prankster is also passing the practical joke tradition down to the next generation and he taught Alexander to take a piece of banana, chew it up and then spit it into a napkin, then stand next to him mom, pretend to blow his nose into it and look down until Mama looks at it, then eat it

Page 7: Partridge Family star Shirley Jones turned 87, and she's brimming over with gratitude for her wonderful life that's been chock-full of extraordinary experiences -- she says you have to have a good time and enjoy life to the fullest and before you know it you'll be 87 -- Shirley has three sons (her stepson David Cassidy died in 2017) and 13 grandchildren

Page 8: Take your etiquette test for tea with Queen Elizabeth

Page 9: Brain foods that may help prevent dementia

* Study says new drug slows Alzheimer's

Page 10: Jennifer Garner recently opened up about her real feelings on her body -- she's 48 and single and has three children with ex-husband Ben Affleck: daughters Violet and Seraphina and son Samuel -- in a recent interview, she admitted that her body has changed a lot since having three kids and she doesn't mind one little bit, even though she was hurt when a friend hinted she may be expecting again, saying there are some women whose bodies just, no matter how many babies they have, they bounce right back to that slim-hipped, no stomach and she has so many girlfriends who have that physique and she's so happy for them, but she's not one of them and she can work really hard and she can be really fit and she will still look like a woman who's had three babies and she always will

Page 11: 6 stomach symptoms you should never ignore -- catch problems before the become deadly

Page 12: After more than two decades, James Brolin says he's discovered the way to keep his marriage to Barbra Streisand going strong: negotiation -- it's taken two marriages and 22 years for him to figure it out and he and his wife have gotten so close being locked down together -- his mother was the sweetest person so he never really learned to negotiate with women but now he knows if you sit down and talk about a situation, you can work it out

Page 14: Dear Tony, America's Top Psychic Healer -- don't make snap judgments; you may lose the perfect mate -- Tony predicts a very hot summer coming and a lot more street crime

Page 15: Folks getting their COVID-19 vaccinations at the Berkshire Community College in Massachusetts got a shocking treat: a mini-concert from world-famous cellist Yo-Yo Ma -- while waiting out his 15-minute observation period, the musician sat down to play a socially distant symphony for his fellow inoculees

Page 16: Duchess Kate is never seen without a purse, but what exactly does she keep inside it? There's quite a history between royal women and their handbags: Princess Diana used her clutch bag to cover her cleavage from prying photographers, Queen Elizabeth moves her handbag from one arm to the other to signal to her staff when she's bored of chatting with someone, and Kate carries her bag in her left hand so she can keep her right hand free to greet and shake hands with guests and she holds her bag in front of her when shaking hands might be awkward -- according to royal protocol pre-pandemic, Kate must extend her hand first for another person to shake hands with her, so if she prefers to just smile instead of touching other folks, she uses her clutch to do that -- author Marcia Moody who wrote Kate: A Biography, says the duchess always carries four must-have items: in her small clutch, she carries a compact mirror, a handkerchief, blotting paper and lip balm and every now and then, if she's going to attend a tennis match, for example, Kate will carry a pair of sunglasses -- unlike Queen Elizabeth, whose purses come from a company called Launer, the duchess favors different brands, but mostly a company called Mulberry -- nowadays with three small children, the mom gravitates toward midsize bags with handles because she's got to take more items with her like a handy bunch of tissues, good for wiping little noses and faces, and also takes her camera along

Page 18: William Shatner confesses that when he starred in Star Trek during the mid-60s, he had no idea it would become a worldwide phenomenon still popular today -- Shatner, who turned 90 in March, says it's unimaginable and it's all beyond anybody's imagination or ability to repeat and the greatest thing about being the captain of the Enterprise for three years was his relationship with the cast and the roles were written so well

Page 19: Brandy is a one-in-a million cat because those are the odds she'd ever be found again after she went missing 15 years ago -- when Charles got the phone call from a California animal shelter that his missing pet has been found, he could scarcely believe his ears and the Los Angeles man was skeptical and thought it must be a mistake but he had made sure the two-month-old kitten had a microchip and sure enough, the malnourished stray they found was his Brandy -- Charles did break down and cry because he thought about all of the years he lost from her and when he picked her up, she started to purr and it was very emotional

Page 20: Mark Harmon finally lured wife Pam Dawber out of retirement to star alongside him on NCIS, but the pairing will be short-lived because he's leaving the show after 18 hit seasons -- the 69-year-old star is finally fed up with the backbreaking hours, endless rehearsals, and feuds with cast and crew, and plans to ride off into the sunset with Pam and retire to the couple's Montana Ranch -- Mark's contract is up after season 18, and he's agonized over whether to sign a new one and he's being offered the moon and the stars to come back for a few more seasons, but he says his heart just isn't in it and Mark has faced problems on the set over the past few years and he feels his age, he just doesn't need the aggravation anymore -- NCIS recently teased a possible departure of his character Leroy Gibbs when the special agent commander was suspended for assaulting and nearly killing a suspect but despite that, Harmon insists Gibbs not be killed off so he can leave the door open for a possible return

Page 22: Legendary actor Michael Caine just turned 88 and he's still going strong, starring in an upcoming comedy Best Sellers and says he knows he's old but he doesn't feel old, not in his head, where it matters

Page 24: They say money doesn't buy happiness, but what do people spend their money on that can buy happiness? You don't need millions of dollars to afford the things that happy people buy to stay that way and studies show that anything over $75,000 a year in income is gravy, which means yachts, jewels, second homes and art collections are not at all required -- the best thing to drop your cash on is experiences and doing is better than having and in other words, an object you own will never give you the consistent pleasure of an experience that creates good memories that live on forever -- also the best experiences are the ones that involve other people like having a picnic with family, going rafting with pals, or even just walking and talking with an exercise buddy

Page 25: Freshen Your Fridge -- make a clean start with this 5-step plan

Page 26: Tony's Mystic World -- may the force be with you -- the life force can be drained out of you by fear or worry

Page 28: Sensational Snaps From Around the World -- photo contest captures amazing sights

Page 31: When to trash it -- the useful lifespan of refrigerated food

Page 32: It's been 40 years since Marilu Henner starred on the hit sitcom Taxi, but the great memories and wonderful co-stars are always on her mind because she's still pals with them -- they always stayed in touch with each other and never lost touch and do a Taxi Zoom every two months and they're all very current with each other and they have a text chain as well and they're in contact every week -- Marilu is close with cast members Tony Danza, Judd Hirsch, Danny DeVito, Christopher Lloyd and Carol Kane

Page 33: Garth Brooks is overjoyed wife Trisha Yearwood has finally bounced back from her bout with COVID-19 -- she seems to be 100 percent, according to Garth, and at the end there during fatigue she got real impatient, really kind of mean and sassy and he thought well, she's back to herself -- after announcing in February that Trisha had the coronavirus and Garth said he had tested negative

Page 40: The grass is always greener when you use these simple gardening tips

* Avoid cat-astrophe -- the right way to add a stray

Page 42: 10 things you never knew about Glenn Close -- the wildly successful actress turned 74 in March

Page 44: Eyes on the Stars -- Sylvester Stallone and wife Jennifer Flavin leave a Florida hotel (picture), Jane Seymour is still looking on the bright side even as the world continues to weather the pandemic, one year after the death of Kenny Rogers his family thanked fans as they honored his life, Sharon Stone is dishing dirt about her Hollywood past in her recently released memoir like one moviemaker who told her to have sex with a male co-star to improve their on-screen chemistry, 28-year-old twins Lady Amelia and Lady Eliza Spencer who are the nieces of Princess Diana recently stepped out in South Africa as bridesmaids for fellow high society girl Leila Osato, director Christopher Columbus pooh-poohed internet rumors about the existence of an NC-17 cut of Mrs. Doubtfire but he did confirm there's an unreleased R-rated version

Page 45: Good Morning America co-host Cecilia Vega mugs it up for the camera on the morning show (picture), Gretta Monahan gets out of a car (picture), longtime GMA veteran Robin Roberts displays her ever-present sunny side on the set (picture), the Hollywood Hills home of Johnny Depp recently had some uninvited guests when a man was spotted loitering by the property's pool but ran off after being confronted by a neighbor and not much later Johnny's security team called police about another unwanted visitor who had taken a shower and helped himself to the actor's booze, Elsa Pataky has been married to Chris Hemsworth for 10 years and says patience and communication and understanding are what help their relationship be successful

Page 46: A Texas man has helped thousands of people by donating his blood platelets a staggering 962 times over the past 37 years

Page 47: Celebrity Weddings Gone Wrong -- Ryan Reynolds and Blake Lively, Cameron Diaz and Benji Madden, Nicky Hilton and James Rothschild, Chrissy Teigen and John Legend, Jessica Simpson and Eric Johnson, Freddie Prinze Jr. and Sarah Michelle Gellar, Katherine Heigl and Josh Kelley

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cinemavariety · 4 years

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Cinema Variety’s Top 25 Favorite Films of the Decade

This past decade has been a monumental ten years for the state of cinema. To think that there were actually still video rental stores all around the country, to almost becoming nonexistent, is statement enough to show how vastly audiences have changed the way they consume media. Through much thought and careful deliberation, the following 25 films are my personal favorites of the decade and are what I think best represent all that indie, international and arthouse cinema had to offer over the past ten years. Honorable Mentions: Shame Green Room A Ghost Story The Lost City of Z Knight of Cups 20th Century Women Jackie Blade Runner 2049 The Lighthouse Ingrid Goes West A Hidden Life

#25 - Suspiria (2018) Dir. Luca Guadagnino

“It’s only hours afterward that Guadagnino’s film will cohere for you and yield its buried treasures: the bonds of secret sorority, the strength of a line of dancers moving like a single organism, the present rippling with the muscle memory of the past. It’s so good, it’s scary.”

#24 - Call Me By Your Name (2017) Dir. Luca Guadagnino

“The final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late.”

#23 - American Honey (2016) Dir. Andrea Arnold

“Part dreamy millennial picaresque, part distorted tapestry of Americana and part exquisitely illustrated iTunes musical, “Honey” daringly commits only to the loosest of narratives across its luxurious 162-minute running time. Yet it’s constantly, engrossingly active, spinning and sparking and exploding in cycles like a Fourth of July Catherine wheel.”

#22 - Post Tenebras Lux (2013) Dir. Carlos Reygadas

“Some metaphors score and some miss, but this is leap-of-faith cinema: the rewards entail some risks.”

#21 - The Revenant (2015) Dir. Alejandro G. Iñárritu

“Pushing both brutal realism and extravagant visual poetry to the edges of what one customarily finds in mainstream American filmmaking, director/co-writer Alejandro G. Inarritu, cinematographer Emmanuel Lubezki and a vast team of visual effects wizards have created a sensationally vivid and visceral portrait of human endurance under very nearly intolerable conditions.”

#20 - Her (2013) Dir. Spike Jonze

“What begins like an arrested adolescent dream soon blossoms into Jonze’s richest and most emotionally mature work to date, burrowing deep into the give and take of relationships, the dawning of middle-aged ennui, and that eternal dilemma shared by both man and machine: the struggle to know one’s own true self.”

#19 - Annihilation (2018) Dir. Alex Garland

“A shimmering example of what Hollywood sci-fi can achieve when the aim is high, Annihilation is a gripping, mystifying adventure and proof that a transportive experience is more rewarding than a story with clean-cut resolutions.”

#18 - The Neon Demon (2016) Dir. Nicolas Winding Refn

“Spectacular, gross and delicious (so unsavory it’s almost sweet), the film is more proof of Refn’s mastery of his trash aesthetic and more fun than anything this indulgent and empty-headed has any right to be.”

#17 - Waves (2019) DIr. Trey Edward Shults

“Propelled by color, energy, electronic music and a quartet of career-making performances, here is that rare sort of cinematic achievement that innovates at every turn, while teaching audiences how to make intuitive sense of the way it pushes the medium.”

#16 - Mother! (2017) Dir. Darren Aronofsky

“Mother! is something truly magnificent, the kind of visceral trash-arthouse experience that comes along very rarely, means as much or as little as you decide it does, and spits you out into the daylight dazzled, queasy, delirious, and knock-kneed as a newborn calf.”

#15 - Melancholia (2011) Dir. Lars Von Trier

“The vision is as hateful as it is hate-filled, but the fusion of form and content is so perfect that it borders on the sublime. Melancholia is a remarkable mood piece with visuals to die for (excuse the pun), and a performance from Dunst that runs the color spectrum of emotions.”

#14 - Song to Song (2017) Dir. Terrence Malick

“Any number of sequences find feelings both externalized and hidden intermingling within the same shot, continuing in a subsequent image that carries the impression, the feeling, without replicating the exact tenor of what has just been seen. They exist simultaneously as certain backstories and what motivations they may inspire delicately unfold. Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here.”

#13 - If Beale Street Could Talk (2018) Dir. Barry Jenkins

“What Jenkins gets most right—what astonishes me the most about this film—is Baldwin’s vast affection for the broad varieties of black life. It’s one of the signature lessons of Baldwin’s work that blackness contains multitudes. In some ways Beale feels less like a movie than a well-staged, meticulously shot play; a period piece that floats beyond its specific time and place and into the realm of allegory.”

#12 - Samsara (2012) Dir. Ron Fricke

“Simply put, Samsara tells the story of our world, but onscreen, it is so much more than that. A darker and more ambitious meditation on impermanence, Samsara relies on blunt force and unforgettable imagery, overcoming the hazy logic of Fricke's editing to earn your awe.”

#11 - It’s Such a Beautiful Day (2012) Dir. Don Hertzfeldt

“A highly original and utterly enthralling film that touches on staggeringly expansive themes - more typically expected in the work of master auteur and persistent award-winner Terrence Malick, than from animations. An existential flipbook and a heartbreaking black joke: stickmen have never looked so alive.”

