#one part emotion two part visual gag

[xskyll]

🌊🌊🌊

The other people in the town square be like 👀

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#skylldraws #tododeku #one part emotion two part visual gag #how much influence did ouran host club have on my sense of humor you ask? #ah well…that’s a fair question #i posted my last update on Mother’s Day and now here i am on the eve of Memorial Day #aren’t the real holidays the tododeku we find along the way? #or something idk #tddk #tdiz #todoizu #tddk fanart #todoroki x midoriya #todoroki x deku #shouto x izuku #izushou #bnha #tddk au #tododeku au #quirkless deku #bnha comic #tododeku fantasy au #bnha fantasy au

[raven-at-the-writing-desk]

an observation on "speaking cat"

***Episode of Octavinelle manga spoilers below the cut!!***

Something interesting I noticed!

We now have two very clear illustrations which show a character speaking cat (the animal language). In both instances, Ruggie and Azul appear to use their hands as a part of their communication to Lucius. See below:

This implies that hand gestures (and, more specifically, curling one’s hands into “paws” and moving them around) are an integral part to speaking cat. When we’re unfamiliar with speaking a language, we tend to rely on adding gestures or making exaggerated facial expressions to enhance what we mean—however, these same cues are necessary in alternative forms of communication, such as signing or speechreading, to accurately convey true emotions or intention. (Otherwise the same hand motion could mean two entirely different words based on the context.)

I believe the latter is true for Ruggie and Azul, as they are both skilled in animal languages, so those cat paws are not a sign of amateur speakers relying on them as a communication crux. It can’t just be a “funny ha-ha” visual gag either, because why, then, is it consistently done (and by two characters known to speak cat well)??

It makes me wonder if there are similar visual cues for other animal languages (though I’m sure some animal languages lack these cues). Maybe there’s imitating wings flapping for avian languages)??? I’d be really interested in seeing that 👀

#twst #twisted wonderland #Ruggie Bucchi #twst manga #Azul Ashengrotto #Lucius #twisted wonderland manga #Episode of Octavinelle #episode of octavinelle manga #disney twisted wonderland #notes from the writing raven #spoilers #twst theory #twsr theories #twisted wonderland theories #twisted wonderland theory

[unholyloaf]

Kratos NSFW ALPHABET

Viewer discretion is advised

A = AFTERCARE (WHAT THEY’RE LIKE AFTER SEX)

Kratos is super sweet after sex. He'll get you water, massage anywhere that is sore, praise you, and tell you how proud he is of you for taking it so well ;)

B = BODY PART (THEIR FAVOURITE BODY PART OF THEIRS AND ALSO THEIR PARTNER’S)

Kratos's favorite body part on himself is his abs. He works hard for those things and he knows he looks good with them. His favorite body part of yours is your breasts/chest. There is something so erotic about seeing them bounce.

C = CUM (ANYTHING TO DO WITH CUM BASICALLY… I’M A DISGUSTING PERSON)

This man LOVES creampies. Like has an obsession with them. He also just feels like cumming anywhere else on you is disrespectful to you, but if you ask him to cum somewhere else he will.

D = DIRTY SECRET (PRETTY SELF-EXPLANATORY, A DIRTY SECRET OF THEIRS)

Every time he cums in you he secretly hopes that you will conceive a child. He already has Atreus and that's enough stress in his life, but he loves you very much and wants to make a family with you. If he can't have a baby with you he'll get a dog.

E = EXPERIENCE (HOW EXPERIENCED ARE THEY? DO THEY KNOW WHAT THEY’RE DOING?)

Do I even need to say anything?

F = FAVOURITE POSITION (THIS GOES WITHOUT SAYING. WILL PROBABLY INCLUDE A VISUAL)

His favorite position is definitely doggy. He can get a good hold of your hips and ram himself into you better. If it is more than regular sex and he wants to get sweet with it he'll put you in missionary or cowgirl to create a more intimate atmosphere

G = GOOFY (ARE THEY MORE SERIOUS IN THE MOMENT, OR ARE THEY HUMOROUS, ETC)

Kratos isn't really the goofy type. I feel like sex with him would be serious, but once he gets really comfortable with you I think he'd crack a joke or two.

H = HAIR (HOW WELL GROOMED ARE THEY, DOES THE CARPET MATCH THE DRAPES, ETC.)

His pubic area would be the same as his beard. Maintained bush. It wouldn't a full on bush and it would be well kept.

I = INTIMACY (HOW ARE THEY DURING THE MOMENT, ROMANTIC ASPECT…)

Kratos is usually a mixture of sweet and naughty. If you two are super horny then he won't be sweet at all and he'll just fuck the ever-living shit out of you, but if it's a hidden emotional day for him or he just wants to take it slow it will be romantic and sweet.

J = JACK OFF (MASTURBATION HEADCANON)

Before you, he never really masturbated much mainly because he was so busy with training Atreus. But now? If he isn't around you for let us say a month he'll masturbate at least once a week

K = KINK (ONE OR MORE OF THEIR KINKS)

I'm just gonna give you a list, breeding, hickies, spanking, light bondage, praise, slight exhibitionism, gagging (specifically you on his cock), orgasm denial, overstimulation, and edging.

L = LOCATION (FAVOURITE PLACES TO DO THE DO)

His favorite places include y'alls house (when Atreus and Mimir aren't there), a tree far away from the house.

M = MOTIVATION (WHAT TURNS THEM ON, GETS THEM GOING)

You. Honestly, that sounds really cheesy but he loves you and trusts you a lot, so naturally, you would turn him on. Another turn-on would be slapping his ass, he would definitely get you back later.

