#lawrence nighy

[toomuchdickfort]

It’s been a minute since I’ve been on about the relationship between Geryon and Larry

#put on music to go to sleep to since YouTube’s been too much the past few nights and. hello to the song I associated with them years ago #when I was originally developing their lives between friends and two dead men who have killed each other and hold a permanent place in each #others hearts and #normally I’m very *shakes them in my teeth* about it but currently I’m just. holds them in my hands like a very small origami crane #they held onto each other in spite of everything #and it’s tragic and they know it and they keep falling into orbit with each other and any time one of them holds the others cheek he’s very #aware of the blood on those hands and every time one holds the other he’s too aware of how easy it would be to betray the trust he’s being #shown but they keep trusting each other despite it and they’ve always known each other and they no longer recognize each other and they’re #the same people they were on earth and those versions of them are long dead and #and there was a time when. even as their lives were falling apart they had a respite in each other. even as they stared their own descent in #the face they held onto each other #what could they have become if that time lasted just a little longer. if it slightly edged out even just two events #like it’s just that. before their relationship was the sweet smell of rot. it was just sweet #don't mind me #character rambles #elysur #lawrence nighy #geryon amnes #thinks about the moment when they first met again after they had both died #two dead men for an instant shedding the weight on their shoulders and just. reuniting with their oldest friend. they didn’t catch up #because they knew that would sour things so they just enjoyed some time together while they could #like. amidst the chaos and the pain there are moments of care #like don’t get me wrong their relationship is a fucking dumpster fire #but I’m feeling soft and this is just the characters I’m stuck on atm

[nathalieskinoblog]

Emma 1972 - 2020

#emma #anya taylor joy #johnny flynn #mia goth #bill nighy #callum turner #autumn de wilde #romola garai #johnny lee miller #michael gambon #jodhi may #jim o'hanlon #gwyneth paltrow #jeremy northam #toni collette #douglas mcgrath #kate beckinsale #mark strong #diarmuid lawrence #alicia silverstone #brittany murphy #brittany broski #amy heckerling #doran goodwin #john carson #john glenister

[tascha-schwarz]

Thinking about my favorite characters, I decided to mention another one I initially intended to add to the list, but I chose not to, because he’s really unpopular and very little known, but to me he’s very special and deserves to be introduced separately. His name is Lawrence Montague from the movie The Girl in the Cafe. I love him deeply and dearly and have nothing but warm, tender feelings for him.

We have so much in common. I understand every bit of his personality and feel him in all possible ways. Mind blowing, how much I relate to him.

He’s restrained and closed up. Quiet, shy, unconfident. Insecure and a little bit too twitchy, and I find it so endearing about him. He’s tactful, delicate, considerate of other people. The perfect example of decency and modesty.

Although he makes an impression of a hard worker, absorbed in reports and showing little interest in social interaction, a weird guy, an outsider, he’s actually very cool and interesting. His inner world is rich, and his horizons are not limited to just numbers he seems to be fixated on. He has a wonderful sense of humor and can insert a random fact into a conversation or make up a funny word, which I think is amusing. These little things reveal his lively temper and perky spirit, and I just adore it.

He is cute, sweet and lovely, and very touching.

His character gives me so much comfort and cozy feeling no one will ever be able to.

#personal shit #again #information no one needs to know #bill nighy #wonderful bill nighy #the love of my life #lawrence montague #the girl in the cafe #the plot is simple and naive #if it were not for bill nighy i wouldn't be interested #but he's brilliant and i can't help #he makes everything better #including my life #favorite characters

[princehugo]

OMG! Disney just announced LIVE ACTION SOFIA THE FIRST MOVIE PREMIERING ON DISNEY+!

Cast list:

OLIVIA RODRIGO as Sofia

FLORENCE PUGH as Amber

TOM HOLLAND as James

SOFIA VERGARA as Queen Miranda

PEDRO PASCAL as King Roland

COLIN FARRELL as Cedric

BILL NIGHY as Baileywick

JENNA ORTEGA as Hildegard

ZENDAYA as Clio

SABRINA CARPENTER as Vivian

TIMOTHEE CHALOMET as Hugo

CATE BLANCHETT as Miss Nettle

JENNIFER LAWRENCE as Princess Ivy

Featuring the voice talents of CHRIS PRATT as Clover, MAYA RUDOLPH as Robin, PAUL DANO as Wormwood, and JAMES CORDEN as Minimus!

I can't wait!

I can't wait!

#sofia the first #sofia the fandom #hi. sorry

[lands-of-fantasy]

Emma

Classic and loose adaptions from 1972, 1995, 1996 (x2), 2009, 2013, 2020

The fourth of Jane Austen’s novels, first published in 1815, has had many adaptions over the years. The ones pictured above are detailed below:

Emma (1972 Miniseries)

6 episodes x 45min Written by Denis Constanduros, directed by John Glenister

Starring Doran Godwin as Emma Woodhouse, John Carson as Mr. George Knightley, Debbie Bowen as Harriet Smith, Timothy Peters as Mr. Philip Elton, Robert East as Frank Churchill,  Ania Marson as Jane Fairfax, among others

Clueless (1995 Film)

Loose adaption set in modern Beverly Hills, USA Written and directed by Amy Heckerling

Alicia Silverstone as Cher Horowitz (Emma), Paul Rudd as Josh Lucas (Knightley), Stacey Dash as Dionne Davenport, Brittany Murphy as Tai Frasier (Harriet), Jeremy Sisto as Elton Tiscia, Justin Walker as Christian Stovitz (Frank), among others

Emma (1996 Film)

Written and directed by Douglas McGrath

Gwyneth Paltrow as Emma Woodhouse, Jeremy Northam as Mr. George Knightley, Toni Collette as Harriet Smith, Alan Cumming as Philip Elton, Ewan McGregor as Frank Churchill, Polly Walker as Jane Fairfax, among others