#10 - Upstream Color (2013) Dir. Shane Carruth

“You may not be able to figure it out, but that's part of the point of this sensually-directed, sensory-laden experiential (and experimental) piece of art that washes over you like a sonorous bath of beguiling visuals, ambient sounds and corporeal textures.”

#9 - Hereditary (2018) Dir. Ari Aster

“It’s a supremely effective gauntlet of supernatural horror that’s also, at blackened heart, a grueling domestic drama about how trauma, resentment, and guilt can seep into the roots of a family tree, rotting it from the inside out.”

#8 - Spring Breakers (2013) Dir. Harmony Korine

“Spring Breakers seems to be holding a funhouse mirror up to the face of youth-driven pop culture, leaving us uncertain whether to laugh, recoil in horror, or marvel at its strange beauty. Full credit to Korine, who sustains this act of creative vandalism right through to the finish. Spring Breakers unfolds as a fever dream of teenage kicks, a high-concept heist movie with mescal in the fuel tank.”

#7 - The Master (2012) Dir. Paul Thomas Anderson

“Two things stand out: the extraordinary command of cinematic technique, which alone is nearly enough to keep a connoisseur on the edge of his seat the entire time, and the tremendous portrayals by Joaquin Phoenix and Philip Seymour Hoffman of two entirely antithetical men. Written, directed, acted, shot, edited and scored with a bracing vibrancy that restores your faith in film as an art form, The Master is nirvana for movie lovers. Anderson mixes sounds and images into a dark, dazzling music that is all his own.”

#6 - Interstellar (2014) Dir. Christopher Nolan

“It’s a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike, and yet it always feels grounded in its own deadly serious reality. An exhilarating slalom through the wormholes of Christopher Nolan’s vast imagination that is at once a science-geek fever dream and a formidable consideration of what makes us human.”

#5 - The Place Beyond the Pines (2013) Dir. Derek Cianfrance

“A brilliant, towering picture, The Place Beyond The Pines is a cinematic accomplishment of extraordinary grace and insight. The movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.”

#4 - Black Swan (2010) Dir. Darren Aronofsky

“A full-bore melodrama, told with passionate intensity, gloriously and darkly absurd. It centers on a performance by Natalie Portman that is nothing short of heroic. This is, no doubt about it, a tour de force, a work that fully lives up to its director's ambitions.”

#3 - Drive (2011) Dir. Nicolas Winding Refn

“From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights. Drive dynamically merges a terrific film noir plot with a cool retro look. It's an unapologetically commercial picture that defies all the current trends in mainstream action filmmaking.”

#2 - Blue Valentine (2010) Dir. Derek Cianfrance

“Cianfrance and his actors, Michelle Williams and Ryan Gosling, have not made a cold or schematic film. They aim instead for raw emotional experience, one that's full of insight into the ways a relationship can go astray, but mostly feels like a slow-motion punch to the gut.”

#1 - The Tree of Life (2011) Dir. Terrence Malick

"The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. I wrote earlier about the many ways this film evoked my own memories of such time and place. About wide lawns. About a town that somehow, in memory, is always seen with a wide-angle lens. About houses that are never locked. About mothers looking out windows to check on their children. About the summer heat and ennui of church services, and the unpredictable theater of the dinner table, and the troubling sounds of an argument between parents, half-heard through an open window.”

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xb-squaredx · 3 years

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B-Squared’s Top 10 Games of 2020

I don’t think it’s an exaggeration to say that having something to distract me from the genuine horrors unleashed during 2020 was vital to staying alive, and for me that means a lot of video games! I played…a lot of games last year, but I spent a lot of time playing older games, so I didn’t get a chance to check out a lot of high-profile games that launched this year. Still, I do want to shine a light on the games that managed to resonate with me even a little bit, that somehow managed to launch this year. So let’s get to it!

#10 – No Straight Roads

Rarely have I been struck by a single trailer for a game like I was for No Straight Roads. Produced by industry veterans under a new studio, this is a rare game that’s not quite an indie game from a studio full of newbies, but it’s also not produced with the same kind of budget and resources of a Triple-A project. What do we call this? A Double-A game? Single-A? Regardless, I have to give the team at Metronomik some props for delivering a super stylish game in the midst of a very challenging year. No Straight Roads is a rhythm-based action game where two up-and-coming musicians fight to bring back Rock and Roll to the people of Vinyl City. I absolutely adore this game’s presentation, with each major boss being visually unique and having their own feel that compliments the music they bring to battle. There’s some real energy in these animations with character designs that ooze personality, and being a game about music the soundtrack is great! All that being said though, I have to admit I wasn’t a huge fan of the gameplay when all was said and done. It leans way more on the rhythm side of the equation than I was hoping for, and the action felt very shallow. The fixed camera made some phases of some fights a real problem, and the Switch verison, which I played, is plagued with a lot of issues that really brought the game down for me. If the game interests you at all, give it a shot on PC or PS4; I hear those versions are a lot better. Still, I liked the potential I saw in this game and in this studio, so I can only hope they did well enough to continue on. This definitely feels like the kind of passion project that deserves more recognition.

#9 – Streets of Rage 4

OK, so full disclosure: I didn’t grow up with 2D beat-em-ups. I missed out on all of the greats of the genre back in the day. No Final Fight, no River City Ransom, no Double Dragon, and definitely no Streets of Rage. In more recent years I have tried to dip my toe in the genre, as I did in 2019 with River City Girls. However, I came away from that game a bit disappointed by the overall gameplay and wondered if 2D beat-em-ups were for me. Seeing so much praise heaped onto Streets of Rage 4 had me curious, so I knew I had to try it, if only to broaden my experience in the genre. In many ways, this game is the perfect sequel to a franchise that hasn’t seen any signs of new life in years. It retains what made the series beloved with satisfying combat and challenge, but with a modern touch. The overall art style of the game and music work out pretty well, and I found the act of comboing enemies to be really satisfying. It really doesn’t overstay its welcome either, which is very appreciated in an age of endless timesinks. I also struggled a fair bit with the game, even on Normal, and well after some patches that seemed designed for more casual fans like me. Had this game not had online co-op as an option, I don’t know if I could have beaten the final levels. So my time with this game was pretty rough but despite that I can still see this was a game made with care, and if this game DOES do something for you, there’s plenty of reasons to keep playing on higher difficulties, unlocking more characters and even playing online with friends. Let me put it this way; I’m not all that sure I like the genre and I still liked this game, so I think that counts for something!

#8 – The Wonderful 101: Remastered

…this one is kind of cheating, I’ll admit! I had a lot of trouble thinking up ten games that really stood out to me this year, honestly. That said, I’ll definitely use loopholes to plug one of my favorite games from years ago. Seven years ago, PlatinumGames launched The Wonderful 101 on the ill-fated Wii U, where it bombed harder than just about anything on the system. For those that gave the game a shot, however, they were quick to discover a deep, complex, and charming action game that plays like nothing else out there. Controlling a team of 100 heroes at once, players form weapons out of the various Wonderful One’s bodies, smacking around giant robots and aliens far larger than them with the power of teamwork! How could you not love that, right?! Now, years later, PlatinumGames is aiming to become more independent and their first act was launching a Kickstarter as a way to get this game on newer platforms. While we may never know why Nintendo gave Platinum their blessing to release this game on non-Nintendo platforms (being as this is still, as far as I know, a Nintendo-owned IP), I’m just glad more people can have access to one of the most unique action games I’ve ever touched.

To sell it another way, this game combines the overall aesthetic of Viewtiful Joe with the shape-drawing action of Okami but with a bit of Bayonetta flair on the side. Basically, this is the culmination of everything director Hideki Kamiya has ever worked on. The Remastered version fixes some issues present from the game’s original release, and while I do think they could have gone a bit further with some changes, it is likely the best way to play the game for many. All those sections that made heavy use of the Wii U GamePad are a tad awkward though, but that held true even back on the Wii U anyway…d-don’t worry so much about that, though! I’d still recommend this game to anyone looking for the type of over-the-top action that only Platinum (and occasionally Capcom) can provide! So please consider joining the Wonderful Ones and Unite Up!

#7 – Paper Mario: The Origami King

Discourse around the Paper Mario series is…more than a little rough, honestly! Many fans have been quite vocal about not liking the direction the series has been heading with the last few games, but I went into The Origami King with an open mind and ended up really enjoying the game for the most part! What the game lacked in a developed storyline, it made up for with some really strong character moments and memorable setpieces. Bobby and Olivia are among my favorite partners in ANY of the Mario RPGs, easily, and the entirety of the Great Sea section of the game was a really fun adventure. I love the highly-detailed paper-crafted enemies and locales, and the soundtrack really didn’t have to go as hard as it did. While the battles against common enemies didn’t quite click with me, the boss battles throughout the game constantly surprised me with interesting twists on the ring-based combat and are a real highlight for me. I know this game is pretty divisive amongst Paper Mario fans, but I think the franchise has a pretty bright future ahead of it!

#6 – DOOM Eternal

Fair warning here, but I haven’t quite managed to beat DOOM Eternal at the time of writing this, but what I’ve played so far tells me it definitely belongs here. I think Eternal is hands-down the most intense game I’ve played in a long time. It gets my blood pumping as I dash about, shooting and slicing through demons that are extremely eager to rip and tear me to pieces. I don’t play many shooters in general, so I knew I was going to be in for a rough time, but DOOM Eternal brings it to another level right away. In some respects, I don’t quite agree with various aspects of the core game design that makes the game harder than I think it needs to be at times. The scarcity of ammo, and thus the constant need to use the Chainsaw weapon in order to gain more ammo gets tiring, though that somewhat levels off as more weapons are acquired and players learn of more efficient ways to take out the hordes of Hell. The game’s fantastic soundtrack by Mick Gordon definitely elevates the experience, so it is a huge bummer knowing that he and ID Software had a falling out and he won’t be coming back. I really dig the game’s expansive levels and more focus being put on exploring every nook and cranny for secrets, and certain old-school touches like finding extra lives or cheat codes definitely makes the game feel like it was ripped out of a bygone era and given a modern paintjob at times. Doom is eternal, and with it, so is pulse-pounding shooting action!

#5 – Xenoblade Chronicles: Definitive Edition

Compared to the other re-release of an old game on this list, I think this particular title had a lot more time and care put into it…and it also happens to enhance one of my favorite games on Wii as a bonus! Xenoblade Chronicles on Wii was a game that almost passed me by but even years later, I still adored the characters and world it introduced, and I’ve been happy to see what started as game that was almost stuck in Japan eventually grow into a full franchise. I consider the first game to the best in the series, though it was held back by a few issues later games would iron out. Chief among the problems was the visuals, particularly the character models and…wow does ten years make a world of difference. The Definitive Edition does more than just clean up everyone’s faces, it also cleaned up the game’s cluttered UI, made it easier to track quests and materials for said quests, and added some fun optional challenge missions for veterans to tackle. The bow that adorns the top of this package, however, is the epilogue story Future Connected that serves to tie up some loose ends and gives a particular character some great closure. If you love massive worlds to explore, a compelling, at times over-the-top story, and a deep, rewarding combat system, I can’t recommend THIS version of THIS game enough. If you’re going to give the Xenoblade series a try, there’s no better place to start.

#4 – Ghost of Tsushima

When Ghost of Tsushima was first unveiled years ago, I didn’t exactly have a high opinion of it. It seemed like a game that put more emphasis on visuals over gameplay, and I was almost certain it would launch as a PS5 exclusive so why bother getting excited when I probably wasn’t going to be an early adopter of the system? To my great surprise, not only was this game confirmed for PS4, it wound up being one of the prettiest games on the platform and well-optimized to boot, even on my old slim PS4. Playing as lone samurai Jin Sakai, players try to repel the Mongel invasion of Japan, but are forced to adopt less-than-honorable tactics to take on this ruthless enemy. Usually when I play stealth games, I find myself frustrated. I feel weak, or limited, and often the games feel overly harsh. If you get caught once, game over and there’s little salvaging being seen. In Ghost of Tsushima however, there’s a great deal more care put into stealth, and at times I’d argue it’s almost too fun to pass up over the sword play. Very few missions in the game force you to go completely unseen, so stealth just because yet another tool rather than a limitation imposed on you.

Swordplay felt a bit less engaging against common enemies (typically just being Simon Says, switching to the appropriate stance for a given enemy), but the one-on-one duels throughout the game were fantastic and I almost wish the game was all about them instead. I can’t overstate how gorgeous this game is either, with a world that feels like it is breathing, as the wind whips through the tall grass, the moon penetrates fog overtaking a creepy forest, or seeing the smoke from an enemy camp wafting over the distance. Hands-down one of the best-looking games on the PS4, and I’m particularly happy that developer Sucker Punch managed to land a hit with a new IP, as those generally feel more risky as times go on. While I’d argue that Ghost of Tsushima doesn’t really redefine how open-world games should be designed, it is an extremely polished experience and manages to do it well, with plenty of opportunities to grow in a potential sequel.

#3 – Animal Crossing: New Horizons

If there’s any one game that people absolutely needed in 2020, it was Animal Crossing: New Horizons. While there are other games of this type, like Stardew Valley or the Harvest Moon (and later, Story of Seasons games), Animal Crossing is one of the few games that gets mainstream attention while simultaneously running counter to most mainstream gaming trends. No conflict, no combat, no overarching story really…just a game that lets you live your live, day by day on your own terms. I tried getting into the series before with New Leaf but just didn’t stick with it, but New Horizons launched at the perfect time in an imperfect world. Being able to escape the uncertainty and dread that enveloped the world as the pandemic spread for even a little while was a necessity, and thankfully New Horizons had plenty to do to keep idle hands busy. Changes like item crafting and eventually limited terraforming of your island paradise give players so much more agency in decorating their homes and building up something they can be proud of.