N = NO (SOMETHING THEY WOULDN’T DO, TURN-OFFS)

He would not choke you or hit you with any sort of object. He wants to know exactly how much strength he's putting into the spanks.

O = ORAL (PREFERENCE IN GIVING OR RECEIVING, SKILL, ETC)

He loves going down on you. That man will go to town for HOURS. He also loves when you go down on him. I'd say it's a good 50/50

P = PACE (ARE THEY FAST AND ROUGH? SLOW AND SENSUAL? ETC)

Kratos's thrusts are slow and deep. He knows all the spots to make you scream (scream without the s 0.0) but if he's super horny it'll be hard and fast.

Q = QUICKIE (THEIR OPINIONS ON QUICKIES RATHER THAN PROPER SEX, HOW OFTEN, ETC)

y'all do quickies quite often because of multiple factors: Atreus, Atreus's friends, monsters, and Brok being a nosy little shit. I'd say like 45% of the sex y'all have is quickies. Otherwise, he wants to take his time and properly satisfy you.

R = RISK (ARE THEY GAME TO EXPERIMENT, DO THEY TAKE RISKS, ETC)

He is down to experiment to a certain degree. Anything where he has to hit you (besides spanking) is a no-go, but if you want to try something he's down.

S = STAMINA (HOW MANY ROUNDS CAN THEY GO FOR, HOW LONG DO THEY LAST…)

This man can last a good 30-40 minutes before cumming. I'd say he can go up to 5 rounds. Cock of War

T = TOY (DO THEY OWN TOYS? DO THEY USE THEM? ON A PARTNER OR THEMSELVES?)

I am almost certain sex toys didn't exist in his time period (anything other than dildos) So this is gonna be a modern take on Kratos. After some hesitation, he would be down to use a vibrator on you. He wants to please you the best he can and give you the most amazing orgasms. He would definitely have a fleshlight. In the beginning, he'd feel kind of weird using it, but over time it's his favorite masturbation toy.

U = UNFAIR (HOW MUCH THEY LIKE TO TEASE)

He honestly is not much of a tease. HOWEVER, if he is feeling extra cheeky that day expect a lot of ass slaps/ grazing of the tits and thighs. He would also intentionally flex whenever you're around as well as show off his strength a bit.

V = VOLUME (HOW LOUD THEY ARE, WHAT SOUNDS THEY MAKE)

He's not a very loud man in bed but he does tend to grunt and breathe into your ears when yall fuck. He will also dirty talk to you and moan the word fuck into your ear. Cussing is for the bedroom.

W = WILD CARD (GET A RANDOM HEADCANON FOR THE CHARACTER OF YOUR CHOICE)

This man is a damn good singer. In Sparta, they trained the soldiers to read/play music so naturally, some of them would be good at singing. Kratos has a voice sent from the heavens and stuffed into an angry bearded man.

X = X-RAY (LET’S SEE WHAT’S GOING ON IN THOSE PANTS, PICTURE OR WORDS)

Kratos is packing some serious meat. I'd say he has a good 8-9 inches on him with 2 inches in girth. You're in for the ride of your life.

Y = YEARNING (HOW HIGH IS THEIR SEX DRIVE?)

His sex drive isn't that high. He has mellowed out from his early years and so he'd probably instigate sex maybe 3-4 times a week. If you're in the mood he would gladly love to take care of that.

Z = ZZZ (… HOW QUICKLY THEY FALL ASLEEP AFTERWARDS)

Kratos doesn't usually sleep so he'll just hold you until you fall asleep.

#kratos x reader #kratos #god of war ragnarok #god of war #atreus #gow kratos

[pollenallergie]

Perks of Being a Dad

AN: Eddie Munson is a sensitive guy, an amazing dad, and also a scheming lil genius. In other words, Eddie cons his goobers into giving him some extra special affections one Sunday morning. Thank you so, so much to @sw34terw34ther for helping me name Eddie's youngest and for beta-reading this for me! <3

Word Count: 1.9k

CW: Brief mentions of the reader being pregnant in the past (though their gender identity is never stated). Also, the reader is mentioned but isn't actually present in the fic. It's not really implied/stated that Eddie is a rockstar in this fic, but it is part of my dad!rockstar! Eddie AU.

Eddie’s a sensitive person, and not just in the emotional sense. When he was younger, he was hypersensitive to just about everything; sensory overload was frequent for Eddie as a kid. However, he mostly grew out of that, no longer being quite as picky about tastes, scents, sounds, or visuals, though he is still slightly more particular than the average person. Nevertheless, one acuity he’s never truly outgrown is his tactile sensitivity. For as long as he can remember, Eddie’s always been picky about certain textures and when and how people touch him. Of course, now that he’s older, he’s a bit less finicky about those things. Even so, Eddie still loathes the feeling of crushed velvet and has to stifle a gag every time he removes the little cotton ball from a brand-new bottle of medicine. Likewise, Eddie has also maintained his sensitivity to other people’s touch. 

In 1987, when you two first met at one of his gigs, you had cradled his forearm in your hands so that you could write the digits of your phone number on his alabaster, freckled skin. Though your touch was so light that it was barely there, it’d caused every little nerve under his skin to shoot off like fireworks, making a warm, fuzzy feeling spread all over his body. As romantic as that sounds, that sort of sensation wasn’t necessarily exclusive to your touch. 