Emma (1996 TV Film)

Written by Andrew Davies, directed by Diarmuid Lawrence

Kate Beckinsale as Emma Woodhouse, Mark Strong as Mr. George Knightley, Samantha Morton as Harriet Smith, Dominic Rowan as Mr. Philip Elton, Raymond Coulthard as Frank Churchill, Olivia Williams as Jane Fairfax, among others

Emma (2009 Miniseries)

4 episodes x 58min Written by Sandy Welch, directed by Jim O'Hanlon

Starring Romola Garai as Emma Woodhouse, Jonny Lee Miller as Mr. George Knightley, Louise Dylan as Harriet Smith, Michael Gambon as Mr. Henry Woodhouse, Blake Ritson as Mr. Philip Elton, Rupert Evans as Frank Churchill, Laura Pyper as Jane Fairfax, Jefferson Hall as Robert Martin, among others

Emma Approved (2013-14 Webseries)

95 episodes x 4-8min, available on Youtube Loose adaption set in modern US, told in a vlog format

Created by Bernie Su, from Pemberley Digital

Starring Joanna Sotomura as Emma Woodhouse, Brent Bailey as Alex Knightley, Dayeanne Hutton as Harriet Smith, James Brent Isaacs as Bobby Martin, Paul Stuart as James Elton, Stephen A. Chang as Frank Churchill, Tyra Colar as Jane Fairfax, among others

While the series is a follow-up to The Lizzie Bennet Diaries, it stands on its own.

Emma (2020 Film)

Written by Eleanor Catton, directed by Autumn de Wilde

Anya Taylor-Joy as Emma Woodhouse, Johnny Flynn as Mr. George Knightley, Mia Goth as Harriet Smith, Bill Nighy as Mr, Woodhouse, Josh O'Connor as Mr. Philip Elton, Callum Turner as Frank Churchill, Amber Anderson as Jane Fairfax, among others

*****

Personal favorite: 2009 But also: 1996 (Theatrical Film), Emma Approved

P.S.: 2020′s pretty popular, from what I’ve seen. I’ve enjoyed it myself, but it’s not among my favorite.

#emma #emma approved #period drama #jane austen adaptations #emma woodhouse #mr knightley #george knightley #emma 2009 #clueless #harriet smith #frank churchill #emma 1996 #emma 2020 #emma 1972 #there's an indian movie but it's in hindi and I haven't found it with subtitles!

[dweemeister]

95th Academy Awards reactions

It’s late, probably won’t get much attention, but here goes it...

I came into the night thinking EEAAO the prohibitive frontrunner with All Quiet nipping at its heels because of BAFTA, and I certainly wasn’t mistaken. Seven from eleven nominations puts EEAAO in the realm of The Best Years of Our Lives (1946), The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Patton (1970), and Schindler’s List (1993). There are some less reputable movies  (that won or didn’t win Best Picture) that also won seven, but we won’t speak of those. I shouldn’t compare total number of Oscars across years because of the variance of how much or how little competition there was those years, but that is quite a bit. And I don’t think EEAAO matches the heights of any of those aforementioned movies. Still, I liked the movie and would’ve voted for it for Best Picture anyways.

As a Vietnamese-American kid, it was something else to see Ke Huy Quan - who is of ethnic Chinese descent but from Vietnam and knows Cantonese, Mandarin, and Vietnamese fluently - take home Best Supporting Actor. To see home speak of his refugee childhood near the beginning of his speech was enough to bring tears to my eyes. The comeback is complete. May he go on to have the career he wanted to have.

I was shocked to see Jamie Lee Curtis’ name come up for Supporting Actress. I thought this was going to Condon for Banshees, perhaps Angela Bassett for a valedictory Oscar for Black Panther: Wakanda Forever (I am of the opinion Bassett should’ve won by now, but we shouldn’t be in the business of giving valedictory competitive Oscars). Preferred Hsu and Condon myself. Also hearing bad things about Bassett’s reaction.

I’m not a fan of The Whale or Darren Aronofsky. But I will admit that I appreciated Brendan Fraser and Hong Chau in it. And though I wasn’t fully in Fraser’s court on this one (I thought his performance was as good as Bill Nighy’s in Living - Nighty was never going to win this), I am more than happy to see him a winner.

Michelle Yeoh was the slight personal favorite in Actress other than Cate Blanchett in Tár. An absolute stunning victory here in a performance that allowed her to be as fully-rounded as we’ve ever seen her. I hope to discover her earlier career when those films are more readily available to me some day!

Extremely happy for Sarah Polley and her screenplay win for Women Talking. Not the biggest fan of the film, but I thought it good enough to take its screenplay nomination home.

As someone who read the book in high school (not for class) and admires the 1930 Best Picture-winning adaptation immensely, the 2022 All Quiet on the Western Front was the one major player tonight I was actively rooting against. It overperformed, in my opinion, with Cinematography, Production Design, and that goddamned Original Score win. I understand the score is effective in the context of the movie (essentially three notes distractingly placed and amelodic background noise), but it’s placement and composition - to me - was anachronistic, metallic, ugly, and deeply offensive for the film it was in. I’d rather not expend any more emotional energy here. You can read my write-up to it.

Likewise, I was incensed with the Animated Short win for The Boy, the Mole, the Fox and the Horse. As someone who has been watching the animated shorts and all the other short categories for some time now, the evening was probably going a little too well with my co-favorite An Irish Goodbye winning for Live Action Short and my favorite The Elephant Whisperers winning for Doc Short. So there had to be something to bring me down to earth. And thus - imo - they chose the absolute weakest of the five Animated Short nominees. An insipid screenplay, despite impressive animation, and the money from Apple probably played a role. Unfortunately predictable, and the second-angriest I was on the night after Original Score.