We all start as nothing but a small tent on a mostly-empty island, but seeing what people were able to do even in the first few weeks or so was nothing short of amazing. We need more unflinchingly wholesome games in the world, and I’m thankful for Animal Crossing for being there when we needed it, and considering how well it sold and how much post-launch content is expected to be added with time, it remains a sanctuary to return to even now. Just…please let us craft in bulk? Pretty please, Nintendo?

#2 – Hyrule Warriors: Age of Calamity

Last year, Nintendo released Astral Chain, a game that no one knew about before release, which was revealed and released with very little gaps between them. It was a game I didn’t know I wanted until it was presented to me, and that trend continues this year with Hyrule Warriors: Age of Calamity. The first Hyrule Warriors was a fun, surprising spin-off of the main Legend of Zelda series, and Breath of the Wild was a fantastic game that shook up the core of the Zelda franchise, so in hindsight it really does seem like a no-brainer to combine the two into one package. Age of Calamity, for my tastes at least, cuts down on the repetition and overall stressful atmosphere of the first Hyrule Warriors and instead focused on fleshing out it’s core combat and crafting more creative main storyline missions. It helps that the game reimagines iconic locales from Breath of the Wild from before their destruction, and really makes you feel like you’re fighting through actual places rather than just a collection of random keeps that most Warriors games use.

Bringing in aspects like the Sheikiah Slate and Elemental Rods allows players to control the flow of combat more directly on top of letting them be more creative. Freeze enemies standing over water with the Cryonis rune or burn some grass with the Fire Rod to distract certain enemies, among many other things. Each playable character is also very distinct, even in cases where I could have forgiven the developers for reusing some attacks or traits. For one, Link has different movesets for his Sword and Shield, Spear, and Two-Handed weapons, but none of his attack overlap with the other Champions who use similar weapons. Some people might be put off with certain aspects of this game’s story and ultimately not everyone likes the overall structure of the Warriors spinoffs anyway, but for my part, Age of Calamity was one of the best surprises of the year, unveiled right at the end of the year in the nick of time. Of course, there was one game this year that surprised me more than any other.

#1 – Hades

I’ve known of Supergiant Games for quite a while and very recently began looking through their catalogue of games. They’re known for well-crafted narratives and satisfying combat, and yet when I first saw Hades when it was released in Early Access I was tepid on it. It didn’t look bad or anything, but it didn’t exactly blow me away and even now, I think a random screenshot or quick clip of the game might not do the game justice in explaining the appeal. I already wrote about the game at-length (as my only real non-retrospective blog post of the year, oops!), which you can read here if you want more in-depth praise, but to summarize…Hades is the total package for me.

Playing as Prince Zagreus your end-goal is to escape the puts of Hell, and more specifically get away from your overbearing father, Hades. It’s a rogue-lite, meaning you’re expected to finish the game in one shot and if you die you lose any upgrades you picked up along the way and have to start from scratch…to a point. Hades does allow you to keep a fair amount of items you pick up which can towards small, permanent upgrades or even gifts for various NPCs that can deepen your bond with them. Unlike most other games of this type too, the story constantly moves forward, even after death. The game is about dying over and over and then dusting yourself off to try again, all the while other characters remark on your progress or lack thereof. I grew to really enjoy this cast of characters, a fun spin on the Greek pantheon, paired with excellent voice acting for the entire cast. From the imposing, if somewhat sultry Megaera, to the nervous wreck that is the maid, Dusa, to the pompous ass Theseus, I looked forward to each new run just to learn more about this world and those within it. For once, death wasn’t really a punishment, but a reward, and just part of the process.

Of course, incredibly satisfying combat is ALSO part of the process and it just gets…addicting; muttering “one more run” over and over as you try out different weapons and boons, discovering what works well together and what doesn’t. While at first beating the game felt like it would never happen, I grew from my failures, adapted and eventually overcame. Multiple times. If you want the “full” Hades experience, this game can really demand a lot of time out of you but at the same time it stays fresh, so I can’t really complain. With new gameplay mechanics unlocking as time goes on, to the Pacts of Punishment players can trigger if they want a bit more challenge (or a lot more), Hades is that rare game that just keeps giving and giving. Before I knew it, I had dumped well over 50 hours into it, and I STILL need to get back to the game if I want that epilogue.

Compared to every other game that came out this year, Hades is the one game that grabbed me from moment one and would not let go until I hit credits. When I wasn’t playing this game, I was counting down the minutes until I could play it again, and let me tell you that is rare for me these days. At this point, Hades is clearly the breakthrough hit for Supergiant and I couldn’t be happier. The fact that this game got to stand shoulder-to-shoulder with industry titans at The Game Awards is kind of surreal, but I can’t think of many who deserve that recognition more. It helps that Supergiant is a studio that actually takes care of its employees, which is way rarer than it should be. I don’t mean to hype this game up like it’s the cure for COVID or anything, but I mean it with all my heart that this was the best game I played this year, and I’d recommend it in a heartbeat. I couldn’t stop talking about it for months after playing it, just ask my friends! So yeah, it’s pretty OK I guess.

CONCLUSION

I’m sure my Top 10 List looks a lot different from most out there, but that’s what’s great about games! So much variety and so much quality no matter where you look! Every year, without fail, there’s always at least a small handful of games that come out that I don’t get to, and try as I might I’ll never trim that backlog down. I want to keep playing games for as long as I can, trying out so many different experiences and seeing what this wonderful pastime can offer. For a good chunk of 2020 I was more than a little down, not just because of…you know, but a lot of games that were coming out weren’t appealing to me. That said, seeing as this was the year of shadow drops and announcing things at the last minute, I ended up loving a bunch of games I hadn’t already spend months hyping myself up for, which definitely helped to lift me up this year. Already, 2021 has a lot of titles I’m anticipating though, so it’s sure to be an exciting year.

Happy Gaming.

-B

#top ten list #gaming #animal crossing #paper mario #xenoblade chronicles #ghost of tsushima #doom eternal #no straight roads #hades #streets of rage 4 #thewonderful101 #age of calamity

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sammy8d257 · 4 years

Text

Masterlist For Object Head Media

LAST UPDATED: April 1st, 2020

Google Doc: HERE

Welcome! Ever wanted to find out if there’s any types of media that feature Object Head characters that aren’t just one-off or background characters?

Well you’ve come to the right place!

Here I hope to create a comprehensible list of all types of media that contain Object Headed characters!

But I’m only one person who doesn’t know every piece of Object Head media out there

SO IF YOU have a suggestion for a piece of media that would fit on this list

Send me a message through my Tumblr @sammy8d257

or on Twitter under the same name

With your help, I hope this list becomes very long with all sorts of amazing Object Head media!

Other than that, have fun exploring to your heart's content!

- Sammy

(List under “Keep Reading”)

Comics/Webcomics:

Saga - written by Brian Vaughan, illustrated by Fiona Staples

Gene: Space/fantasy

Rating: M+

Language: English

Status: 54 issues, On Hiatus (as of 4/1/2020)

Read On: Physical Comic

Description: Saga is an epic science-fiction/fantasy drama about two lovers from long-warring extraterrestrial races, Alana and Marko, fleeing from authorities from both sides of a galactic war as they struggle to care for their daughter, Hazel.

Object Heads: TV Heads, in Saga there is a whole race known as Robots Kingdom that are made entirely TV Headed characters.

Character Status: The object head characters turns from side to supporting character in the main cast

Warnings: Nudity, Sex, Death, Violence, its a war setting, blood, drugs, etc.

MyStereoBot - by bioatomic

Gene: Sci-fi, Romance, Comedy

Rating: M

Language: English

Status: 537 pages + 24 page Epilogue, Completed on 6/6/2017

Read On: Smackjeeves or Tapas

Description: Infinity, a stereo head robot, finds himself conflicted with his worth as a person, as a partner, and as a friend. Having trouble with feeling at home on Planet Ribbon and finding happiness, his boyfriend, Cloudburn, and his cousin, Ohm, do the best they can to help him feel worthy. Things seem to go downhill when Quence, a new friend, worries Cloudburn about Infinity’s motives towards him. That is, until an outer-worldly encounter changes all of their lives, for better or for worse, and may just show Infinity what home really is.

Object Heads: Stereo heads, radio heads, tv heads, box heads, etc. There's a lot of different Object heads in this comic

Character Status: Main characters and other side characters are object heads

Warnings: Swearing, partial nudity, drugs

Notes: You can find more information on Tumblr - @mystereobot

Sebastian - by Amanda Heard

Gene: Slice-of-Life, Romantic, Comedy

Rating: pg-13 to M

Language: English

Status: On-going, 80+ pages (as of 4/1/2020), Updates Tuesdays and Thursdays

Read On: http://www.sebastiancomic.com/, Tumblr: https://sebastiancomic.tumblr.com/ or @sebastiancomic

Description: Sebastian is about a pessimistic thief and a happy-go-lucky dork finding each other through unexpected circumstances and learning about forgiveness, love, and loss. Also CRIME!

Object Heads: Pumpkin Heads

Character Status: Main characters are object heads

Warnings: Swearing

Notes: Created by @batberryboo on Tumblr

The Property of Hate - by Sarah Jolley

Gene: Fantasy/Adventure

Rating: Pg 13

Language: English, translations in French, Russian, Polish, Hungarian, Japanese, Norwegian, Dutch, Portuguese, Breton, Brazilian, Tagalog, German, Chinese, Swedish, Spanish, Esperanto, Latin, Korean, Italian, Hebrew, Greek, Czech

Status: On-going, 400+ pages(as of 4/1/2020), Updates Sundays

Read On: http://jolleycomics.com/, Smackjeeves

Description: When offered a chance to be a hero by a strange figure with a TV for a head, a young girl is whisked away to a whimsical land in desperate need of a hero. This journey will take them across the lands where emotions manifest into physical forms and the inanimate becomes animate.

Object Heads: Tv Head, Radio Head, etc.

Character Status: One of the main characters and a few secondary characters are object heads

Warnings: None

Notes: Created by @modmad on Tumblr

The Strange Tales of Oscar Zahn - by Tri Vuong

Gene: Fantasy, slight horror

Rating: PG 13

Language: English

Status: 100 Chapters, Completed on 5/21/2019(maybe on Hiatus?)(as of 4/1/2020)

Read On: Webtoons

Description: Follow the journey of the world's greatest paranormal investigator - Oscar Zahn. Friend to lost souls, enemy of evil, he may lack a body but that doesn't mean he's missing a heart!

Object Heads: Skull Head

Character Status: Main character is an object head

Warnings: Some disturbing imagery

Robot Dream - by Robot Dream, written down by Paulie Godbout, illustrated by Sandra Grygier

Gene: Action, Drama

Rating: PG 13

Language: English

Status: On-Going, 70+ pages (as of 4/1/2020) No Solid Update schedule

Read On: https://www.robotdream.com/mystory (up until page 73), Tapas (up until page 70)

Description: When a lonely human-robot-hybrid refuses to live a life of seclusion, he discovers a community of outcasts in the world of electronic music. But, when he begins creating his own remixes, and discovers they somehow have the power to heal broken hearts and minds, he must learn that revealing who you truly are comes at a price before he is captured by the people who “created” him.

Object Heads: TV Head

Character Status: Main Character

Warnings: References to manipulation and abuse

Notes: You can also read it on Webtoon under the same name but it is only up to page 32

Third Shift Society - by Meredith Moriarty

Gene: Supernatural, Adventure

Rating: PG 13

Language: English

Status: 24 Episodes, On Hiatus(as of 4/1/2020)

Read On: Webtoon

Description: Life’s funny. One minute you're jobless, deep in debt and on the verge of eviction; the next you’re in a fight with a monster and getting a job working for a Paranormal Detective with the head of a Jack-o-Lantern. It’s an age-old story. Now the financially-challenged Ellie (who’s just discovered she has strong psychic powers) and her Pumpkin-headed boss Ichabod have to team up and fight the things that go bump in the night.

Object Heads: Pumpkin Head

Character Status: Secondary Main Character

Warnings: None

Notes: Created by @meredithmoriarty on Tumblr

Rice Boy - by Evan Dahm

Gene: Surreal fantasy, Adventure

Rating: PG 13

Language: English

Status: 439 pages, Completed as of 2008,

Read On: http://www.rice-boy.com/see/, or on Soft/Hardcover Graphic Novels,

Description: Rice Boy is a simple creature torn from his mundane life by an immortal “machine man” called The One Electronic, who suspects that Rice Boy may fulfill an ancient prophecy. Now tasked with trying to fulfill a prophecy he did not choose, Rice Boy must explore the vast, fantastical, and surreal world of Overside and encounter the dangers that it hides.

Object Heads: Circular TV Head

Character Status: Secondary Main Character

Warnings: Chapter 19 contains one page of suggestive incest, Slightly disturbing imagery, violence, drug use

Notes: Dahm also runs a Rerun blog of Rice Boy where he does commentary on the pages as he posts them on Tumblr: @riceboycomic

Film/Shows/Anime:

FLCL (also known as Fooly Cooly) - written by Yōji Enokido, directed by Kazuya Tsurumaki

Studio: Gainax

Gene: Comedy, drama

Style: 2D Animation

Rating: PG 13

Language: Japanese, with an English sub and Dub

Status: 1 season(6 episodes), Completed as of 2001

Description: A boy's humdrum life turns upside-down when he encounters a maniacal girl who causes strange things to grow out of his forehead and draws him into conflict with a mysterious, otherworldly organization.