One time, Mr. Rothering, his former algebra teacher and the bane of his existence during his sophomore year, accidentally brushed up against a fifteen-year-old Eddie Munson as he waded through the aisles of desks to hand back their most recent tests and, even though Eddie was in no way attracted to that sneering son of a bitch, his nerves had gone into a frenzy in much the same way they had when you’d first made contact with him several years later. Although, in that case, the feeling was much less intense than it had been with you; Eddie reasons that Mr. Rothering’s vile aura most likely dulled it. 

As a father, Eddie is still subjected to this sensation, even when the touch that triggers it comes from the hands of his sweet babies, Marley, Jude, and Rowan. Granted, his familiarity with them has conditioned him to the resulting sensation, but it still occurs all the same. However, in the case of his little tadpoles (something he’s called his kids ever since the twins were mere embryos growing in your womb), his pure adoration for them gives that odd, fuzzy feeling a warm, wholesome, serene edge to it, so much so that it calms his mind and his body. Eddie luxuriates in the affections — or, as they’re often referred to in the Munson household, ‘sugars’ — that his little goobers give him. Eddie loves it all, from their clumsy hugs to their warm snuggles, even their slobbery kisses and ornery play-wrestling.

Nevertheless, Eddie’s love for his precious little loves and their magical sugars isn’t enough to fill the void of your touch and the divine sensations it brings, something he’s been without for a grueling twenty-four hours since you left yesterday morning for a work trip. Eddie’s been yearning for your affection from the moment he dropped you off at the airport. Today, he’s specifically craving one of your life-altering, all-powerful back rubs, which Eddie swears can cure even the sourest of moods in mere minutes. He misses the gentle caress of your fingertips and the incomparably blissful sensations they leave in their wake. This constant yearning for a relaxing back rub, combined with the knowledge that the twins have recently been learning to draw shapes at daycare, gives Eddie a brilliant idea on this wonderfully lazy Sunday morning. 

Eddie lounges on the couch watching cartoons, shirtless and sporting the Star Wars-themed pajama pants Wayne gifted him last Christmas. The twins are snuggled up on either side of him while little Ro is reclining in his lap, all three still in their jammies, sporting coordinating, but not perfectly matching, sets of nautical-themed jammies you’d gotten from Gymboree. Suddenly, Eddie heaves a dramatic yawn, snuggles his kids closer, and gently traces his calloused fingertips up and down one of each of the twins’ short, chubby arms, buttering them up with some sugars of his own. Jude, his snugglebug, almost immediately responds to these sugars with a pleasant little coo, conveying his happiness. However, Marley and Rowan are too far gone; the elder sister is too enthralled in Tom and Jerry’s reruns to notice her dad doting on her while the younger sister is happily snoozing away in Eddie’s lap. Armed with the knowledge that he has at least one of his kids’ attention, Eddie decides to strike while the iron is hot. 

“Daddy’s tired,” Eddie remarks lazily. It’s the same warning he always offers his little ones just before dozing off for a nap. 

Upon noticing Jude’s subtle pout, he nearly loses his composure and abandons his covert mission entirely. Eddie powers through, though, not wanting to give up on the brilliant plan he’s concocted. He decides to focus on Jude, knowing that if he succeeds in roping his baby boy into his not-so-devious scheme, his little ladies will surely follow. 

“Tell you what, Joodlebug, how about I lay down on my tummy and you, my sweet boy,” Eddie pauses to boop his son’s little nose quickly, simply because he can’t resist, before continuing, “practice drawing your shapes on my back? Huh? How’s that sound?” 

Jude’s brow furrows adorably before he looks up at his dad with bright doe eyes. “Markers?” The tiny tot inquires, getting tripped up on the r’s as he does so. 

“No, bear,” Eddie gently grabs one of Jude’s little hands and taps the tip of his tiny index finger with his own, “use these. Just pretend like you’re actually drawing on me, ’kay? Sorta like those finger paintings you do at daycare, but without the paint,” he explains, chuckling softly when Jude responds with a rough nod. His son’s a very passionate little boy; Judah Bear Munson gives his all to every single thing he does, even if it’s just a simple nod of his head. 

“We got a deal, Bubba?” Eddie asks. 

Jude offers his confirmation in the form of another adorably curt nod paired with his beautiful, toothy grin. 

“Atta boy,” Eddie praises his son before gently removing the littlest of his tadpoles from his lap, carefully placing his tiny Rowboat on the couch next to her brother so as not to rouse her from sleep. He then theatrically slides off the couch and onto the floor, causing his little prince to erupt into a fit of giggles. 

Jude’s high-pitched giggles catch his baby sister’s attention, rousing the little 18-month-old girl from sleep. Rowan then calls out in a concerned, whiny tone, “Dada?” 

So much for not rousing Ro, Eddie thinks. 

“Just laying down, Ro-Bird,” he reassures his baby girl, “wanna be the bestest helper ever and toss me a pillow?” 

Rowan wordlessly responds by grabbing a throw pillow from next to her on the couch and harshly, though not maliciously, chucking it at her dad; she’s still at that funny little age where she doesn’t quite realize her own strength. Eddie miraculously catches it just before it hits him in the face and gruffs out a sarcastic, “Thanks, babe.” 

Seeing a pillow suddenly flying by her in her peripherals is enough to finally draw Marley’s focus away from the cartoon cat and mouse on the TV screen. The little three-year-old watches as her dad gets situated on the floor, rolling over to lay on his belly as he rests his head atop his crossed arms on the small pillow. Eddie then turns and looks up at his baby boy, the spitting image of himself, offering him a beaming grin. 