Yes, I’m glad EEAAO did the business it did. But I don’t think it’s right to see Banshees, Fabelmans, and especially Tár all go home empty-handed. That just doesn’t feel right. And I don’t think EEAAO was necessarily the best in the categories all of these movies competed in. I think AMPAS and younger people especially take both Steven Spielberg and John Williams for granted (I think AMPAS in particular think both Spielberg and Williams have “won enough” and will never vote for them again despite being nominated - Spielberg hasn’t won Best Director since Saving Private Ryan (1998) and Williams since Schindler’s List (1993) - no matter how good their work is). And that’s simply not right.

I’m happy that after last year’s Disney live-action princess kerfuffle condescending towards animated film, Emily Blunt and especially The Rock gave animation its due. Beautifully introduced, both. And a deserving winner in Guillermo del Toro’s Pinocchio.

I didn’t see enough Documentary Feature nominees this year to offer much analysis, but I imagine Navalny won partly because it was the closest AMPAS voters got to voting against Vladimir Putin.

Jimmy Kimmel was fine on the night. Not too controversial, which I think the Academy very much wanted after The Slap. Because Tom Cruise and James Cameron weren’t in attendance, I probably would have had them roasted a little more but alas.

Does anybody have a link to RRR in the original TELUGU with English subtitles rather than a Hindi dub with English subtitles? Would be much appreciated, thanks!

I know that pop culture is being fragmented increasingly, and we’re losing the monoculture that made the Oscars a central, widely-followed event in our cultural life. But I hope - because of AMPAS’s daily mission to help foster newer filmmakers, educate the public on the movies, and especially the restoration projects and maintenance for its enormous film library - people can get past the very unmistakable flaws of this ceremony and realize some of the good it does. Cinema history, filmmaking, and the communal experience of seeing a movie (and not just the newest MCU, superhero, or action sequel, but also indie fare and the odd mid-budget movie that doesn’t go straight to streaming) are important. And the Oscars - perhaps less so than in the past - remain an important gateway for a ton of novice cinephiles.

Until next year, Academy Awards. And if you’re a follower, my “31 Days of Oscar” marathon continues through the end of this month (albeit probably with less intensity)!

#Oscars #95th Academy Awards #Everything Everywhere All At Once #All Quiet on the Western Front #The Whale #Women Talking #The Banshees of Inisherin #The Fabelmans #Tár #RRR #Guillermo del Toro's Pinocchio #Navalny #31 Days of Oscar

[shirkers2018dirsanditan]

so is the trend that the emmys only give awards to younger actresses and the oscars only go to older actresses?

both prefer younger actresses. and the oscars prefers older actors with established careers. in a better universe, that would be colin farrell (or bill nighy) this year.

for example, in 2013, emmanuelle riva was the oldest woman ever to be nominated for best actress at the age of 85. she was beaten by jennifer lawrence, who was like 21 (for silver linings playbook).

the youngest actress ever nominated for best actress at the oscars was quvenzhané wallis in 2013. she was NINE years old. now, the youngest actor ever nominated for best actor was jackie cooper, at the same age. but that was in 1931. in 2018, timothee chalamet was the youngest actor in 87 years (since jackie cooper) to be nominated for best actor. he was 22…the youngest woman to WIN best actress was marlee matlin at 21 in 1987. the youngest actor to win? adrien brody in 2002. at 29.

#austin butler would have been the youngest actor in two decades to win if he had been able to stave off fraser’s upset #anon

[themovieblogonline]

The First Omen Review: Nell Tiger Free Deserves All The Awards

The First Omen skillfully weaves a prequel tapestry that fans of the franchise will undoubtedly appreciate. Directed by Arkasha Stevenson, with a screenplay penned by Tim Smith, Keith Thomas, and Stevenson herself, the film not only enriches the lore of its predecessor, The Omen (1976), but also stands as a formidable supernatural horror film in its own right. Featuring standout performances by Nell Tiger Free, Sônia Braga, Ralph Ineson, Bill Nighy, and Tawfeek Barhom, the film is both a narrative and visual feast, darkly engaging from start to finish. https://www.youtube.com/watch?v=lmN1Op8ygno At the heart of The First Omen is Margaret Daino (Nell Tiger Free), an American novitiate whose journey to take her vows at a Rome-based orphanage quickly spirals into a nightmarish quest entangled with demonic prophecies and a chilling conspiracy. The movie’s adept narrative unfolds with a measured pace, gracefully balancing horror elements with a suspenseful storyline that explores themes of faith, deception, and the eternal battle between good and evil. Margaret’s transition from a naive young woman to a protagonist grappling with the realization of her own involvement in a prophecy is both compelling and convincingly portrayed by Free. Arkasha Stevenson’s direction shines throughout the film. Most particularly in how she crafts the eerie atmosphere that fans of The Omen series expect. The haunting score and cinematography synergize to create a palpable tension that lingers long after the screen goes dark. Scenes depicting supernatural occurrences are executed with a finesse that avoids overreliance on CGI, opting instead for practical effects and ambiance to evoke fear and anticipation. The supporting cast also adds depth to the narrative. Ralph Ineson’s Father Brennan and Bill Nighy’s Cardinal Lawrence deliver powerful performances that are both menacing and enthralling. Sônia Braga as Sister Silvia provides a nuanced portrayal of faith tested by diabolical forces. This further enriches the film’s complex web of characters. Tawfeek Barhom’s Father Gabriel stands as a beacon of conflicted morality. He adds layers to the narrative that invite viewers to ponder the nuances of belief and the price of redemption. Despite its strengths, The First Omen is not without its shortcomings. The film sometimes struggles with pacing, particularly in its middle section. This is where the narrative appears to meander before finding its footing once more. Additionally, while the plot strives to lay a foundation for the events leading to the original The Omen, it occasionally lapses into predictability. Some twists feel less surprising and more like necessary steps to align with the franchise’s lore. Another point of contention could be the film’s ending. Although it provides a satisfyingly cyclical connection to the 1976 movie, it might leave some viewers desiring a more innovative departure from the expected trajectory of the franchise. However, this does not significantly detract from the overall experience, thanks in large part to the strong performances and the deftly handled thematic elements of destiny, familial bonds, and the unsettling question of whether evil is truly born or made. The First Omen also excels in its world-building. It expertly lays down the sinister groundwork that fans know will lead to the events of The Omen. The screenplay offers new insights and expanding upon the universe. It does so in a way that feels both respectful to the original and fresh. The societal tensions of the 1970s and Rome's architecture add authenticity and gravity to the story. The First Omen is a commendable addition to the franchise. It will not only satisfy long-standing fans but also has the potential to allure new viewers into its dark embrace. The film succeeds in delivering a riveting horror experience with strong performances and a compelling narrative. Stevenson's direction and the talented cast make this prequel a worthy companion to the original. It reminds viewers of the series' chilling allure. With The First Omen, the franchise’s legacy of horror is not only honored but invigorated. It paves the way for future explorations of its sinister world. Read the full article