Object Heads: TV Head Robot

Character Status: Side Main Character

Warnings: Sexual innuendos

Notes: There are 2 more seasons of FLCL known as FLCL Progressive and FLCL Alternative, I haven’t watched them but I don’t believe there are any object head robots in them

The Amazing World of Gumball - created by Ben Bocquelet

Premiered on: Cartoon Network

Gene: slice of life, comedy

Style: Mixed Media Animation

Rating: PG

Language: English,

Status: 6 seasons(240 episodes) + a 6 episode miniseries, Completed as of December 2019

Description: The series revolves around the misadventures of blue cat Gumball Watterson and his adopted goldfish brother and best friend, Darwin. Together they spread mischief across the weird and wacky city of Elmore.

Object Heads: Bomb Head, Boombox head, whatever rob was

Character Status: Secondary and background characters

Warnings: None

Notes: This one really shouldn’t be on the list but I added it because I literally could not think of another show or film that has Object Head characters

Video Games:

Cuphead by StudioMDHR

Gene: Classic Run and Gun

Style: 2D Handpainted Visuals

Rating: E

Language: English

Released: 9/29/2017, DLC (coming soon 2020)

Playable On: Steam, Xbox, Windows 10, Mac, Nintendo Switch

Price: $19.99

Description: Cuphead is a classic run and gun action game heavily focused on boss battles. Inspired by cartoons of the 1930s, the visuals and audio are painstakingly created with the same techniques of the era, i.e. traditional hand-drawn cel animation, watercolor backgrounds, and original jazz recordings.

Play as Cuphead or Mugman (in single player or local co-op) as you traverse strange worlds, acquire new weapons, learn powerful super moves, and discover hidden secrets while you try to pay your debt back to the devil!

Object Heads: Cup Heads, Apple Head, Dice Head, Fork Head, etc.

Character Status: Playable Main Characters, some secondary characters, and some of the Bosses

Warnings: Cartoony violence

BattleBlock Theater by The Behemoth

Gene: Platforming, comedy

Style: 2D Graphics

Rating: E

Language: English

Released: Xbox Live-4/3/2013, Steam- 5/15/2014,

Playable On: Steam, Xbox, Microsoft Windows, Linux, macOS, Macintosh operating system

Price: $14.99

Description: Shipwrecked. Captured. Betrayed. Forced to perform for an audience of cats? Yes, all that and more when you unlock BattleBlock Theater! There’s no turning back once you've started on your quest to free over 300 of your imprisoned friends from evil technological cats. Immerse yourself in this mind bending tale of treachery as you use your arsenal of weapon-tools to battle your way through hundreds of levels in order to discover the puzzling truth behind BattleBlock Theater.

If solo acts aren't your style, go online or bring a buddy couch-side to play a thoroughly co-optimized quest or enter the arenas. The game also includes a level editor so you can craft your own mind bending trials!

Object Heads: Heads are customizable but the main game gives you many heads to choose from. Block heads, Shape Heads

Character Status: Playable Characters

Warnings: Cartoony violence, crude humor

Pumpkin Noir by PumpkinNoirDev

Gene: RPG Adventure

Style: Pixel Graphics, RPGMaker

Rating: E

Language: English

Status: Demo as of 6/19/2017

Play On: PC, demo link - https://rpgmaker.net/games/9817/

Price: Not available

Description: Stop, Drop, Noir!

Perched on the precipice of endless void-- a single seedy city. Detectives “Smoke & Fire” Rem and Wednesday face a puzzling situation as the curtain lifts on Halloween night. Go broke, or investigate a rollickingly risky mafia mystery? The answer is clear.

Search for the void’s greatest criminal minds, uncover the shocking secrets of the underworld!

Object Heads: Pumpkin Head

Character Status: Main Character

Warnings: None

Notes: This game is still under development, for more information visit the dev’s blog- https://pumpkin-noir.tumblr.com/ or @pumpkin-noir

Other:

Object Head Zine - hosted by @potentialforart on Tumblr

Style: Mostly 2D Illustrations and short comics

Gene: Genes differ per year

Rating: PG-PG 13

Language: English

Status: On-Going Project, This zine is a yearly thing

Read On: Tumblr- https://objectheadzine.tumblr.com/ or @objectheadzine, Buy Physical/Digital Copies here - https://gumroad.com/objectheadzine

Price: Prices Vary

Description: The Object Head Zine is a collection of artwork from different artists coming together for a common love of object heads. The Object Head Zine is a yearly project with a new theme chosen for each year. Such themes include Forks and Utensils, Spooky, Flora and Fungi, Superstitions, and Science and Technology.

Object Heads: Yes

Character Status: Main Focus

Warnings: None

And if you have any more suggestions for this list, please let me know!!

#object head #object head media masterlist #object heads #object head character #objecthead #Sammy8D says #Sammy8D257

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paunchsalazar · 5 years

Note

hey!! bro ur my number #1 source for lupin III content so can I ask like how in the hell I go about watching all the series / movies / etc for it in order??? I’m really pumped for the live action so I wanna at least dip into all the other stuff. thanking ya kindly //tips hat

hello!!! what an honor!! oh my… ok I’m so sorry in advance… I’ve gotten a few similar asks and I started writing out a list and it was getting over 1500 words long so I had to try to chill out…so…

LUPIN III CRASH COURSE

I’m sorry that this is so long.. and consider I cut it down! but here is my intro because I know this franchise is huge and confusing!! (I’ve had multiple instances of friends being like ‘I tried to find that Lupin thing you like but I could only find the third one?’)

I kind of liken it to Scooby Doo? it stretches some 60 years and has been handled by many different writers, directors, and animators across very different eras? most important to know! the order doesn’t really matter and things aren’t really sequential (save for where the three most recent shows) so you can jump in and explore whatever seems compelling! it’s overwhelming because there is so much but also nice because there’s something for everybody! if you like fun and pure, edgy, etc. etc.

feel free to disregard everything coming… I will say my personal priority order is

- Castle of Cagliostro

- some episode of part 2

- part IV, ideally all of it! there’s filler but it’s hard to know which ones

- part I (or some episodes of it? up to you!)

- Fuma Conspiracy

- part V

- part III (it’s great too!! just not as sequential as IV and V)

- First Contact… truly indulgent but its so cute!

(below I broke down a little about each and my favorite episodes, where to find them, etc. and there’s so much more but just doing everything below is a whole lot)

TV (All the shows except for The Woman Called Fujiko Mine are on Crunchyroll!)

Part 1 (1971) - crunchyroll!

The beginnings kind of a weird feeling because the first half was directed with one vision vs. the second half being co-directed by Takahata and Miyazaki, there’s a shift in Lupin’s personality and most significantly they sought to shed his ‘sense of apathy’ and make him more of a hero? something that’s echoed later on! honestly, I don’t think the transition is as dramatic as some people find it? but it does shift across the episodes and end on a sweet note!

truly they all have something to enjoy but I made note of

episodes 2, 4, 5, 7, 9, 11, 13, 16, 18, 19, 23

for some reason? really really suggest watching the last episode! but get a bit of the first and second half beforehand!

Part II/Red Jacket (1977-80) - 155 episodes - on crunchyroll dubbed and subbed

there are a lot so I tried to narrow it down to a few of my favorites/ particularly noteworthy ones? I bolded my absolute favorites! I’m sure I missed a few but save for a few two-episode arcs you can jump in anywhere and it’ll be fine.

episodes 1-79 are dubbed on Crunchyroll! In my personal opinion the script makes it worth it!! there are a bunch of non-dubbed episodes anyway if you want to get a feel for both

(these episode titles are often hilarious, misleading, and/or horribly embarrassing?)

1 - ‘The Return of Lupin the Third’ - just a good starting point!

5 - ‘Will the Leaning Tower of Pisa Be Standing?’

6 - ‘Tutankhamen’s 3,000-Year-Old Curse’

7 - ‘Venetian Super Express’ - I want to say this is a cute little road trip episode? it’s been so long

9 - ‘Steal the FIle M123’ - this dub… madness. very strange Christopher Walken impression for absolutely no reason?

10 - ‘Bet on the Monaco Grand Prix’

15 - ‘Crude Reproduction, Perfect Frame’ - Lupin keeps committing strange and uncharacteristic crimes, but he has no memory of doing so!

29 - ‘Fly Me to the Moon’ - Lupin has some mysterious Levitation Technique and everyone is after it

32 - ‘Lupin the Interred’ A famed hitman is after Lupin!

34 - ‘But Your Brother Was Such A Nice Guy’ - this episode is one of the zaniest ones and that’s saying a lot… Vampires? Jesus? Really really funny moments though especially in the dub

42 - ‘Cruisin’ in Drag’ Lupin infiltrates the ship of a wealthy bachelor disguised as a woman

45 - ‘Diamonds and Minx’ kind of a mess of people stealing from each other?

46 - ‘The Island of Dr. Derange’

57 - ‘Alter-Ego Maniac’ - Inspector Zenigata goes criminal

62 - ‘Church of the Poison Mind’ - Jigen and Goemon stumble into a religious cult

69 - ‘Zenigata Getcha Into My Life’ - this title is awful but this episode is great.

78 - ‘Ice, Robot’ - an inventor has made a machine that can cry diamonds!

79 - ‘Baton Death March’

81 - ‘Fujiko, Men are a Sorry Lot!” - Fujiko gets engaged to a Prince, the rest of the gang goes after the monarchy’s Golden Bell

96 - ‘Lupin’s Gourmet World’ tbh this is a vore episode but there are some great gang moments here and a really fun third act

99 - ‘Fighting Jigen’ - first anime episode (I think like in history? but I could’ve misread) in stereo! And I believe the first to air of the TMS staff’s work, you can tell because the style shifts to a more Miyazaki/Cagliostro look and this will keep happening for the rest of the show

101 - ‘Fervent Love at Versailles’ - a crossover episode with Rose of Versailles!

103 - ‘The Wolf Looked at an Angel’ - Goemon is an angel I can say little else

104 - ‘The Most Dangerous Golden Bed’ - debut of perhaps the best opening! I love this episode?? so much?

112 - ‘Danger! Goemon’

122 - ‘An Unusual End to an Expedition for Napoleon’s Treasure’

143 - ‘The Miami Bank’

145 - ‘Wings of Death: Albatross’ - ah yes, one of the famed Miyazaki-directed episode, truly so worth it

151 - ‘To Arrest Lupin, the Mission at the Highway’ - another not exactly Miyazaki episode but a lot of the people he trained? They depart from the part 2 style(s) again but its a good bit of fun all around! Really lovely character animation

152 - ‘Jigen and the Hatless Pistol’ - Jigen loses his hat and thus his ability to shoot

155 - ‘Thieves Love the Peace/Farewell, Dear Lupin’ - the finale episode! Miyazaki-directed as well, and just beautiful

Part III (1984) - 50 episodes - crunchyroll!

I’m still very early in this one so I can’t say much yet! But it gets a bad rep? Perhaps for being more inconsistent stylistically and a bit on the zanier end! But I really like it!! these drawings are such a blast! I think each bit has its merits and this one is no exception. Plus with all their freedom animation-wise they can do a lot of fun stuff!

The Woman Called Fujiko Mine (2012) - 13 episodes - on kissanime for certain and I think animetake?

this is the most dramatic departure from the rest of the shows/films/specials. Fujiko Mine is the star of this part! It definitely has less obviously plot-important episodes but it’s one narrative from start to finish. I must note that it’s by far Lupin’s edgiest, I think it’d be safe to deem this part as R-Rated. There’s sex, violence, sexual violence, abuse, bodily mutilation, obsession… a gay character who gets a pretty tragic fate (at first I was excited by the very existence of an LGBT+ character but he really goes through the wringer and never gets a resolution.. I don’t want to spoil). This is probably Lupin at his ickiest? I do like Jigen’s personality here! And his dynamic with Fujiko, but it’s a lot more disjointed than the other parts. She meets each of them separately and towards the end, Lupin and Jigen interact more but there’s barely a time when they’re all together. That’s not meant to be a deterrent but personally, I’m a sucker for their friendship and love them as a group so it’s a bit of a bummer. Sequential plot-wise though! This one is definitely captivating, a bit disturbing, and there is a plot-twist that really got me. The villain design is really cool too!

Part IV (2015) - 26 episodes - on crunchyroll, also dubbed on Funimation

This part is narrative-based and sequential! It still has some more standalone episodes but there’s definitely an overarching story throughout! I think they’re all worth watching and might leave little important bits that’ll be confusing later on. Essentially this part takes place in Italy for the most part and starts with Lupin getting married to a multi-millionaire heiress/model/celebrity who wants to get into the thief business. This one feels like a good combination of old and new, it’s not quite as silly as the earlier parts can be, but it’s full of nostalgia while still feeling original. I really had a good time!

This dub isn’t bad but!! It comes with a different opening and soundtrack, I guess Lupin’s pretty big in Italy and perhaps there were licensing issues? I’m not sure? But it’s a bit of a bummer to be without the Yuji Ohno soundtrack. The alternate opening feels more like a collection of stills and footage found throughout the show? It’s not horrible, just different! Regardless, the Part IV Japanese OP (vs. the Italian/US one) is worth a watch!

Part V (2018, airing on Adult Swim right now, summer 2019!) - 23 episodes

I’m actually not done with this part but its good fun! more directly tied to part iv then the others are to each other. It’s more sequential as well with a few sub-arcs and since it fell on the franchise’s anniversary it has callback episodes with Lupin in various jackets in various tones. Interesting Lupin characterization here… he seems… sadder, wistful? and we get hints of Lupin lore! Lots of fanservice but… I love it! I still think they could’ve pushed it more? it feels somehow more reserved than part IV in some ways, which is already different from the 70s and 80s, but it’s got a lot of lovely moments!!