“Ready, Jude?” Eddie asks, prompting the little boy to nod before gracelessly flopping down onto the shag carpet beside his dad. A relaxed sigh leaves Eddie as his son begins to delicately trace shapes on his back. It’s soon accompanied by a victorious, smug grin when Marley finally pipes up and asks, “Ca’i help, daddy?” What’s meant to be ‘can I’ comes out sounding more like ‘kai,’ and that makes Eddie’s heart melt into a puddle of sticky, saccharine syrup. 

“Yeah, Mars, show me watcha got,” Eddie responds. Soon two tiny pointer fingers are drawing on his back, one from each twin. While Marley sticks to abstractly filling the expanse of his back with invisible shapes, Jude, his little artist, takes to connecting the various moles and freckles on Eddie’s back with invisible lines, forming secret constellations on his alabaster skin. 

“You guys are doing really good,” Eddie murmurs encouragingly as his eyes drowsily flutter shut. 

“Dada?” His littlest love calls out to him from the couch. 

Eddie struggles to open his eyes but somehow manages before turning his head to look up at his youngest daughter, who looks identical to you, making her your little mini-me. “Yeah, birdie?” He asks softly. 

“Snuggles?” She asks, her tone sleepy and needy. Rowan may look exactly like you, but she’s a daddy’s girl through and through. 

“Of course, babe. C’mere,” Eddie beckons her to his side with a wave of his arm, “Come snuggle with daddy, Rowboat.” 

Rowan giggles adorably at her dad’s silly nickname for her as she climbs off the couch all by herself — a big feat for someone with such short little legs — and waddles over to her dad. Eddie lifts one arm for her, and she plops down beside him, lying down and nuzzling up against his side. He wraps that same arm around his little nestling, cradling Rowan’s warm little body close to his own as she lays on her side with her back pressed against the side of his torso so that she can watch the TV as she cuddles with her dad. 

Right now, Eddie’s on Cloud 9, loving being so close to his little tadpoles, with Tad 1 and Tad 2 (his nicknames for the twins while they were in the womb) giving him a makeshift version of a back rub with their tiny little, chubby fingers, while Tad 3 snuggles up close to him. Fuck what his past teachers always said because, in this moment, Eddie thinks he’s a goddamn genius. Eddie lets out a quiet, blissful sigh as the serene, comforting sensation floods his body, settling underneath his skin and warming him from head to toe. Perks of being a dad, he thinks. 

For the rest of the morning, or at least for as long as he can hold his little tads’ attention, Eddie luxuriates in his toddler massage and all the sensation it brings. At the same time, he snuggles with his littlest baby, his little Rosie Ro, who has swiftly fallen asleep in his arms. All the while, he listens to his two little chatterboxes discuss anything and everything that comes to their brilliant little minds; the sounds of Rowan’s snores and the cartoons on the TV act as soothing background noise to the twins’ vivid conversation. To Eddie, moments like these are heaven on earth. Eddie wouldn’t trade these wholesome moments for anything, not even an opportunity for Corroded Coffin to headline their own show at Madison Square Garden. Even his biggest rockstar dreams can’t compete with the love that fatherhood has brought him. Yeah, Eddie thinks, nothing compares to this. 

#eddie munson #dad!eddie munson #dad!eddie #rockstar!eddie munson #rockstar!eddie #dad!rockstar!eddie munson #dad!rockstar!eddie #eddie munson x reader #eddie munson thoughts #rockstar!eddie munson x reader #stranger things #stranger things 4 #eddie stranger things #stranger things vol 4 #eddie munson fluff #eddie munson blurb #rockstar au #dad au #pol’s greatest hits

[lemondoddle]

y'know that barbie that had a camcorder inside her? yeah. anyways marble hornets au where brian gets one as a gag gift for the shoot and it somehow survives the entire series

[I.D. four sets of pencil drawings of marble hornets. the first image is a two panel comic of brian and alex during the shooting of marble hornets. panel one has a distant brian walking up with a box tucked under one arm and saying "i brought somethin' to help film!" while a quizzical alex looks at him in the foreground. in panel two they stand together while alex holds up a barbie doll with a camera in her chest with a concerned look. he flatly asks "what is this". brian wears an easygoing expression and answers "it's a camera! (smiley)", alex responds "it's an abomination." image two is a small panel and a larger drawing. the small panel shows jay and tim fighting, jay grabbing at tim and tim pushing him back with one fist raised. tim shouts "jay i will punch you again-" jay interjects with "c'mon just put it on!" tim yells "no". an arrow next to the panel points to a larger image of tim wearing the barbie on a chest mount, making a displeased and embarrassed face as he says "i can't believe i let you do this." jay films him with a smile and says "you look like a dad." tim responds "don't say that." image three shows hoody running in the foreground with the doll raised triumphantly in his fist while a background jay chases after him shouting "give her back!" hoody emotes an evil smiley face. the final drawing is jay filming jessica with the barbie. jessica smiles uncomfortably, visibly weirded out as jay films with a blank expression, an arrow pointing to him labeled "fully oblivious". end I.D.]

also here's the doll under the cut for a better visual representation

[I.D. a product image of the barbie video girl doll from the front and back. she's a blonde barbie with side parted hair and ponytail, she wears a sweetheart neckline hot pink corset top with a shiny pink and zebra print hooded cropped jacket along with dark wash denim capris and pink high heels. she has a necklace chain painted on her to make the camera lens on her chest resemble part of the necklace. on her back is a square screen with three buttons. end I.D.]