[meezookeewee]

[agendaculturaldelima]

   #ProyeccionDeVida

🎬 “LA PRIMERA PROFECIA” [The First Omen]

🔎 Género: Terror / Thriller / Precuela

⌛️ Duración: 120 minutos

✍️ Guión: Tim Smith, Arkasha Stevenson y Keith Thomas

🙈 Personajes: David Seltzer

🎼 Música: Mark Korven

📷 Fotografía: Aaron Morton

🗯 Argumento: Cuando una joven estadounidense viaja a la ciudad de Roma para iniciar una vida de servicio a la Iglesia, se topa con una oscuridad que pone en cuestión su propia fe y descubre una conspiración aterradora que espera provocar el nacimiento de la encarnación del mal. La cinta es la precuela de 'La Profecía [The Omen]' (1976).

 👥 Reparto: Nell Tiger Free (Margaret Daino), Sônia Braga (Silvia), Bill Nighy (Lawrence), Ralph Ineson (Padre Brennan), Andrea Arcangeli (Paolo), Tawfeek Barhom (Gabriel), Charles Dance (Padre Harris), Ishtar Currie Wilson (Anjelica), Mia McGovern Zaini (Beatrice), María Caballero (Luz) y Alessia Bonnaci (Enfermera)

📢 Dirección: Arkasha Stevenson

© Productoras: Phantom Four Films, 20th Century Studios, Kiwii, Cattleya & Abbey Road Studios.

💻 Distribuidora: 20th Century Fox

🌎 Países: Estados Unidos-Italia

📅 Año: 2024

📌 ESTRENO:

📆 Jueves 04 de Abril

📽 Cartelera Nacional: Cineplanet / Cinemark Perú / Cinépolis / Multicines Cinestar

[noratilney]

Fancast Friday #4: Dark Glory

Victoria (Emma Mackey)

Neville (Matthew Lewis)

THE CARROWS

Atticus Carrow (), Persephone Carrow née Grey (Carrie Coon), Flora Carrow (Joey King), Hestia Carrow (Odeya Rush), Amycus Carrow (), Alecto Carrow ()

THE AVERYS

Sophia Avery𐠒 (Samara Weaving), Clementine Avery née Flint𐠒 (Christine Baranski), Lawrence Avery𐠒 (Bill Nighy)

THE LONGBOTTOMS

Augusta Longbottom née ? (), Algie , Enid , Alice Longbottom née ? (Laura Carmichael), Frank Longbottom (Jonathan Bailey)

DEATH EATERS

Lucius Malfoy (), Bellatrix Lestrange (), Fenrir Greyback

THE RESISTANCE

Hermione Granger (), Ronald Weasley (), Ginny Weasley (), Fred Weasley (), George Weasley (), Lee Jordan (), Hannah Abbott (), Remus Lupin (), Nymphadora Tonks ()

SLYTHERINS

Former Slytherins {Daphne Greengrass (Cierra Ramirez), Gemma Farley (Savannah Smith), Pansy Parkinson (Mimi Keene), Draco Malfoy (), Vincent Crabbe ()} Victoria’s roommates {Reiko Sibazaki (Suzu Hirose), Lettice Fawley (Aimee Lou Gibbs), Imani Dladla (Ama Qamata), Arezou Lakhani (Neelam Gill)}

Current Slytherins {Mafalda Prewett (Dafne Keen), Astoria Greengrass (Jenna Ortega), Marguerite Avery (), Calliope Rosier ()}

GRYFFINDORS

Former Gryffindors {Oliver Wood (), Katie Bell (), Alicia Spinnet (), Angelina Johnson (), Parvati Patil (Simone Ashley?), Lavender Brown ()}

Neville’s ex-roommates {Harry Potter𐠒, Ronald Weasley (see above), Dean Thomas (), Seamus Finnegan ()}

Current Gryffindors {}

RAVENCLAWS

Former Ravenclaws {Cho Chang (), Penelope Clearwater (Natalia Dyer), Padma Patil (Simone Ashley?)} Current Ravenclaws {}

HUFFLEPUFFS

Former Hufflepuffs {Leanne Moon (Kiernan Shipka), Hannah Abbott (see above)} Current Hufflepuffs {}

MUGGLES

Avery Village

Elsewhere

OTHERS

#fancast fridays #fancasting

[toomuchdickfort]

Nobody:

Me: on about Geryon and Lawrence’s relationship for the millionth time

#on one hand: Geryon knowing how very doomed they are #on the other hand: Lawrence realizing how vulnerable Geryon is to him and being horrified as he realizes just how far they’ve gone and how #much they’ve changed #I just wrote a thing Bc like. it’s 100% just me thinkin abt g having a hard time and Lawrence is like. he trusts me so much. it would be so #easy to betray that trust. #like #death mention #but like #both these men have become so violent in their lives #they expect so much of the worst so much of the time #and when Larry goes to sit with him g flinches #and. there’s a point where they’re still growing into what they become before everything breaks. and they still trust each other. and for #an instant… everything is still #the moment after you throw a plate straight up and it pauses. just for an instant before it falls #I’m thinking about their moments that feel like that #they both know that they’re so doomed before it comes to the end of that and #idk why i spend so much time thinking about this but #character rambles #elysur #lawrence nighy #geryon amnes

[joker1315]

Tag masterlist

This is a pinned post, it will help you find what you are looking for. (Please let me know if a link doesn’t work.)