Films/TV Specials

From 1989 to 2011 they had a special every year!! So much!

Castle of Cagliostro (1979) - Available on Netflix!

perhaps the best-known piece of media in the Lupin franchise? And rightly so. This film is Hayao Miyazaki’s directing debut and a blast from start to finish! This characterization of Lupin is definitely Miyazaki’s more than Monkey Punch’s but that seems to be the strange nature of the Lupin franchise! I could really go on forever… please watch it!

The Fuma Conspiracy (1987) -

perhaps harder to find, but it’s on Kissanime! Goemon is getting married but before the ceremony is over the bride is taken by the Fuma ninja clan and the gang helps him to get her back as well as learn the story of a family heirloom? Really great stuff from everybody! Adorable Zenigata, the fluffiest and most handsome Goemon, cute Jigen, Fujiko, and Lupin interactions, a really really incredible car chase! Even with Cagliostro’s fame, this one has got some serious pizzazz

Episode 0: The First Contact (2002) - on Kissanime as well!

A journalist asks Jigen how he met Lupin III, this is probably my favorite TV special? And features one of my favorite opening scenes in the whole franchise. The instrumental!! Perhaps each member of the gang at their purest, whatever that means, really great moments between everybody and peak Lupin and Jigen meeting and somehow signing up to be life partners

#oh my god #i'm so sorry #please.. feel free to ignore this #lupin #lupin the third #lupin iii #lupin the 3rd #diggitydamnsebastianstan

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grigori77 · 4 years

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2019 in Movies - My Top 30 Fave Movies (Part 3)

10. HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD – while I love Disney and Pixar as much as the next movie nut, since the Millennium my loyalty has been slowly but effectively usurped by the consistently impressive (but sometimes frustratingly underappreciated) output of Dreamworks Animation Studios, and in recent years in particular they really have come to rival the House of Mouse in both the astounding quality of their work and their increasing box office reliability. But none of their own franchises (not even Shrek or Kung Fu Panda) have come CLOSE to equalling the sheer, unbridled AWESOMENESS of How to Train Your Dragon, which started off as a fairly loose adaptation of Cressida Cowell’s popular series of children’s stories but quickly developed a very sharp mind of its own – the first two films were undisputable MASTERPIECES, and this third and definitively FINAL chapter in the trilogy matches them to perfection, as well as capping the story off with all the style, flair and raw emotional power we’ve come to expect. The time has come to say goodbye to diminutive Viking Hiccup (Jay Baruchel, as effortlessly endearing as ever) and his adorable Night Fury mount/best friend Toothless, fiancée Astrid (America Ferrera, still tough, sassy and WAY too good for him), mother Valka (Cate Blanchett, classy, wise and still sporting a pretty flawless Scottish accent) and all the other Dragon Riders of the tiny, inhospitable island kingdom of Berk – their home has become overpopulated with scaly, fire-breathing denizens, while a trapper fleet led by the fiendish Grimmel the Grisly (F. Murray Abraham delivering a wonderfully soft-spoken, subtly chilling master villain) is beginning to draw close, prompting Hiccup to take up his late father Stoick (Gerard Butler returning with a gentle turn that EASILY prompts tears and throat-lumps) the Vast’s dream of finding the fabled “Hidden World”, a mysterious safe haven for dragon-kind where they can be safe from those who seek to do them harm. But there’s a wrinkle – Grimmel has a new piece of bait, a female Night Fury (or rather, a “Light Fury”), a major distraction that gets Toothless all hot and bothered … returning writer-director Dean DeBlois has rounded things off beautifully with this closer, giving loyal fans everything they could ever want while also introducing fresh elements such as intriguing new environments, characters and species of dragons to further enrich what is already a powerful, intoxicating world for viewers young and old (I particularly love Craig Ferguson’s ever-reliable comic relief veteran Viking Gobber’s brilliant overreactions to a certain adorably grotesque little new arrival), and like its predecessors this film is just as full of wry, broad and sometimes slightly (or not so slightly) absurd humour and deep down gut-twisting FEELS as it is of stirring, pulse-quickening action sequences and sheer, jaw-dropping WONDER, so it’s as nourishing to our soul as it is to our senses. From the perfectly-pitched, cheekily irreverent opening to the truly devastating, heartbreaking close, this is EXACTLY the final chapter we’ve always dreamed of, even if it does hurt to see this most beloved of screen franchises go. It’s been a wild ride, and one that I think really does CEMENT Dreamworks’ status as one of the true giants of the genre …

9. TERMINATOR: DARK FATE – back in 1984, James Cameron burst onto the scene with a stone-cold PHENOMENON, a pitch-perfect adrenaline-fuelled science fiction survival horror that spawned a million imitators but has never truly been equalled. Less than a decade later, he revisited that universe with a much bigger and far bolder vision, creating an epic action adventure that truly changed blockbuster cinema for the better (or perhaps worse, depending on how you want to look at it), but, with its decidedly final, full-stop climax, also effectively rendered itself sequel-proof. Except that Hollywood had other ideas, the unstoppable money machine smelling potential profit and deciding to milk this particular cash cow for all it was worth – on the small screen, it was the impressive but ultimately intrinsically limited Sarah Connor Chronicles, while on the big screen they cranked out THREE MORE sequels, Sony Pictures starting with straightforward retread Rise of the Machines and following with post-apocalyptic marmite movie Salvation, while Twentieth Century Fox then tried a sort-of soft reboot follow-up to T2 in Genisys. These were all interesting in their own way (personally, I like them all, particularly Salvation), but ultimately suffered from diminishing returns and whiffed strongly of trying too hard without quite getting the point. Cameron himself had long since washed his hands of the whole affair, and it looked like that might well be it … but then Skydance Productions founder David Ellison thought up a new take to breathe much needed new life into the franchise, and enlisted Cameron’s help to usher it in properly, with Deadpool director Tim Miller the intriguing but ultimately inspired choice to helm the project. The end result wisely chooses to paint right over all the pretenders, kicking off right where Judgement Day left off, and as well as Cameron being heavily involved in the story itself, draws another ace with the long-awaited ON-SCREEN return of Linda Hamilton in the role that’s pretty much defined her career, hardboiled survivor Sarah Connor. I’ll leave the details of her return for newcomers to discover, suffice to say she gets caught up in the chase when a new, MUCH more advanced terminator is sent back in time to kill unassuming young Mexican factory worker Dani Ramos (Natalia Reyes). Of course, the future resistance has once again sent a protector back to watch her back, Grace (Blade Runner 2049’s Mackenzie Davis), a cybernetically-enhanced super-soldier specifically outfitted to combat terminators, who reluctantly agrees to team up with the highly experienced Sarah in order to keep Dani alive. Arnold Schwarzenegger once again returns to the role that truly made him a star (of course, how could he not?), and he for one has clearly not lost ANY of his old love or enthusiasm for playing the old T-800, but revealing exactly HOW he comes into the story this time would give away too much; the new terminator, meanwhile, is brilliantly portrayed by Gabriel Luna (probably best known for playing Ghost Rider in Marvel’s Agents of SHIELD), who brings predatory menace and an interesting edge of subtle, entitled arrogance to the role of Rev-9. Ultimately though, this is very much the ladies’ film, the three leads dominating the action and drama both as they kick-ass and verbally spar in equal measure, their chemistry palpably strong throughout – Hamilton is as badass as ever, making Sarah even more of a take-no-shit survivalist burnout than she ever was in T2, and she’s utterly mesmerising in what’s EASILY her best turn in YEARS, while Reyes goes through an incredible transformative character arc as she’s forced to evolve from terrified salary-girl to proto she-warrior through several pleasingly organic steps … my greatest pleasure, however, definitely comes from watching Mackenzie Davis OWN the role of Grace, investing her with an irresistible mixture of icy military precision, downright feral mother lion ferocity and a surprisingly sweet innocence buried underneath all the bravado, thus creating one of my favourite ass-kicking heroines not just for the year but this past decade entirely. Unsurprisingly, in the hands of old hand Tim Miller (working from a screenplay headlined by Blade and Batman Begins scribe David Goyer) this is a pulse-pounding thrill ride that rarely lets its foot up off the pedal, but thankfully the action is ALWAYS in service to the story, each precision-crafted set piece engineered to perfection as we power through high speed chases, explosive shootouts and a succession of bruising heavy metal smackdowns, but thankfully there’s just as much attention paid to the characters and the story – given the familiarity of the tale there’s inevitably a certain predictability to events, but Miller and co. still pull off a few deftly handled surprise twists, while character development always feels organic. Best of all, this genuinely feels like a legitimate part of the original Terminator franchise, Cameron and Hamilton’s returns having finally brought back the old magic that’s been missing for so long. I’d definitely be willing to sign up for more of this – such a shame then that, thanks to the film’s frustrating underperformance at the box office, it looks like this is gonna be it after all. Damn it …

8. DOCTOR SLEEP – first up, before I say anything else about this latest Stephen King screen adaptation, I HAVE NOT yet got round to reading the original novel yet, so I can’t speak to how it compares. That said, I HAVE read The Shining, to which the book is a direct sequel, so I DO know about at least one of the major, KEY changes, and besides, this is actually a sequel to Stanley Kubrick’s MOVIE of The Shining, which differed significantly from its own source material anyway, so there’s that … yeah, this is a complicated kettle of fish even BEFORE we get down to the details. Suffice to say, you don’t have to have read the book to get this movie, but a working knowledge of Kubrick’s horror classic may at least help you get some context before watching this … anyways, enough with the confusion, on to the meat of the matter – this is a CRACKING horror movie by any stretch, and, for me, one of the strongest King horrors to make it to the big screen in quite some time. Of course it helps no end to have a filmmaker of MAJOR calibre at the helm, and there are few working in horror at the moment with whom I am quite so impressed as Mike Flanagan, writer-director of two of this past decade’s definitive horrors (at least for me), Oculus and Hush, as well as a BLINDING TV series adaptation of The Haunting of Hill House for Netflix – the man is an absolute master of the craft, incredibly skilled with all the tricks of this particular genre’s trade, and, as it turns out, a perfect fit with King’s material. Following on from The Shining, then, we learn what happened to the kid, Danny Torrance, after he and his mother left the Overlook Hotel in the wake of his father’s psychotic break driven by monstrous apparitions “living” in the cursed halls, following him from childhood as he initially shuns the psychic gifts (or “shine”) he was taught to use by the hotel’s late caretaker, Dick Halloran. It’s only in later years, as he fights to overcome his alcoholism and self-destructive lifestyle, that he reconnects with that power, just in time to discover psychic “pen-pal” Abra Stone, an immensely powerful young psychic. Which leads us to the present day, when Abra, now a teenager, becomes the target of the True Knot, a group of psychic vampires who travel America hunting and killing young people with psychic abilities in order to consume their “smoke” (basically the stuff of their “shines”), thus expanding their already unnatural lifespans – they’re tracking Abra, and they’re getting close, and only her “Uncle Dan” can save her from them. Ewan McGregor is PERFECT as the grown-up Dan, delivering one of his career-best turns as he captures the world-weary seriousness of someone who’s seen, felt and had to do things no-one should, especially when he was so very young, the kinds of things that colour a soul for their entire life, and he’s clearly DESPERATE not to become his father; newcomer Kyleigh Curran, meanwhile, is an absolute revelation as Abra, bringing depth and weight far beyond her years to the role, but never losing sight of the fact that, under all the power, she’s ultimately still just a child; there are also excellent supporting turns from the likes of Cliff Curtis as Dan’s best friend and AA sponsor Billy Freeman, Zahn McClarnon (Longmire, Fargo season 2) and Emily Lind (Revenge, Code Black) as True Knot members Crow Daddy and Snakebite Annie, and Carl Lumbly (Cagney & Lacey, TV’s Supergirl), who beautifully replaces deceased original actor Scatman Crothers in the role of Dick. The film’s tour-de-force performance, however, comes from Rebecca Ferguson as Rose the Hat, leader of the True Knot – they’re an intriguing bunch of villains, very well written and fleshed out, and it’s clear they have genuine love for one another, like a real family, which makes it hard not to sympathise with them a little bit, and this is none more true than in Rose, whom Ferguson invests with so much light and warmth and intriguing, complex character, as well as a fantastic streak of playful mischief that makes her all the more riveting in those times when they then turn around and do some truly heinous, unforgivable things … as horror movies go this is the cream of the crop, but Flanagan has purposefully kept away from jump scares and the more flashy stuff, preferring, like Kubrick in The Shining, to let the insidious darkness bubble up underneath good and slow, drawing out the creepiness and those most unsettling, twisted little touches the author himself is always so very good at. Intent can be such a scary thing, and Flanagan gets it, so that’s just what he uses here. As a result this is a fantastic slow-burn creep-fest that constantly works its way deeper under your skin, building to a phenomenal climax that, (perversely) thanks in no small part to the differences between both novels and films, pays as much loving tribute to Kubrick’s visionary landmark as the original novel of The Shining. For me, this is Flanagan’s best film to date, and as far as Stephen King adaptations go I consider this to be right up there with the likes of The Mist and The Green Mile. Best of all, I think he’d be proud of it too …