#lane speaks #nebulart #i surprised myself with how much i enjoy drawing this LMAO ITS SO FUN #i did also create the mag punch card au so maybe i just have a thing for horror chracters maintaining a silly item for the entirety of cano #marble hornets #mh #art #also imagining that everyone cares very deeply for her she's like the One safe thing in the series fhgkhj

[lej222]

Please please please make a prediction about how the story will unfold starting from chapter 127 in Aslfua. I am a big fan of your theorie

Well, this is a difficult quiestion, but I will try to answer it. First of all, I believe everything depends on the author's intentions. I've read her previous webtoon, Cheese in the Trap, and I must say she has grown a lot as a storyteller and artist. Unripe Apples, in my opinion, is her best work so far in terms of characters, storytelling and symbolism. From the very start the ending had two different outcomes, at least the part of the ending most readers seem to care about - whether Cheol and Miae will end up together. The author has hinted the possibility of them parting ways since the very first chapters; in fact, when I read the narrator's parts it always feels like the narrator is looking back at the past, recalling fleeting moments that were important to the characters once. It's deliberately like an adult talking to children, noting how their age and inexperience about the world shape who they are in the storyline. Of course, the creator might have wanted them to end up together from the start, or maybe fan reactions and personal opinions could have changed her mind, maybe she always wanted a bittersweet ending and will stick with it - who knows. It will all depend on what she will emphasize in the upcoming part of the story, either way it will be fine.

As for other aspects of the story, I have lots of theories and have read other interesting ones as well.

In my previous post I talked about how ASLFUA should be read as a growth story instead of a romance. Like there are certain people we have to meet in our lives as if it was fated in order to learn from them. If we use this mindset, we can say that differents parts of the story are about the struggles and emotional growth of different characters. Part 1, ending with Miae's birthday, is mainly Cheol's story. It deals with his insecurities, problems and he matures significantly by the end of the first part. One of my personal favourite scenes is when he's just sitting next to the trash, broken, without any hope for the future - it's a visually impressive and tragic scene about a teenager who carries a heavy weight too big for a child. Part two, ending with ch126, is mostly about the changing friendship between Cheol and Miae, and the start of Miae's growth as a person. It is also the first time Jisu gets a center role in the story. Interestingly, characters who are acknowledged by the main characters and start to be a significant presence in their lives get their faces revealed. It's a funny visual solution, because it shows the focus of these kids - one who can expand their world and be a part of it is treated differently than those who are not. Jisu's face wasn't shown before simply because he wasn't the focus of Miae's limited world, once she acknowledged him as a person and learned his name his face was revealed. Part 3, in my opinion, starting from 127 will put more focus on Jisu as a character. There are multiple signs of him being a significant character from the very first chapter.

Jisu is an interesting case though, because we know almost nothing about him. It's pretty obvious that he parallels Cheol in many ways, they are opposites in almost everything. If the story becomes darker as the end of the year approaches, Jisu's backstory might not be as happy as some might first believed. There are numerous theories about him, I've also mentioned some of them before, like how he might be neurodivergent, a son of divorced parents, or maybe even abused. Some of these might be present at the same time, e.g. if he's on the spectrum he might be abused and bullied because of it, people who are different are always easy targets for those who want to abuse their power. Let's not forget his reactions when he was hit by the teacher and it became a running gag with Miae thinking he enjoys the pain - but if you reaaaaaally look at his expression and what he says about it the signs are all there, especially for those who have experienced similar treatment in the past. Jisu enduring all that might be his way of defiance for all we know. Considering that he has started to appear more since part2 and has been featured in ads and promotional arts, I would say his story will take central stage in part3 and will be the catalyst to Miae's growth as a person, in what exact way it remains to be seen.

Cheol and Miae will probably have an awkard relationship after the kiss without real resolution, but will still see each other in the summer. The bully from Cheol's old school will be back for sure, hopefully this time Cheol will ask help from his family and not act alone on the matter. I don't believe the academy kids will be featured that much, but I can imagine a Sora miniarc which could also take a darker turn. They will all have to say goodbye very soon with the end of the year approaching. I don't believe many of them will go to the same high school which ties to my theory that the story is about making connections in different parts of our lives. If Cheol chooses to go back to the countryside it won't be because he's still afraid and wants to hide from others - it will be because he likes being there. About Cheol and Miae the real question is whether they can grow together or if they have a different path they have to take. If it's not in the cards, it's not their fault, they are still kids after all. But if they are destined to be together I think the author will make them both mature together and communicate more about their feelings. I will be able to say more once the new season starts, but I guess these are the most important thematic points the story needs to address. :)

#aslfua #after school lessons for unripe apples #hwang miae #mi ae hwang #kim cheol #cheol kim #seo jisu

[applefan28]

Oh, and if you feel like it and I can send another.. (sighs..) Suitcase. For the character ask :)!!