Check out my new sideblog: https://joker1315s-whump-sideblog.tumblr.com/

The Blacklist - Broadchurch - The Boys - Doctor Who - The Expanse - Fleabag - Good Omens - Gotham - The Great Race - Hannibal - Harry Potter - The Hobbit/Lord of the Rings - The Hollow Crown - How to Train Your Dragon - James Bond - Jurassic Park - Lucifer - Marvel - Monsters Inc. - Monty Python - Mulan - The Neverending Story - Once Upon a Time - Penny Dreadful - Pirates of the Caribbean - Preacher - Prodigal Son - Robin Hood - Rocky Horror Picture Show - Der Schuh des Manitu - Sherlock - Star Trek - Star Wars - Supernatural - Twin Peaks - War Horse - The Witcher - Winnie the Pooh - X-Men

Actors:

Alan Rickman - Andrew Scott - Benedict Cumberbatch - Billie Piper - Bill Nighy - Brendan Fraser - Buster Keaton - Catherine Tate - Charlie Chaplin - Chris Evans - Chris Hemsworth - Chris Pine - Christopher Eccleston - Christopher Lee - Colin Firth - Colin O’Donoghue - Damian Lewis - Daniel Brühl - Daniel Radcliffe - Danny Kaye - David Dastmalchian - David Tennant - DeForest Kelley - Dominic Cooper - Emilie de Ravin - Emma Thompson - Emma Watson - Ewan McGregor - Gary Oldman - Gwyneth Paltrow - Harrison Ford - Hayley Atwell - Heath Ledger - Helena Bonham Carter - Helen McCrory - Hugh Dancy - Hugh Jackman - Hugh Laurie - Ian McKellen - Jackie Earle Haley - James McAvoy - James Spader - Jamie Lee Curtis - Jared Padalecki - Jason Isaacs - Jennifer Lawrence - Jensen Ackles - Jeremy Renner - Joey Batey - John Barrowman - John Simm - John Hurt - Johnny Depp - Joseph Gilgun - Karen Gillan - Karl Urban - Keira Knightley - Lee Pace - Leonard Nimoy - Mads Mikkelsen - Mark Pellegrino - Mark Ruffalo - Martin Freeman - Matt Smith - Michael Fassbender - Michael Gambon - Michael Sheen - Misha Collins - Nathan Fillion - Orlando Bloom - Patrick Stewart - Paul Bettany - Peter Capaldi - Phoebe Waller Bridge - Rachel Weisz - Robert Carlyle - Robert Downey Jr - Robin Lord Taylor - Robin Williams - Ruth Negga - Samuel L Jackson - Simon Pegg - Stephen Fry - Taron Edgerton - Tim Curry - Tim Roth - Tom Ellis - Tom Hiddleston - Tom Holland - Tom Selleck - Viggo Mortensen - William Shatner - Zachary Quinto

Music:

The Beatles - Brian May - Elton John - Freddie Mercury - George Ezra - George Harrison - John Lennon - Jake Bugg - Mika - Paul McCartney - Queen - Ringo Starr

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Random stuff I find entertaining - Art - Quotes - Stories - Nature - History - Masterposts - Pokemon - Food - Cool clothes - Cool furniture - German Stuff - Stuff about books - Stuff about movies - Stuff about music - Ask games - Puns, jokes and funny stuff - Quizes - About tumblr

Here you can find my posts and here you can find my gifs sorted after the movie/show there from. Here you can find all my tags.

You didn’t find what you are looking for? That’s a pity. Klick here if you want to complain, suggest something or just say hi.

[ms-march]

Chapter 11- Luck be a Lady (Turn AMC)

Chapter 11 is the same day as chapter 10, later that nighy. It is entirely focused arounf Geroge, Lawrence, & how Adrienne fits as a connector between them. Please like, comment, and/or reblog if you like it!!

“George sat alone in his war tent, eyes drifting in and out of consciousness. He was exhausted, his shoulders ached for rest, his head pounded him blow after blow, but he could not sleep. He refused to. Every time George closed his eyes, he saw her, the still body lying in the sheets, bloody bandages wrapped around her waist, pale as death itself. In a way, he supposed she was. It was not official. She still breathed, and when the strength could be found, cried in pain, but it was clear how little hope there was for recovery. George kneeled beside the bed for an hour as she lay still, her chest barely rising in her unconscious state. Lawrence had not looked like this. He was flushed and sweaty. He fought with every breath. Lawrence was the strongest man George had ever met, and even he lost the battle against death. Adrienne, his poor Addy, lay there without any color to her skin. She was not sweaty, still smelling of rosewood oil and lemongrass perfume. She was not fighting.”

Thank you to @culper-spymaster for beta reading this chapter for me!!

#lbl #luck be a lady #general george washington #george washinton #billy lee #give billy lee a break 2020 #Lawrence Washington #turn: washington's spies #turn amc #turnfic #turn fic #fanfic #fanficion #turn fanfiction

[ljones41]

"EMMA" (2020) Review

"EMMA" (2020) Review Between 2009 and 2020, Hollywood and the British film/television industries have created a handful of productions that either spoofed or were inspired by Jane Austen's novels. Actually, I can only recall one movie that was more or less a straightforward adaptation - 2016's "LOVE & FRIENDSHIP", an adaptation of Austen's novella, "Lady Susan". So imagine my surprise when I learned a new and straightforward adaptation of an Austen novel was due to hit the theaters.