7. SPIDER-MAN: FAR FROM HOME – summer 20019 was something of a decompression period for fans of the Marvel Cinematic Universe, with many of us recovering from the sheer emotional DEVASTATION of the grand finale of Phase 3, Avengers: Endgame, so the main Blockbuster Season’s entry really needed to be light and breezy, a blessed relief after all that angst and loss, much like Ant-Man & the Wasp was last year as it followed Infinity War. And it is, by and large – this is as light-hearted and irreverent as its predecessor, following much the same goofy teen comedy template as Homecoming, but there’s no denying that there’s a definite emotional through-line from Endgame that looms large here, a sense of loss the film fearlessly addresses right from the start, sometimes with a bittersweet sense of humour, sometimes straight. But whichever path the narrative chooses, the film stays true to this underlying truth – there have been great and painful changes in this world, and we can’t go back to how it was before, no matter how hard we try, but then perhaps we shouldn’t. This is certainly central to our young hero’s central arc – Peter Parker (Tom Holland) is in mourning, and not even the prospect of a trip around Europe with his newly returned classmates, together with the chance to finally get close to M.J. (Zendaya), maybe even start a relationship, can entirely distract him from the gaping hole in his life. Still, he’s gonna give it his best shot, but it looks like fate has other plans for our erstwhile Spider-Man as superspy extraordinaire Nick Fury (Samuel L. Jackson) comes calling, basically hijacking his vacation with an Avengers-level threat to deal with, aided by enigmatic inter-dimensional superhero Quentin Beck, aka Mysterio (Jake Gyllenhaal), who has a personal stake in the mission, but as he’s drawn deeper into the fray Peter discovers that things may not be quite as they seem. Of course, giving anything more away would of course dumps HEINOUS spoilers on the precious few who haven’t yet seen the film – suffice to say that the narrative drops a MAJOR sea-change twist at the midpoint that’s EVERY BIT as fiendish as the one Shane Black gave us in Iron Man 3 (although the more knowledgeable fans of the comics will likely see it coming), and also provides Peter with JUST the push he needs to get his priorities straight and just GET OVER IT once and for all. Tom Holland again proves his character is the most endearing teenage geek in cinematic history, his spectacular super-powered abilities and winning underdog perseverance in the face of impossible odds still paradoxically tempered by the fact he’s as loveably hopeless as ever outside his suit; Mysterio himself, meanwhile, frequently steals the film out from under him, the strong bromance they develop certainly mirroring what Peter had with Tony Stark, and it’s a major credit to Gyllenhaal that he so perfectly captures the essential dualities of the character, investing Beck with a roguish but subtly self-deprecating charm that makes him EXTREMELY easy to like, but ultimately belying something much more complex hidden beneath it; it’s also nice to see so many beloved familiar faces returning, particularly the fantastically snarky and self-assured Zendaya, Jacob Batalon (once again pure comedy gold as Peter’s adorably nerdy best friend Ned), Tony Revolori (as his self-important class rival Flash Thompson) and, of course, Marisa Tomei as the ever-pivotal Aunt May, as well as Jackson and Cobie Smoulders as dynamite SHIELD duo Fury and his faithful lieutenant Maria Hill, and best of all Jon Favreau gets a MUCH bigger role this time round as Happy Hogan. Altogether this is very much business as usual for the MCU, the well-oiled machine unsurprisingly turning out another near-perfect gem of a superhero flick that ticks all the required boxes, but a big part of the film’s success should be attributed to returning director Jon Watts, effectively building on the granite-strong foundations of Homecoming with the help of fellow alumni Chris McKenna and Erik Sommers on screenplay duty, for a picture that feels both comfortingly familiar and rewardingly fresh, delivering on all the required counts with thrilling action and eye candy spectacle, endearingly quirky character-based charm and a typically winning sense of humour, and plenty of understandably powerful emotional heft. And, like always, there are plenty of fan-pleasing winks and nods and revelations, and the pre-requisite mid- and post-credit teasers too, both proving to be some proper game-changing corkers. Another winner from the Marvel Cinematic Universe, then, but was there really ever any doubt?

6. US – back in 2017, Jordan Peele made the transition from racially-charged TV and stand-up comedy to astounding cinemagoers with stunning ease through his writer-director feature debut Get Out, a sharply observed jet black comedy horror with SERIOUS themes that was INSANELY well-received by audiences and horror fans alike. Peele instantly became ONE TO WATCH in the genre, so his follow-up feature had A LOT riding on it, but this equally biting, deeply satirical existential mind-bender is EASILY the equal of its predecessor, possibly even its better … giving away too much plot detail would do great disservice to the many intriguing, shocking twists on offer as middle class parents Adelaide and Gabe Wilson (Black Panther alumni Lupita Nyong’o and Winston Duke) take their children, Zora (Shahadi Wright Joseph) and Jason (Evan Alex), to Santa Cruz on vacation, only to step into a nightmare as a night-time visitation by a family of murderous doppelgangers signals the start of a terrifying supernatural revolution with potential nationwide consequences. The idea at the heart of this film is ASTOUNDINGLY original, quite an achievement in a genre where just about everything has been tried at least once, but it’s also DEEPLY subversive, as challenging and thought-provoking as the themes visited in Get Out, but also potentially even more wide-reaching. It’s also THOROUGHLY fascinating and absolutely TERRIFYING, a peerless exercise in slow-burn tension and acid-drip discomfort, liberally soaked in an oppressive atmosphere so thick you could choke on it if you’re not careful, such a perfect horror master-class it’s amazing that this is only Peele’s second FEATURE, never mind his sophomore offering IN THE GENRE. The incredibly game cast really help, too – the four leads are all EXCEPTIONAL, each delivering fascinatingly nuanced performances in startlingly oppositional dual roles as both the besieged family AND their monstrous doubles, a feat brilliantly mimicked by Mad Men and The Handmaid’s Tale-star Elisabeth Moss, Tim Heidecker and teen twins Cali and Noelle Sheldon as the Wilsons’ friends, the Tylers, and their similarly psychotic mimics. The film is DOMINATED, however, by Oscar-troubler Nyong’o, effortlessly holding our attention throughout the film with yet another raw, intense, masterful turn that keeps up glued to the screen from start to finish, even as the twists get weirder and more full-on brain-mashy. Of course, while this really is scary as hell, it’s also often HILARIOUSLY funny, Peele again poking HUGE fun at both his intended audience AND his allegorical targets, proving that scares often work best when twinned with humour. BY FAR the best thing in horror in 2019, Us shows just what a master of the genre Jordan Peele is, and it looks like he’s here to stay …

5. KNIVES OUT – with The Last Jedi, writer-director Rian Johnson divided audiences so completely that he seemed to have come perilously close to ruining his career. Thankfully, he’s a thick-skinned auteur with an almost ridiculous amount of talent, and he’s come bouncing back as strong as ever, doing what he does best. His big break feature debut was with Brick, a cult classic murder mystery that was, surprisingly, set in and around a high school, and his latest has some of that same DNA as Johnson crafts a fantastic sleuthy whodunit cast in the classic mould of Agatha Christie, albeit shot through with his own wonderfully eclectic verve, wit and slyly subversive streak. Daniel Craig holds court magnificently as quirky and flamboyant Deep South private detective Benoit Blanc, summoned to the home of newly-deceased star crime author Harlan Thrombey (Christopher Plummer) to investigate his possible murder and faced with a veritable web of lies, deceit and twisting knives as he meets the maybe-victim’s extensive and INCREDIBLY dysfunctional family, all of whom are potential suspects. Craig is thoroughly mesmerising throughout, clearly having the time of his life in one of his career-best roles, while the narrative focus is actually, interestingly, given largely to Ana de Armas (Blade Runner 2049 and soon to be seen with Craig again in the latest Bond-flick No Time To Die), who proves equally adept at driving the film as Harlan’s sweet but steely and impressively resourceful nurse Marta Cabrera, whose own involvement in the case it would do the film a massive disservice to reveal. The rest of the Thrombey clan are an equally intriguing bunch, all played to the hilt by an amazing selection of heavyweight talent that includes Jamie Lee Curtis, Michael Shannon, Toni Collette and It’s Jaeden Martell, but the film is, undeniably, DOMINATED by Chris Evans as Harlan’s black sheep grandson Ransom, the now former Captain America clearly enjoying his first major post-MCU role as he roundly steals every scene he’s in, effortlessly bringing back the kind of snarky, sarcastic underhanded arrogance we haven’t seen him play since his early career and entertaining us thoroughly. Johnson has very nearly outdone himself this time, weaving a gleefully twisty web of intrigue that viewers will take great pleasure in watching Blanc untangle, even if we’re actually already privy to (most of) the truth of the deed, and he pulls off some diabolical twists and turns as we rattle towards an inspired final reveal which genuinely surprises. He’s also generously smothered the film with oodles of his characteristically dry, acerbic wit, wonderfully tweaking many of the classic tropes of this familiar little sub-genre so this is at once a loving homage to the classics but also a sly, skilful deconstruction. Intriguing, compelling, enrapturing and often thoroughly hilarious, this is VERY NEARLY the best film he’s ever made. Only the mighty Looper remains unbeaten …

4. CAPTAIN MARVEL – before the first real main event of not only the year’s blockbusters but also, more importantly, 2019’s big screen MCU roster, Marvel Studios president Kevin Feige and co dropped a powerful opening salvo with what, it turns out, was the TRUE inception point of the Avengers Initiative and all its accompanying baggage (not Captain America: the First Avenger, as we were originally led to believe). For me, this is simply the MCU film I have MOST been looking forward to essentially since the beginning – the onscreen introduction of my favourite Avenger, former US Air Force Captain Carol Danvers, the TRUE Captain Marvel (no matter what the DC purists might say), who was hinted at in the post credits sting of Avengers: Infinity War but never actually seen. Not only is she the most powerful Avenger (sorry Thor, but it’s true), but for me she’s also the most badass – she’s an unstoppable force of (cosmically enhanced) nature, with near GODLIKE powers (she can even fly through space without needing a suit!), but the thing that REALLY makes her so full-on EPIC is her sheer, unbreakable WILL, the fact that no matter what’s thrown at her, no matter how often or how hard she gets knocked down, she KEEPS GETTING BACK UP. She is, without a doubt, the MOST AWESOME woman in the entire Marvel Universe, both on the comic page AND up on the big screen. Needless to say, such a special character needs an equally special actor to portray her, and we’re thoroughly blessed in the inspired casting choice of Brie Larson, who might as well have been purpose-engineered exclusively for this very role – she’s Carol Danvers stepped right out of the primary-coloured panels, as steely cool, unswervingly determined and strikingly statuesque as she’s always been drawn and scripted, with just the right amount of twinkle-eyed, knowing smirk and sassy humour to complete the package. Needless to say she’s the heart and soul of the film, a pure joy to watch throughout, but there’s so much more to enjoy here that this is VERY NEARLY the most enjoyable cinematic experience I had all year … writer-director double-act Anna Boden and Ryan Fleck may only be known for smart, humble indies like Half Nelson and Mississippi Grind, but they’ve taken to the big budget, all-action blockbuster game like ducks to water, co-scripting with Geneva Robertson-Dworet (writer of the Tomb Raider reboot movie and the long-gestating third Sherlock Holmes movie) to craft yet another pitch-perfect MCU origin story, playing a sneakily multilayered, misleading game of perception-versus-truth as we’re told how Carol got her powers and became the unstoppable badass supposedly destined to turn the tide in a certain Endgame … slyly rolling the clock back to the mid-90s, we’re presented with a skilfully realised mid-90s period culture clash adventure as Carol, a super-powered warrior fighting for the Kree Empire against the encroaching threat of the shape-shifting Skrulls, crash-lands in California and winds up uncovering the hidden truth behind her origins, with the help of a particular SHIELD agent, before he wound up with an eye-patch and a more cynical point-of-view – yup, it’s a younger, fresher Nick Fury (the incomparable Samuel L. Jackson, digitally de-aged with such skill it’s really just a pure, flesh-and-blood performance). There’s action, thrills, spectacle and (as always with the MCU) pure, skilfully observed, wry humour by the bucket-load, but one of the biggest strengths of the film is the perfectly natural chemistry between the two leads, Larson and Jackson playing off each other BEAUTIFULLY, no hint of romantic tension, just a playfully prickly, banter-rich odd couple vibe that belies a deep, honest respect building between both the characters and, clearly, the actors themselves. There’s also sterling support from Jude Law as Kree warrior Yon-Rogg, Carol’s commander and mentor, Ben Mendelsohn, slick, sly and surprisingly seductive (despite a whole lot of make-up) as Skrull leader Talos, returning MCU-faces Clark Gregg and Lee Pace as rookie SHIELD agent Phil Coulson (another wildly successful de-aging job) and Kree Accuser Ronan, Annette Bening as a mysterious face from Carol’s past and, in particular, Lashana Lynch (Still Star-Crossed, soon to be seen in No Time To Die) as Carol’s one-time best friend and fellow Air Force pilot Maria Rambeau, along with the impossibly adorable Akira Akbar as her precocious daughter Monica … that said, the film is frequently stolen by a quartet of ginger tabbies who perfectly capture fan-favourite Goose the “cat” (better known to comics fans as Chewie). This is about as great as the MCU standalone films get – for me it’s up there with the Russo’s Captain America films and Black Panther, perfectly pitched and SO MUCH FUN, but with a multilayered, monofilament-sharp intelligence that makes it a more cerebrally satisfying ride than most blockbusters, throwing us a slew of skilfully choreographed twists and narrative curveballs we almost never see coming, and finishing it off with a bucket-load of swaggering style and pure, raw emotional power (the film kicks right off with an incredibly touching, heartfelt tear-jerking tribute to Marvel master Stan Lee). Forget Steve Rogers – THIS is the Captain MCU fans need AND deserve, and I am SO CHUFFED they got my favourite Avenger so totally, perfectly RIGHT. I can die happy now, I guess …