SOUPCASE MY BELOVED of course :)

Sexuality Headcanon: Because i've been seeing it on tumblr a lot and have been very much taken by the art and content of it, aroace Suitcase is really neat :) Like, Suitcase’s whole deal in the show revolves around alliances, friendship, trust, etc. Sure, even though there is no canonical romantic subplot or show in ii, Suitcase to me falls under “would not have any correlation to a romantic storyline with anyone or herself in her own feelings”. She’s a pretty lonely girl more occupied with emotional bonds and connections with her teammates. Not to say romance can’t be involved, but Suitcase was more headfirst into wanting unity amongst her teammates, wanting connection, wanting all to not feel at all left out or unheard, she just wanted to be a part is all (and as an aromantic, none of that feels romantic to me lol). Suitcase also just seems like someone who would never really pick up on social cues in romantic contexts about others or towards herself yknow? In the same vein as Apple who never thought of it or caught onto such feelings, Suitcase just didn’t catch the memo and she’s fine with that (just confused as to how the hell do others feel that way?) If anything, unlike Apple, she doesn’t feel all that inclined to partake in romantic endeavours, because it doesn’t come to her nor is it part of her communication in displaying love for others. I do enjoy her being more of a girl liker in an aroace way if anything, because yes <3

Gender Headcanon: I love both trans gal and transmasc “girl” aligned nonbinary suitcase, as well as being intersex. For sure, she isn’t cisgender, so I’d think her gender would be just as about less concrete in labels as her understanding in attraction. Transfem in the sense that as she aged, her voice deepened, but still has that “girlish” charm in it as she’s pretty fine with her voice, but likes to add flare to it out of boosting her confidence. Fem-aligned transmasc also is based off the voice change. Her having identified as “girl” in a very nonbinary “im my own definition of Girl” way, she along the lines realizes she’d like to transition somewhat masculinely, because she enjoys the thought of having a blend of it in how she presents herself (especially by voice). All this whilst wearing plain, boxy, and politely feminine clothing (always fond of the suspenders + skirt + buttoned down + headband + mary janes combo <3)

A ship I have with said character: Suitcase x Suitcase. I want this girl to love herself and be able to stand for herself without feeling pressured or at risk.

A BROTP I have with said character: Pickle, id love to see them two game and have a sorta nice talk about their own personal feelings they’ve been in battle with! I like Pickle being the “gamer” of the hotel, and Suitcase with that “10/10 would watch again”, there’s potential silliness in such a dynamic :^) Suitcase isn’t really as much of a gamer as Pickle, she’s casual in her manner of speech and communication, which brings in this friendly banter that meshes well with Pickle’s chill and goofy attitude. Not to mention, they’re both characters that are about personal growth and regaining a confidence in themselves that they’ve lost from another putting them down. I think they’d have some heartfelt talk about the such… though it would be kinda funny knowing Suitcase has a sorta odd relationship with the same guy that’s probably dating Pickle… lol.

A NOTP I have with said character: Nickel seems very obvious to go with, Knife as well, honestly about any other guy in the show.

A random headcanon: I know it was a one-time visual gag, but the scene where she has tools in her makes me think Suitcase is well versed in construction/engineering/mechanics and probably is OSHA certified. You know how there’s that headcanon of three background characters being Suitcase’s dads? I’d like to think the three built their home and managed around, with the electrical engineering and plumbing and what have you, doing their own fixings with a young Suitcase around curious about what her dads are doing. They were a hands-on type of family who when something was up, any of them had to take care of it by hand and Suitcase was no stranger to learning and taking care of performing a fixer upper. Maybe she wanted to or is in the trades! I just think it’s funny if Suitcase were OSHA certified and Test Tube was not.

General Opinion over said character: Suitcase is a sweetheart that really deserves better treatment in universe and in her writing. i don’t talk of her much but she’s in the range of “sad lonely girls that deserve the world” that i tend to enjoy :) She’s just so quaint to me, tragic with issues and burdened by loneliness, i also wish she weren't just dumped around as being the weak nimble character with le plot relevant hAlLuCiNaTiOnS. Suitcase should have a gun, she should go stupid go crazy, i want her to curse out on Nickel sooo so bad, i hope she wins and uses the money for her own good <3

#girl get medicated also </3 #ii suitcase #inanimate insanity #asks

[pokimoko]

@pizzee Thank you for the tagging me to join in on the TV show tag game! I have the exact opposite problem to you in that I watch way too many shows. There's so many I've watched in the last few months alone that I've absolutely loved (Andor, Severance, Poker Face, The Sandman, The Last of Us, Vox Machina, etc etc) but for this I think I'll stick with the ones that I've connected to and cherished the most of the years. It wasn't required or even asked for but all of you are getting Backstory™ for these whether you like it or not. Anyway, in no particular order, here they are:

Moon Knight: Wow, I like the show that is now my defining personality trait? Shocker. But, no, seriously, I don't think I've latched onto a show or group of characters so quickly in my life, or so intensely before. This show has (as of posting this) made me write almost 200k worth of fic about it. I got bloody Discord because of this show because the brainrot was so intense. I am part of a fandom community for really the first time in my life because of this show. It's no exaggeration to say that this show has had a huge impact on me; the dinosaurs got off easy in comparison.

Lucifer: I started watching this show when Season 2 premiered way back in 2016 and I was there watching it up until the end. It was silly and emotional and heartwarming and campy, and the characters were amazing (do I own shirts that Ella Lopez wore in the show? Yes, yes I do.) and the music was excellent. This show loved the heck out of metaphors, and I am not immune to that. Or Tom Ellis.

The Owl House: I used to be obsessed with owls when I was younger (the 'Owls of Ga'Hoole' movie was my jam, and—I'm sorry Zack Snyder directed that??? What the f—ahem, sorry, as I was saying:), and while that particular interest faded over the years, I do remember I was drawn to this show because of the name, and then the premise, and then the characters (Hunter gets a gold star for making me go "argh this guy is annoying" to "I would die for him" within a span of two appearances), and then so, so many things. I've loved a lot of cartoons, many of which deserve a spot on this list, but this one just hits so many of the right notes for me. I will die mad that Disney robbed us of a full season 3, but I will always cherish what we got.