I was even more thrilled that this new movie would be a straightforward adaptation of Austen's 1815 novel, "Emma" . . . which happened to be my favorite written by her. This new adaptation, helmed by Autumn de Wilde and written by Eleanor Catton, starred Anya Taylor-Joy in the title role. I am certain that many Austen fans are familiar with the 1815 novel's narrative. "EMMA" is the story of a spoiled and over privileged young Englishwoman named Emma Woodhouse, who resides at her wealthy father's country estate near the town of Highbury. Emma is not only spoiled and over privileged, but overestimates her own matchmaking abilities and is blind to the dangers of meddling in other people's lives. Ever since its release in February 2020, film critics and moviegoers have been praising "EMMA" to the skies. In fact, the movie is so high on the critical list that I would not be surprised if it ends up receiving major film award nominations next winter. A great deal of this praise has been focused on the performances of Anya Taylor-Joy, Johnny Flynn for his portrayal of George Knightley, Bill Nighy's portrayal of Mr. Woodhouse; and Autumn de Wilde's direction. Does the movie deserve such high praise? Perhaps. Perhaps not. I certainly cannot deny that "EMMA" is a beautiful looking film. I found Christopher Blauvelt's photography to be very sharp and colorful. In fact, the film's color palette almost seemed similar to the color schemes found in Alexandra Byrne's costume designs. Overall, the visual style for "EMMA" seemed to radiate strong and bright colors with a dash of pastels. Very stylized. But as much as I found all of this eye catching, I also found myself a little put off by this stylized artistry - especially for a movie in a period rural setting. Speaking of artistry, there has been a great deal of praise for Byrne's costumes. And I can see why. Granted, I am not fond of some of the pastel color schemes. I cannot deny I found her creations - especially those for the movie's women characters - were eye catching, as shown below:

I had a few complaints regarding the film's costumes and hairstyles. The men's trousers struck me as a little too baggy for the 1810s. I get it. Actors like Bill Nighy found historical trousers a bit tight. But I feel the trousers featured in "EMMA" struck me as a bit too comfortable looking from a visual viewpoint. And then there was the hairstyle used by Anya Taylor-Joy in the film. For some reason, I found her side curls a bit too long and rather frizzy looking. Instead of the mid-1810s, her hairstyle struck me as an example of hairstyles worn by women during the early-to-mid 1840s. Someone had claimed that "EMMA" was a very faithful adaptation of Austen's novel. Was it? Frankly, I thought it was no more or less faithful than any of the costumed versions. De Wilde and screenwriter Eleanor Catton followed the major beats of Austen's novel, except for one scene - namely the Crown Inn ball. I will discuss that later. The movie also did an excellent job in capturing the comic nature of Austen's novel. This was apparent in nearly every scene featuring Bill Nighy as Mr. Woodhouse. I also enjoyed those scenes featuring the introduction of Augusta Elton, Emma's reactions to Jane Fairfax and her attempts to play matchmaker for Harriet Smith and Mr. Elton. But the movie also featured some good dramatic moments, thanks to De Wilde's direction and the film's cast. I am speaking of the scenes that featured Mr. Knightley's scolding of Emma for her rudeness towards the impoverished Miss Bates at the Box Hill picnic; Mr. Knightley's marriage proposal and the revelation of Harriet's engagement to tenant farmer Robert Martin. "EMMA" has received a great deal of acclaim from film critics, moviegoers and Jane Austen fans. Many are claiming it as the best adaptation of the 1815 novel. Do I feel the same? No. No, I do not. In fact, out of the five film and television adaptations I have seen, I would probably rank it at number four. Perhaps I had very high expectations of this movie. It is an adaptation of my favorite Austen novel. And it is the first straightforward Austen adaptation since the 2009 television miniseries of same novel. Perhaps this movie is better than I had original assume. Then again, looking back on some of the film's aspects - perhaps not. A good deal of my problems with "EMMA" stemmed from the portrayal of the main character, Emma Woodhouse. How can I say this? Thanks to Catton's screenplay and De Wilde's direction, Emma came off as more brittle and chilly than any other version I have ever seen. Granted, Emma Woodhouse was a snob. This was apparently in her strong sense of class status, which manifested in her erroneous belief that Harriet Smith was the illegitimate daughter of an aristocrat or gentry landowner, instead of someone from a lower class. Emma's snobbery was also reflected in her contempt towards the impoverished Miss Bates, despite the latter being a "gentlewoman" and a member of the landed gentry. Emma's snobbery, a product of her upbringing, also manifested in her own ego and belief that she is always right. Yes, Emma possessed negative traits. But she also had her share of positive ones. She possessed a warm heart, compassion for the poor (at least those not from her class), intelligence, and an ability to face her faults. This cinematic portrayal of Emma Woodhouse as a brittle and slightly chilly bitch struck me as a little off putting and extreme. Another example of the exaggeration in this production was Mr. Knightley's reaction to his dance with Emma at the Crown Inn ball. Many have not only praised the sensuality of the pair's dance, but also Mr. Knightly's reaction upon returning home to his estate, Donwell Abbey. What happened? George Knightley seemed to be in some kind of emotional fit, while he stripped off some of his clothes and began writhing on the floor. What in the fuck was that about? That scene struck me as so ridiculous. Other actors who have portrayed Knightley have managed to portray the character's awareness of his love for Emma without behaving like a teenager in heat. Speaking of heat, who can forget Harriet Smith's orgasmic reaction to the idea of being Mrs. Elton? Many critics and Austen fans thrilled over the sight of a female character in a Jane Austen production having an orgasm. I will not castigate De Wilde for this directorial choice. I am merely wondering why she had included this scene in the first place. If Harriet was going to have an orgasm, why not have her bring up the subject to a possibly flabbergasted Emma? Why include without any real follow through? Having an orgasm must have been something of a novelty for a young woman like Harriet, who was inexperienced with sexual thoughts or feelings. And then there was Emma and Mr. Knightley's dance at the Crown Inn ball. The latter sequence is usually one of my favorites in any adaptation of "EMMA". The one exception proved to be the 1972 miniseries, which ended the sequence after Emma had suggested they dance. I almost enjoyed the sequence in this film . . . except it featured Emma obviously feeling attracted to Mr. Knightley during this dance. And I thought this was a big mistake. Why? Because Emma was never that consciously aware of her attraction to Mr. Knightley, until Harriet had confessed her crush on the landowner. And that happened near the end of the story. In other words, by showing Emma's obvious feelings for Knightley during the ball, Autumn De Wilde rushed their story . . . and was forced to retract in the scene that featured Harriet's confession. I feel this was another poor decision on the director's part. If I have to be honest, I think De Wilde, along with screenwriter Eleanor Catton, made a number of poor decisions regarding the film's narrative. I have already pointed out three of those decisions in the previous paragraphs. But there were more. De Wilde and Catton changed the dynamics between Mr. Woodhouse and his older daughter and son-in-law, Isabella and John Knightley. In the novel and previous adaptations, Mr. Knightley Jr. had always seemed more annoyed and at times, cankerous toward Mr. Woodhouse's hypochondria. In this version, Isabella's hypochondria seemed more irritating. And instead of reacting to his wife's complaints, John suppressed his reactions and ended up being portrayed as a henpecked husband. For some reason, De Wilde and Catton thought it was necessary to take the bite out of John Knightley, making him a weaker character. Why? I have not the foggiest idea, but I did miss the character's biting wit. In my review of the 1996 television version of "Emma", I had complained how screenwriter Andrew Davies and director Diarmuid Lawrence had minimized part of Harriet's character arc and focused just a bit too much on Frank Churchill and Jane Fairfax. In the 1996 movie version, the opposite happened. Writer-director Douglas McGrath had focused more on Harriet's arc than the Frank/Jane arc. Well De Wilde and Catton ended up repeating McGrath's mistake by focusing too much on Harriet, at the expense of Frank and Jane's arc. Worse, Frank and Jane's arc seemed focused on even less than the 1996 McGrath. The couple barely seemed to exist. And a result of this is that Frank's father, Colonel Weston, barely seemed to exist. Mrs. Weston fared better due to her being Emma's former governess. But I was really shocked at how little De Wilde and Catton focused on Mr. Elton and his overbearing bride, Augusta Elton. The movie did focus a good deal on Mr. Elton in those scenes featuring Emma's attempts to match him with Harriet. But following his marriage, his character - along with Mrs. Elton - seemed to slowly recede into the background following their tea at Hartfield with the Woodhouses. By allowing very little focus on these characters, De Wilde and Catton had left out so many good moments in their effort to streamline Austen's story for theatrical film. Even more so than the two versions from 1996. Because of this streamlining, a good deal of the cast had very little opportunity to develop their characters on screen. Oliver Chris and Chloe Pirrie gave solid comic performances in their portrayal of John and Isabella Knightley, despite my irritation at the changing dynamics of their relationship. Rupert Graves was pretty much wasted as the over-friendly Colonel Weston. Miranda Hart gave a funny performance as the impoverished spinster Miss Bates. Unfortunately, I was distracted by her less-than-impoverished wardrobe in several scenes. If you had asked for my opinion of Amber Anderson's portrayal of Jane Fairfax, I would not have been able to give it to you. I have no memory of her performance. She made no impact on the movie or its narrative. Tanya Reynolds struck me as a rather funny Mrs. Elton . . . at least in the scene featuring the Eltons' tea with the Woodhouses at Hartfield. Otherwise, I have no real memory of her other scenes in the movie. Callum Turner has always struck me as a memorable performer. And I have to admit that his portrayal of Frank Churchill certainly made an impression on me. But the impression was not always . . . negative. One, he did not have enough scenes in this movie and his character arc struck me as rather rushed. And two, I thought his Frank Churchill was a bit too smarmy for my tastes. Thankfully, "EMMA" did feature some memorable supporting performances. Gemma Whelan gave a lovely and warm performance as Emma's former governess and close friend, Mrs. Weston. Josh O'Connor gave an excellent performance as the social-climbing vicar, Mr. Elton. I must say that I found his comic timing impeccable and thought he gave one of the best performances in the movie. However, I thought there were times when his Mr. Elton came off as a sexual predator. I get it . . . Mr. Elton was basically a fortune hunter. But I thought O'Connor went too far in the scene that featured Emma's rejection of his marriage proposal. For a moment, I thought he was going to sexually assault her. That was a bit too much. Mia Goth's portrayal of the clueless Harriet Smith struck me as spot-on and very skillful. Granted, I did not care for the "Harriet has an orgasm" moment, but I cannot deny that Goth's acting was excellent in the scene. Bill Nighy gave a skillfully comic portrayal as the hypochondriac Mr. Woodhouse. Yes, there were moments when his usual tics (found in many of his performances) threatened to overwhelm his performance in this film. But I think he managed to more or less keep it together. One performance that seemed to be garnering a great deal of acclaim came from Johnny Flynn, who portrayed Mr. Knightley. In fact, many are regarding him as the best Mr. Knightley ever seen in the movies or on television. I believe Flynn is a pretty competent actor who did an excellent job of conveying his character's decency, maturity and burgeoning feelings for Emma. I was especially impressed by his performance in the Box Hill sequence in which Mr. Knightley chastised Emma for her rude comments at Miss Bates. But I do not regard him as the best on screen Mr. Knightley I have seen. If I must be honest, I do not regard his interpretation of the character as among the best. My problem with Flynn is that his Knightley struck me as a bit of a dull stick. And Knightley has always seemed like a man with a dry sense of humor, which is why I have always regarded him as one of my favorite Austen heroes. And Flynn's Knightley simply struck me as humorless. Perhaps "humorless" is the wrong word. There were scenes of him reacting to the comedic actions of other characters and uttering the occasional witty phrase or two. But there was something about Flynn's demeanor that made it seem he was trying too hard. I guess no amount of ass display, singing, laughing or writhing on the floor like a lovesick adolescent could make him more interesting to me. Then we have the film's leading lady, Anya Taylor-Joy. Unlike Flynn, the actress was given the opportunity to display her skills as a comic actress. And she more than lived up to the task. Honestly, I thought Taylor-Joy displayed excellent comic timing. Yet . . . I could never regard her as one of my favorite on-screen versions of Emma Woodhouse. She was a bitch. Let me re-phrase that. I thought Taylor-Joy overdid it in her portrayal of Emma's bitchiness and snobbery. To the point that her performance struck me as very brittle. Yes, Emma Woodhouse was a snob. But she could also be a warm and friendly young woman, capable of improving her character. I saw none of this in Taylor-Joy's performance. If Catton's screenplay demanded that Emma became aware of her flaws, the actress' conveyance of those moments did not strike as . . . natural. Otherwise, she made a satisfying Emma Woodhouse. I also have one more criticism to add - Taylor-Joy did not have great screen chemistry with her leading man, Johnny Flynn. Their on-screen chemistry struck me as pedestrian at best, if I must be honest. One would think that I disliked "EMMA". Honestly, I did not. The movie managed to stick with Austen's narrative. And although it did not change Austen's story, it did feature changes in some of the characteristics and character dynamics, thanks to director Autumn De Wilde and screenwriter Eleanor Catton. And some of these changes did not serve the movie well, thanks to De Wilde's occasional bouts of ham-fisted direction. However, I still managed to enjoy the movie and the performances from a cast led by newcomer Anya Taylor-Joy. And if it had not been for the current health crisis that has struck the world, I probably would have seen it again in theaters.