3. JOHN WICK CHAPTER 3 – needless to say, those who know me should be in no doubt why THIS was at the top of my list for summer 2019 – this has EVERYTHING I love in movies and more. Keanu Reeves is back in the very best role he’s ever played, unstoppable, unbeatable, un-killable hitman John Wick, who, when we rejoin him mere moments after the end of 2017’s phenomenal Chapter 2, is in some SERIOUSLY deep shit, having been declared Incommunicado by the High Table (the all-powerful ruling elite who run this dark and deadly shadowy underworld) after circumstances forced him to gun down an enemy on the grounds of the New York Continental Hotel (the inviolable sanctuary safe-house for all denizens of the underworld), as his last remaining moments of peace tick away and he desperately tries to find somewhere safe to weather the initial storm. Needless to say the opening act of the film is ONE LONG ACTION SEQUENCE as John careers through the rain-slick streets of New York, fighting off attackers left and right with his signature brutal efficiency and unerring skill, perfectly setting up what’s to come – namely a head-spinning, exhausting parade of spectacular set pieces that each put EVERY OTHER offering in every other film this past year to shame. Returning director Chad Stahelski again proves that he’s one of the very best helmsmen around for this kind of stuff, delivering FAR beyond the call on every count as he creates a third entry to a series that continues to go from strength to strength, while Keanu once again demonstrates what a phenomenal screen action GOD he is, gliding through each scenario with poise, precision and just the right balance of brooding charm and so-very-done-with-this-shit intensity and a thoroughly enviable athletic physicality that really does put him on the same genre footing as Tom Cruise. As with the first two chapters, what plot there is is largely an afterthought, a facility to fuel the endless wave of stylish, wince-inducing, thoroughly exhilarating violent bloodshed, as John cuts another bloody swathe through the underworld searching for a way to remove the lethal bounty from his head while an Adjudicator from the High Table (Orange Is the New Black’s Asia Kate Dillon) arrives in New York to settle affairs with Winston (Ian McShane), the manager of the New York Continental, and the Bowery King (Laurence Fishburne) for helping John create this mess in the first place. McShane and Fishburne are both HUGE entertainment in their fantastically nuanced large-than-life roles, effortlessly stealing each of their scenes, while the ever-brilliant Lance Reddick also makes a welcome return as Winston’s faithful right-hand Charon, the concierge of the Continental, who finally gets to show off his own hardcore action chops when trouble arrives at their doorstep, and there are plenty of franchise newcomers who make strong impressions here – Dillon is the epitome of icy imperiousness, perfectly capturing the haughty superiority you’d expect from a direct representative of the High Table, Halle Berry gets a frustratingly rare opportunity to show just how seriously badass she can be as former assassin Sofia, the manager of the Casablanca branch of the Continental and one of John’s only remaining allies, Game of Thrones’ Jerome Flynn is smarmy and entitled as her boss Berrada, and Anjelica Houston is typically classy as the Director, the ruthless head of New York’s Ruska Roma (John’s former “alma mater”, basically). The one that REALLY sticks in the memory, though, is Mark Dacascos, finally returning to the big time after frustrating years languishing in lurid straight-to-video action dreck and lowbrow TV hosting duties thanks to a BLISTERING turn as Zero, a truly brilliant semi-comic creation who routinely runs away with the film – he’s the Japanese master ninja the Adjudicator tasks with dispensing her will, a thoroughly lethal killer who may well be as skilled as our hero, but his deadliness is amusingly tempered by the fact that he’s also a total nerd who HERO WORSHIPS John Wick, adorably geeking out whenever their paths cross. Their long-gestating showdown provides a suitably magnificent climax to the action, but there’s plenty to enjoy in the meantime, as former stuntman Stahelski and co keep things interestingly fluid as they constantly change up the dynamics and add new elements, from John using kicking horses in a stable and knives torn out of display cases in a weaponry museum to dispatch foes on the fly, through Sofia’s use of attack dogs to make the Moroccan portion particularly nasty and a SPECTACULAR high octane sequence in which John fights katana-wielding assailants on speeding motorcycles, to the film’s UNDISPUTABLE highlight, an astounding fight in which John takes on Zero’s disciples (including two of the most impressive guys from The Raid movies, Cecep Arif Rahman and Yayan Ruhian) in (and through) an expansive chamber made up entirely of glass walls and floors. Altogether then, this is business as usual for a franchise that’s consistently set the bar for the genre as a whole, an intensely bruising, blissfully blood-drenched epic that cranks its action up to eleven, shot with delicious neon-drenched flair and glossy graphic novel visual excess, a consistently inspired exercise in fascinating world-building that genuinely makes you want to live among its deadly denizens (even though you probably wouldn’t live very long). The denouement sets things up for an inevitable sequel, and I’m not at all surprised – right from the first film I knew the concept had legs, and it’s just too good to quit yet. Which is just how I like it …

2. AVENGERS: ENDGAME – the stars have aligned and everything is right with the world – the second half of the ridiculously vast, epic, nerve-shredding and gut-punching MCU saga that began with 2018’s Avengers: Infinity War has FINALLY arrived and it’s JUST AS GOOD as its predecessor … maybe even a little bit better, simply by virtue of the fact that (just about) all the soul-crushing loss and upheaval of the first film is resolved here. Opening shortly after the universally cataclysmic repercussions of “the Snap”, the world at large and the surviving Avengers in particular are VERY MUCH on the back foot as they desperately search for a means to reverse the damage wrought by brutally single-minded cosmic megalomaniac Thanos and his Infinity Stone-powered gauntlet – revealing much more dumps so many spoilers it’s criminal to continue, so I’ll simply say that their immediate plan really DOESN’T work out, leaving them worse off than ever. Fast-forward five years and the universe is a very different place, mourning what it’s lost and torn apart by grief-fuelled outbursts, while our heroes in particular are in various, sometimes better, but often much worse places – Bruce Banner/the Hulk (Mark Ruffallo) has found a kind of peace that’s always eluded him before, but Thor (Chris Hemsworth) really is a MESS, while Clint Barton/Hawkeye (Jeremy Renner) has gone to a VERY dark place indeed. Then Ant-Man Scott Lang (Paul Rudd) finds a way back from his forced sojourn in the Quantum Realm, and brings with him a potential solution of a very temporal nature … star directors the Russo Brothers, along with returning screenwriters Christopher Markus and Stephen McFeely, have once again crafted a stunning cinematic masterpiece, taking what could have been a bloated, overloaded and simply RIDICULOUS narrative mess and weaving it into a compelling, rich and thoroughly rewarding ride that, despite its THREE HOURS PLUS RUNNING TIME, stays fresh and interesting from start to finish, building on the solid foundations of Infinity War while also forging new ground (narratively speaking, at least) incorporating a wonderfully fresh take on time-travel that pokes gleeful fun at the decidedly clichéd tropes inherent in this particular little sub-genre. In fact this is frequently a simply HILARIOUS film in its own right, largely pulling away from the darker tone of its predecessor by injecting a very strong vein of chaotic humour into proceedings, perfectly tempering the more dramatic turns and epic feels that inevitably crop up, particularly as the stakes continue to rise. Needless to say the entire cast get to shine throughout, particularly those veterans whose own tours of duty in the franchise are coming to a close, and as with Infinity War even the minor characters get at least a few choice moments in the spotlight, especially in the vast, operatic climax where pretty much the ENTIRE MCU cast return for the inevitable final showdown. It’s a masterful affair, handled with skill and deep, earnest respect but also enough irreverence to keep it fun, although in the end it really comes down to those big, fat, heart-crushing emotional FEELS, as we say goodbye to some favourites and see others reach crossroads in their own arcs that send them off in new, interesting directions. Seriously guys, keep a lot of tissues handy, you really will need them. If this were the very last MCU film ever, I’d say it’s a PERFECT piece to go out on – thankfully it’s not, and while it is the end of an era the franchise looks set to go on as strong as ever, safe in the knowledge that there’s plenty more cracking movies on the way so long as Kevin Feige and co continue to employ top-notch talent like this to make their films. Eleven years and twenty-two films down, then – here’s to eleven and twenty-two more, I say …

1. THE IRISHMAN (aka I HEARD YOU PAINT HOUSES) – beating smash-hit superhero movies and unstoppable assassin action-fests to the top spot is no mean feat, but so completely blowing me away that I had NO OTHER CHOICE than to put this at NUMBER ONE is something else entirely. Not only is this the best thing I saw at the cinema this past year, but I’d be happy to say it’s guaranteed to go down as one of my all-time greats of the entire decade. I’ve been an ardent fan of the filmmaking of Martin Scorsese ever since I first properly got into cinema in my early adolescence, when I was first shown Taxi Driver and was completely and irrevocably changed forever as a movie junkie. He’s a director who impresses me like a select few others, one of the true, undisputable masters of the craft, and I find it incredibly pleasing that I’m not alone in this assertion. Goodfellas and The Departed are both numbered among my all-time favourite crime movies, while I regard the latter as one of the greatest films of the current cinematic century. I’ve learned more about the art and craft of filmmaking and big-screen storytelling from watching Scorsese’s work than from any other director out there (with the notable exception of my OTHER filmmaking hero, Ridley Scott), and I continue to discover more about his films every time I watch them, so I never stop. Anyways … enough with the gushing, time to get on with talking about his latest offering, a Netflix Original true-life gangster thriller of truly epic proportions chronicling the career and times of Frank Sheeran, a Philadelphia truck driver who became the most trusted assassin of the Northeastern Pennsylvania crime family and, in particular, its boss (and Sheeran’s best friend) Russell Bufalino, particularly focusing on his rise to power within the Philly Mob and his significant association with controversial and ultimately ill-fated Teamster boss Jimmy Hoffa. It’s a sprawling epic in the tradition of Scorsese’s previously most expansive film, Casino, but in terms of scope this easily eclipses the 1995 classic, taking in SIX DECADES of genuinely world-changing events largely seen through Sheeran’s eyes, but as always the director is in total control throughout, never losing sight of the true focus – one man’s fall from grace as he loses his soul to the terrible events he takes part in. Then again, the screenplay is by Steve Zaillian (Schindler’s List, Moneyball, Fincher’s The Girl With the Dragon Tattoo), one of the true masters of the art form, with whom Scorsese previously worked with on Gangs of New York, so it’s pure gold – tight as a drum, razor sharp and impossibly rich and rewarding, the perfect vehicle for the director to just prep his cast and run with it. And WHAT A CAST we have here – this is a three-way lead master-class of titanic proportions, as Scorsese-regular Robert De Niro and his Goodfellas co-star Joe Pesci are finally reteamed as, respectively, Sheeran and Bufalino, while Al Pacino gets to work with the master for the first time as Hoffa; all three are INCREDIBLE, EXTRAORDINARY, on absolute tip-top form as they bring everything they have to their roles, De Niro and Pesci underplaying magnificently while Pacino just lets rip with his full, thunderous fury in a seemingly larger-than-life turn which simply does one of history’s biggest crooks perfect justice; the supporting cast, meanwhile, is one of the strongest seen in cinema all year, with Ray Romano, Bobby Canavale, Anna Paquin, Stephen Graham, Harvey Keitel, Stephanie Kurtzuba (The Wolf of Wall Street), Jack Huston (Boardwalk Empire) and Jesse Plemmons among MANY others all making MAJOR impressions throughout, all holding their own even when up against the combined star power of the headlining trio. This is filmmaking as high art, Scorsese bringing every trick at his considerable, monumentally experienced disposal to bear to craft a crime thriller that strongly compares not only to the director’s own best but many of the genre’s own other masterpieces such as The Godfather and Chinatown. It may clock in at a potentially insane THREE HOURS AND TWENTY-NINE MINUTES but it NEVER feels overlong, every moment crafted for maximum impact with a story that unfolds so busily and with such mesmerising power it’s impossible to get bored with it. The film may have received a limited theatrical release, obviously reaching MOST of its audience when unleashed on Netflix nearly a month later, but I was one of the lucky few who got to see it on the big screen, and BELIEVE ME, it was totally worth it. Best thing I saw in 2019, ONE OF the best things I saw this past decade, and DEFINITELY one of Scorsese’s best films EVER. See it, any way you can. You won’t be disappointed.