Adventure Time: The first show I ever binged in full, and essentially what kickstarted my career as a Tumblrite (my logo was Marceline for many a year—if you find my *gag* Wattpad account it'll still be there). I still have doodles for this show from when I was 14 (many of which were Bubbline, which was also my first ship). I am the silly little Tumblr fool I am today because of this show.

Avengers: Earths Mightiest Heroes: I used to watch this show on TV as a kid, random episodes here and there, never enough to truly understand what was going on but enough to know the characters. It was how I first came to know Marvel, long before I even liked superheroes, and it was the reason I watched 'The Avengers', which in turn was the reason I went and saw 'Age of Ultron' (the first MCU movie I ever saw at the cinema) and then, well, the rest is history. But it all started here, with this show. (Also, let's be real, the theme song slaps.)

Doctor Who: specifically the Eleventh and Twelfth Doctor's seasons, though I love Ten's as well (even if 'Midnight' and the following Library episodes—episodes I now adore—scared me off from the show for almost 7 years). I might have also been a little in love with Clara. This show has made me sob with true and utter grief (musical motifs that will make you cry without warning and other secrets your Doctor won't tell you!) and also made me feel like I'm taking acid. It's got the range darling.

Fullmetal Alchemist: Brotherhood: I've watched this whole thing three times. It's just…It's good. It's really good. The world, the characters, the animation/visuals, the god damn narrative. I'm still in awe of how masterful this anime was. I aspire to this level of multilayered, intelligent storytelling… and also the level of comedy. It too has the range. And god I love when shows can do that well.

Bee and Puppycat: I used to watch the YouTube series for this (along with 'Bravest Warriors' and a bunch of other Cartoon Hangover shorts) as a tween and it's just a very fond, cosy memory for me. And now there's the Netflix version and it's been wonderful to not only get more of what was already there, but more to the story in general. My childhood self is being tucked into bed and wrapped in a blanket, content in the knowledge that things left unfinished are not always over.

That really is the tip of the iceberg of all the shows I've loved over the years but we'd be here for a month of Sundays if I went on about all them, so I'll take my leave now and pass on the baton. I'm going to tag @yellowocaballero, @mockspector, @theophagism and @aster-o1d. Have fun! :3

#tag game #tv shows #my stuff #nothing makes you realise just how many tv shows you've consumed until you have to narrow it down to eight #i'm sure there are many i've forgotten that i'll probably remember tomorrow and go shit they deserved to be on the list but whatever #i like to consume stories i will not apologise #(i've literally watched three whole shows in the last two weeks alone all of which i've really enjoyed) #you guys should just be glad I didn't start listing my favourite episodes for each of these shows #the desire to be mysterious and vague versus the insatiable urge to talk about things i like with people who might also like the thing #guess which one keeps winning? #hint: you had to scroll to read this entire post #anyway none of these are particularly niche shows so i have no doubt some of you have watched these which hey! cool! i like your taste #and you probably really like found family huh? #yeah i see you

[variousqueerthings]

Ultravox do they split up?!!!

okaaaay so far best fuckn episode This Season, it's Cold War and it's got (checks the list): Liam Cunningham (for anyone acknowledging the good bits of Game of Thrones), David Warner (!!!!!!! no seriously !!!!!!!!!!!!!!!! and he's the best part of the episode too), Tobias Menzies (for you the terror fans), Josh O'Connor!!?? pre-doing a million great gay movies, and James Norton, whom I've definitely seen around somewhere

basically just a mix of greats and soon-to-be smash hits in terms of guest cast just because it's a time to flex I guess

ALSO Spencer Wilding at this point deserves credit on the level of Doug Jones for the kind of Big Creature acting he's done on this show (including sexiest of creatures - the minotaur back in my favourite eleven-era episode The God Complex) (also apparently darth vader in rogue one??? dude)

sexism rank objectification (female character is ogled/harassed/turned into a sex joke by the doctor and/or a lead we’re supposed to root for and/or the camera): 9/10

sexism rank plot-point (lead female character is only there to serve plot, not to have her emotional interiority explored, or given agency to her emotional interiority): 7/10

interesting complex or pointlessly complex (does the complexity serve the narrative or does it just serve to be confusing as a stand-in for smart, this includes visually): 8/10

furthers character and/or lore and/or plot development (broader question that ties into the previous ones, at least two of these, ideally three should be fulfilled): 6/10

companion matters (the companion doesn’t always have to be there, but if the companion is there, can they function without the doctor– and overall per season how often is the companion the focus or POV of the story): 7/10

the doctor is more than just “godlike” (examines the doctor’s flaws and limitations, doesn’t solve a plot by having it revolve entirely around the doctor’s existence): 10/10

doesn’t look down on previous doctor who (by erasing or mocking its importance, by redoing and “bettering” previous beloved plotpoints or characters, etc.): 10/10

isn’t trying to insert hamfisted sexiness (m*ffat famously talked a lot about how dw should be sexier multiple times, he sucks at writing it): 10/10

internal world has consistency (characters have backgrounds, feel rooted in a place with other people, generally feel like they have Lives): 8/10

Politics (how conservative is the story): 7/10

FULL RATING: 82/100 (if I can count….)

between this and the "Stalin's Russia" moment in Idiot's Lantern, do you think Mark Gatiss is into USSR aesthetics?