#emma #emma 2020 #jane austen #autumn de wilde #anya taylor joy #johnny flynn #bill nighy #mia goth #gemma whelan #miranda hart #callum blue #josh o'connor #amber anderson #rupert graves #tanya reynolds #oliver chris #chloe pirrie #connor swindells #emma woodhouse #eleanor catton

[scotianostra]

On August 31st 1947 the first EIFF, Edinburgh International  Festival opened.

The Film Festival we know today actually originated in 1947 as a festival of the documentary form, describing itself as the "First International Festival of Documentary Films". 

The first films of the new festival were The Cumberland Story, The Seventh Age and The Festival of Youth, while Roberto Rossellini's Paisà, with its examination of the liberation of Italy during World War II, was screened at the festival's Closing Gala. The festival was opened by John Grierson, pioneering Scottish documentary maker and the first person to coin the term Documentary.

By the 50's the Festival had morphed into the entity we know today, chief amongst the filmmakers whose UK reputations the Festival helped establish was Ingmar Bergman, with premieres given over five consecutive Festivals between 1957 and 1961. 

Ealing Studios classic and excellent film, The Man in the White Suit opened the 1951 Festival, while another legend, Orson Welles, delivered a sold-out two hour lecture on the power of cinema at 1953's Festival.

Hollywood legend Gene Kelly was in attendance at the 1956 Festival for the premiere of Invitation to the Dance, saying "I have always been a confirmed believer in the "Film Festival" as an incentive to higher standards of creative work, and anyone who has been to Edinburgh will tell you that every visitor leaves with the resolve to do better things."

With Peter Fonda's passing away last week I think it is right to mention Easy Rider. The classic road movie was intended for very limited release over here and its studio, Columbia Pictures, were none-too-happy when they found out that the Edinburgh International Film Festival planned to screen it in the 3000 seat Playhouse.

However, when a huge queue of Hell's Angels who had roared over from Fife appeared outside the venue for the premiere attended by Fonda they had a bit of a rethink!

Over the years, EIFF has welcomed a huge number of guests, including John Huston, Jacques Tati, Jennifer Lawrence, Tilda Swinton, Ewan McGregor, Robert Carlyle, David Cronenberg, Cate Blanchett, Clint Eastwood and Sir Sean Connery.

The Festival has hosted UK premieres of Blade Runner, Alien, Back to the Future, Taxi Driver, Annie Hall, Withnail & I, The Usual Suspects, Amelie, The Hurt Locker and many, many more.

More up to date we saw other major films screened at the Festival in the 1990s they included Barton Fink and Boyz in The Hood in 1991, Strictly Ballroom in 1992, The Piano in 1993, Shallow Grave in 1994 and Terry Gilliam's amazing adaptation of Fear and Loathing in Las Vegas in 1998.

Sylvain Chomet's The Illusionist opened the 2010 Film Festival, thrilling Edinburgh cinephiles in particular with its wonderful animations depicting the Scottish capital, as seen in the screenshots in the other two pics. Appearances by Patrick Stewart in 2010 and Bill Nighy in 2011 were followed by premieres for more great animated work, with Brave in 2012 and Finding Dory in 2016.

Now on earlier in the year, in June, this years EIFF showcased 121 new features, including 18 feature film World Premieres, 12 International Premieres, 8 European Premieres and 78 UK Premieres from many countries across the globe reaching 70,000 Festival-goers including 15,000 attendees enjoying the Festival's weekend of outdoor screenings, as part of Film Fest in the City with Edinburgh Live. More than 500 filmmakers were in attendance this year to support their films with over 800 press and industry delegates and 270 youth delegates also present.

The Edinburgh International Film Festival may not be the most prestigious or the biggest in the world, and is also overshadowed by our Festival Fringe, but it does have the distinction of being the longest continually running film festival in the world.

#Scotland #Edinburgh #Festival #film #History