#how to train your dragon the hidden world #terminator dark fate #doctor sleep #spider-man far from home #us #us movie #knives out #Captain Marvel #john wick chapter 3 #avengers endgame #the irishman #2019 in movies

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littlebitoffanfic · 5 years

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Work Place Romance

Fandom: Texas Chainsaw Massacre Characters: Thomas, Luda, others mentioned Relationship: Thomas/reader Request (ish): So I originally started this as a request for a Thomas proposing request and this was the backstory. But I fell in love with the idea and decided to write it as a stand alone. Enjoy. You had heard of the Hewitt’s growing up, but never saw any of them other than Luda Mae, who had given you free lollypops when you came into the small shop she ran when you were a child. But her son, Thomas, was all but a mystery to you. He didn’t go to school like the rest of the children from the town and surrounding areas. He didn’t play out at the parks or in the fields. Occasionally, you would see him at the river, but never playing. He would normally be on the other side of the water, and you would wave happily to him. He’d return with a shy wave then leave to hurry home. But when he got the job at the meat factory, that was when you started to grow close to him. You were in HR, administration and payroll. If there was any office work, it got dumped on your desk with a snide comment to hurry up. When it came time for Thomas to join, he had to come see you so you could speak him through his contract, his hours, wage, holidays and any sickness leave. This hulking great man sat and listened closely to everything you had to say and you were surprised. Most men just rolled their eyes and snapped at you to hurry up, but Thomas listened and responded with nods when appropriate. You were pretty sure it was because you didn’t speak to him like he was dumb or an animal. You didn’t flinch or turn away from him in disgust or even fear. He started to gravitate towards you, making a point to walk by your office every day before he started and when he finished. 9 times out of 10, you would see him and wave good morning or good night to him. Once, he had fallen. It was another employees fault after they didn’t clean up some cattle blood on the floor and Thomas had been carrying some boxes. He slipped, fell, and had to go home. You had been on holiday for a few days, so when you popped into the little shop Luda owned and heard her and Charlie fretting about what they would do without the income for a few weeks, you stormed back to your office. After a 3 hours standoff with the owner and several employee handbooks and contracts being thrown about, he eventually gave you the okay to pay Thomas a sickness wage, plus compensation for his fall. --------flash back ------------ You wrote the cheque and got in your car. Driving up to the house, you saw a man outside leaning over a open car bonnet. “Excuse me? Is Thomas about?” You called, startling him as he hadn’t heard your car approaching over a radio. “Yeah, whos asking?” The man, you were sure his name was Monty, snapped at you. “My names [y/n], im from the factory.” You tell him and immediately see him relax a little. “Heard about you. Wait a minute.” He turned to the house. “LUDA!” You jumped a little as he called out for Luda but she came out fairly quickly, seeming annoyed to be summoned in such a way but immediately smiling when she saw you. “This young lady’s from the factory. Wants to see Thomas.” Monty filled her in. “Of course, hes just in here.” Luda retreats back inside, beckoning you to follow, which you did. Thomas was in the living room, sitting on the couch. You saw him try to move a little but wince in pain. Your heart broke for him. “Thomas, you got a visitor.” Luda called sweetly to her son who she was obviously dotting on. Thomas turned to see you and immediately went to stand, but both you and Luda stopped him by holding out your hands. “No, its fine.” You smiled, touched that he felt the need to stand up when you entered. You walked around to sit in one of the chairs while Luda leaned on the back of the couch.”Im sorry I didn’t come sooner. Im on holiday for another few days and I try to keep my distance from the factory when I can.” Your comment earned a small chuckle form Luda who shook her head. “Its fine, love. But how did you find out?” She asks and Thomas cocked his head to the side, obviously thinking the same thing. You had ran out of the gas station before her and Charlie had realised. “I overheard you in your shop.” You tell her and you see her face drop. Like many around here, money issues was an embarrassing subject and rarely spoke about outside of family. “I went back to the factory and watched the CCTV footage. There was blood on the floor, it should have been cleaned up or a sign put out. So that means it’s the company’s negligence. I had a little… talk with the owner, and hes agreed to give you sick pay along with some compensation for your injury’s.” You leaned forward and held out the envelope which contained the cheque and a small letter listing what was sick pay and what was compensation. Luda leaned forward and looked over Thomas’ shoulder, her mouth dropping open when she saw the figure. “That’s only up until the end of next month. If you need more time, come and see me. I can probably push for 6 months at the most. Im sorry you had to wait so long.” You apologies sincerely. If you had been there, you would have made sure Thomas knew what he was entitled to before he left so his family didn’t have to fret. You were angry that the owner thought he could just take advantaged of his employees this way. “Sweetie, you don’t need to apologies for anything. Thank you.” She quickly walked around the couch and wraps her arms around you. Even though you were still sitting, you couldn’t help but smile and return her hug. When she pulled back, she was smiling. “Will you stay for dinner? Please?” “Are you sure? I wouldn’t want to intrude. I know I came a bit unexpectedly.” You wanted to accept her invite but didn’t want to barge in on the family who were obviously so close. “Of course you can stay. We’ll set a place for you.” She smiles widely and hurried off to the kitchen to prepare dinner. “How are you feeling?” you asked Thomas, moving off the single seater to the sofa so you could sit beside him. He shrugged, moving his hand to his shoulder. You could see he was wearing a shirt, but the buttons weren’t fully done up. “Are you bruised?” you asked, and he nods and leans forward. He undoes 2 more buttons of his shirt and pulled it to the side so you could see. you gasp a little as you see the bruised flesh. When he had slipped, he had fallen to the side and his shoulder had taken most of the impact. The back of his shoulder and down was the worse area. It was his left shoulder, so he had a little benefit that it wasn’t his dominate arm but that didn’t make it easier. “Im going out to the city tomorrow. I’ll try get something to ease it. Do you have any pain killers?” You asked him as he covered his shoulder again. Your eyes glanced to the side of his neck. You could just see a small area of flesh which was exposed, showing the damaged skin that covered his face. On his shoulder, you had seen he had small areas that were indented, showing that the skin condition must cover his whole body but his face was the worse. It wasn’t till you were looking at him that you realised he was wearing his normal mask over his lower face. You found it strange that he wore it at home, but didn’t question him on it. Thomas reached to the coffee table beside the couch and showed you a half empty packet of paracetamol. “I’ll try get you something stronger. Paracetamol barely helps with my headaches so I cant see it doing much for your shoulder.” You reach out, stroking his upper arm. You could feel the muscles under his shirt tense a little at your touch. Luda watched silently from the door to the kitchen. She had never seen Thomas so comfortable with a stranger. ‘mind you’, she thought to herself, ‘shes not a stranger. He sees her nearly every day’. ---------------time skip ----------------- You pulled up outside the house in the early evening. The sun was still out but it was warm with a cool breeze. “Back again?” Monty called with a small laughter as he sat on the porch in a rocking chair. “afraid so.” You smiled back and Monty nods to the door. “Just head in. call out though.” He tells you and you thank him before grabbing the bag from your passenger side. You climb the stairs to the front door and nod at Monty as you pass him. “Hello? Its [y/n].” You call as you enter the house. You had left late last night after a loely meal with the family. But you had been up early for the drive into the city. It was about an hour and a half but sometimes the traffic on the way in and out was bad so you wanted to give yourself enough time. Glancing into the living room, you saw Thomas wasn’t on the couch. “Thomas?” you called out, the big house suddenly feeling very empty. That was until Thomas came out from the kitchen. He looked a little surprised but happy to see you once again as you made your way towards him. “I got you some stuff to help with your back.” He guided you to the kitchen and you placed the bag on the table in the centre of the room. “So I got some co-codomol.” You pull out the tablets, placing them down. “I wasn’t sure what sort of cream to get you so I got a few things for you to try. If you just do a little patch test first to make sure you wont react.” You place 4 different pots of cream on the table. You continued to pull out a hot water bottle, and ice pack and a few bars of your favourite chocolate. He picks one bar up, holding it up to you with a quizzical look. “When Im hurt or sick, it’s the only thing that gets me through.” You smile, laughing a little. You then pull out a small piece of paper with your number on it. “If you need anything, just let me know.” He takes the paper from your hand like you were giving him some kind of diamond which would shatter if he mishandled it. He couldn’t help but smile and nod to her in thanks. “[y/n]!” Luda called as she came in the door, Monty having told her you were here. “Will you be staying for dinner?” You couldn’t help but smile a little as you looked at Thomas. He nodded, his eyes begging you to stay as Luda came in the kitchen. “Yes, but you have to come round tomorrow.” You smile and Luda immediately inspects everything you had bought back. --------time skip -------------- You drove along the road, your eyes searching for the big hulking figure. It was going to be his first day back, but Luda had called you and said he had started to walk to work this morning. He had been off for 3 months, giving him enough time to heal, but that didn’t mean he was completely better. You couldn’t have that. So you said you would see if you could pick him up. Sure enough, you saw him walking along side the road. He didn’t normally take the road into work, usually keeping to the safety of the forest route to hid from people. But there had been a small bit of rain and the woods were muddy today. Putting your indicator on, you pulled up beside him. He jumped a little but relaxed when he saw you. “I’ll give you a lift.” You call when he silently questions why you were here. Opening the door, Thomas got into your car without further question. Your ac was nice and cool and the soft music coming from your radio relaxed him as you drove. “I can give you a lift home tonight. The only thing is I finish an hour after you, so you don’t need to wait about if you don’t want to.” You look at Thomas who nods. You weren’t sure if he was accepting the lift or wanted to respond while he thought about it. You didn’t push him. -------------time skip ---------------------------- The factory was now empty, apart from you, one of the managers and Thomas. You always locked up at night, which gave you a little quieter to finish your work in after the rest went home. Thomas had came to your office when he finished and saw in the corner while you worked away, chatting occasionally to him. “Don’t be too late.” The manager called through the door. “Wouldn’t want your husband waiting up for you.” “Haha, very funny.” You rolled your eyes but chuckled. Unlike the others, he wasn’t too bad. You saw Thomas sit up straight, his eyes darting to your left hand. “Im not married, if that’s what your thinking.” You glance up at Thomas as you heard the front door close, leaving just you and him. Thomas’ eyes darted to the door. “it’s a joke. So none of the guys try to hit on me.” You tell him as you stand up to file some stuff away quickly. You had become a much more permanent place in Thomas; life than before. You came and saw him 3 or 4 times a week and he waited anxiously for you. When he and his family went to yours for dinner, he had been all to happy to sit on the couch with yu and watch TV after. You slotted so perfectly into his life, into his heart, than he struggled to believe you were real. you felt the same about the man sitting behind you. He was sweet, and rather gentle despite his abilities. Luda had admitted to you than she could see how her son felt for you. She had told you than he watched for you coming and seemed to sulk when you left. This was enough to give a little more courage than you would normally have. “I think I’ll need to find a husband soon. Some of them are catching on.” You giggled, calling over your shoulder. You heard the chair scrap as Thomas stood up. Glancing over your shoulder, he walked up to you and stood behind you. His eyes were curious, so you decide to try and answer what he might be thinking. ‘why?’. “All the woman in town are married now. Might just need to find myself a husband. Someone big and strong.” You turned to face Thomas, biting down on your lower lip. Thomas towered over you and yet, you didn’t feel intimated. You knew you held the upper hand here and he wouldn’t do anything that would upset you. but you knew he wouldn’t have the strength or confidence, even if you wanted him to. “Hows your shoulder.” You reach up, resting your hand on his left shoulder. You allowed your hand to move in soft, slow circles and Thomas shuddered at the touch. You stepped closer to him, closing the gasp between you as your other hand rested on his chest. Slowly, you wrap your arms around his shoulder, trying to not put too much pressure on his left shoulder. Once your hands were behind his head, you undid the mask which shielded his face. His eyes never left your own as he seemed unable to pull away from your touch. In fact, the only time his eyes darted away was when his mask fell away and you saw his face for the first time. He moved his head to the side, his eyes closing as if he couldn’t bare to see your reaction to his features. That was until he felt a soft palm on his cheek, and you guided him back to look at you. His eyes opened only for a moment to see the love in your eyes and he couldn’t contain himself. leading down quickly, he smashed his lips against your own. It wasn’t the soft and gentle kiss you had been expecting. You had expect to have to incited that as well, keeping it slow and soft. but you certainly weren’t complaining. His lips worked against yours in a desperate and needy way that made your head spin. It wasn’t like any other kiss you had had in your life. you couldn’t help but moan into the kiss which had set your world alight in the space of a few second. A feeling which you could quickly becoming addicted to. His arms locked around you and, before you knew what was happening, you were being lifted up. Thomas carried you to your desk, setting you down without breaking the kiss. you quickly spread your legs so he could step between them. one of your hands buried itself in his thick hair with the other travelled down from his shoulder to his chest to grab onto his tie. You pulled him closer, leaning back so you were lying on the desk, his large frame over you as you gasped for air between kisses. But you both broke apart when the phone started to ring beside you. You quickly grabbed it, knowing that if it were the owner, he would think you had gone home early. Glancing at the clock, it was only 5 minutes before you finished, but he would still yell at you for that. However, when you answered, it was Luda. “Is Thomas still there?” She fretted, obviously expecting him to have been home by now. “Yes, sorry. Im going to give him a lift back. I finish in 5 minutes.” You tell her, hoping she wouldn’t hear how out of breath you were. “oh good. Thank you.” She let out a sigh of relief then giving an apology for phoning you before hanging up. You placed the phone back down, looking up to Thomas was still leaning over you, but had propped himself up on his hands as he stared down at your fear in his eyes. you propped yourself up on your elbows, a soft smile on your lips. Thomas relaxed when he saw your smile. you leaned up and pressed a soft kiss to his check. He seemed to want to mirror your affection and leaned down, pressing a kiss to your neck. He paused there for a moment, worried he might have overstepped his boundaries, until he heard a soft sigh leave your lips as you leaned against him. The sound of the front door made Thomas jump as he twisted around, leaving you on the desk as he heard jogging footsteps approaching the office. He was prepared to protect you any way he could, until he saw a figure run right past the door. “Left your keys?” you called out into the hallway, making Thomas relax a little. “uh, no?” The voice Ricky called back, but he was lying. You heard him walking back, popping his head into the room and seeing Thomas standing in front of you. You had sat up properly and crossed one leg over the other, but that didn’t mean he couldn’t see what happened. “Work place romance?” He asked, winking at you but you quickly flipped him off. “Remind me, how did you and Pamala get together again?” You asked, innocently. His face fell, remembering that he got her pregnant when she worked here. It was a scandal in the town. “well, I’ll see you tomorrow.” He nodded at Thomas and was quickly on his way. Giggling, you hopped off the table and approached Thomas. His hands were balled into fists which quickly loosened when you took his right hand in both of your own. “Would you like a work place romance?” You asked Thomas, looking up at him with doe like eyes. His gaze softened when he met your eyes and immediately nodded. “me too.” You smiled, unable to hide your blushing cheeks. You grabbed your bag and keys and the two of you left the factory, but not before phoning Luda saying you were running slightly late. Although this was a lie, you and Thomas would have to do a little sneaking about at the start. Who knows. Plenty of work lovers turn into the real thing. Although, you were pretty sure it was already real, it would be fun for a while to have a work place romance with your gentle giant.

#Texas Chainsaw Massacre #Thomas Hewitt #Thomas Hewitt/reader #thomas hewitt x reader #leatherface #leatherface x reader

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