OBJECTIFICATION: Clara has a similar gag to Rose back in Werewolf Land and Idiot's Lantern, and Amy with Rio, in that they were heading for Vegas and landed a bit off... inside a USSR Sub during the Cold War! Clara immediately spends the rest of the episode draped in an oversized USSR submarine coat and it's quite charming to be honest

PLOT-POINT: this episode has soooo much Clara feeling in it, specifically Clara reacting to violence, to the point that she's about to have a full-on panic attack and needs to be helped by David Warner (sobs, I want David Warner to ask me about Ultravox to stave off a panic attack too). it's quite brutal, to the point that we only see little glimpses of body and blood, which makes it even more affecting than you know they would have been allowed on a BBC for-kids slot

she also has some interesting interactions with the Ice Warrior, which we'll get to in a sec, but do have a mix of emotional-but-capable to them.

COMPLEXITY: Ice Warrior found. Ice Warrior thawed. Ice Warrior angry. Talk Down Angry Ice Warrior. it's doing what it does on the tin, and it does it well!

CHARACTERS/LORE/PLOT: teeechnically not much, barring giving us more of what kind of person Clara is and her reactions to a kind of adventure she might find herself in, and the Ice Warriors are seen again!

it's a great one-off essentially, where the heavy lifting is done in other points. I will say I think Clara and Eleven... may be underrated. at least based off the episodes I've seen with them post-Snowmen (which, granted, that and Asylum of the Daleks was not a great way to start them off, and honestly doesn't even really give a sense of who Clara would be in these episodes). they've got kind of a serious sibling energy going on, where they're both a little silly, and it's a relief after so much ooohhh sexy companion Stuff (again, Clara in AotD and TS is not representative of this Clara, who so far hasn't actually flirted with the Doctor, outside of the "Snog Box" thing, which is still why I choose to believe the Tardis doesn't like her)

COMPANIONS MATTER: crucially, Clara represents the non-military face of this episode, and never changes into someone who would decide all-out violence is the right decision, and while it's not explicit, it is I think part of what saves everyone's life. it's not the episode where she makes the most plans or is the most badass, in many ways it goes well with the previous episode, in that she simply is a very nice person

“GODLIKE” DOCTOR: he's running around like a headless chicken just like the rest of them. his aim is simply to stop escalating violence on both sides (Cold War, get it) and so it's like plugging a million leaks everywhere, and then begging the Ice Warrior to show mercy... it makes for a nice change, the Doctor as some guy again

PREVIOUS DOCTOR WHO: ICE WARRIORS! honestly not much more to say. ICE WARRIORS!

“SEXINESS”: could we finally be free? of stupid dialogue?

INTERNAL WORLD: they're on a sub, it's the Cold War, there's an Ice Warrior. listen, sometimes that's all you need (often)

POLITICS: it's the Cold War. IIII think this episode is pretty humanising of the Russians in this particular framing. it's mainly just a bunch of scared men on a boat, hoping the world won't end, and it's got quite a prescient "let's not destroy the world now either" feeling to it. Idk. simple. works in my opinion

FULL RATING: 80/100 (if I can count….)

I think this episode is great!

Jenna Louise Coleman and David Warner the Highest of Highlights, they were so great opposite each other. His grounded (but playful) old man energy, her small dog wide-eyedness, the fact that his character immediately took her under his wing, and I think their back-and-forths really complimented one another. where I think JLC weakest bit of directing is that she's constantly speaking a million miles an hour (speeding up Matt Smith's dialogue delivery too), it occasionally slows down here to match Warner, and when it's fast again it feels like it works... dare I say it, if he'd done a First Doctor cameo opposite her, it would have been kind of great

the only things I rated a little lower were not things that I think needed more focus on the whole. it was a simple, claustrophobic, cat and mouse game, in which one could only hope to convince the cat to calm down please

on the whole, things are looking up with this era!

#im watching nu!who #im watching eleven who #episode cold war #the measurement

[soodo-nim]

relatability & bocchi

Bocchi the Rock! (which I’m gonna call Bocchi, and I'm gonna call the character Hitori), deals with so many different concepts and themes that it's hard to stick a label on it and call it a day. 

On MAL, Bocchi is classified as a comedy, and wikipedia states that it is a comedy, slice of life and music anime. And while these do suit the show, narrowing it down to simply a comedy and slice of life doesn’t truly convey the essence of the show. 

Bocchi is a story of music, as you would assume from the name, but it is also a show about performing. While music and performing are both closely tied together, they aren’t the same, and Bocchi makes that distinction through our main character, Hitori. 

We see how Hitori struggles to perform in episode 1, despite her mastery over music. That’s because performing is so much more than just the music. And as Hitori learns how to become a better performer, we see how she grows as a person at the same time, and Bocchi becomes a sort of coming-of-age show.

But I’m going off track. What I want to focus on is how Bocchi manages to succeed despite its seemingly simplistic premise. Technically, Bocchi isn’t the first anime of its kind to come out. We’ve had Komi-san can’t communicate, K-ON and so many more. So what makes Bocchi so special?

So many people who have reviewed Bocchi have expressed how the show was an unexpected hit for them, and the consensus within the community is that Bocchi was a hugely unexpected dark horse. 

The answer lies in episode ??. Hitori, unsure about the lyrics she wrote, confides in her bandmate Ryo to seek advice. Ryo, seemingly sensing that Hitori requires a boost of confidence, tells her this: 

After watching this episode, my perspective on the various pieces of media I've come across has changed. I've started to realise that across different types of entertainment, there’s an expectation that numbers must reflect how good the piece of media is. I mean, look at how Netflix cancels shows that don’t rake in the viewers they want, even if the show itself was masterfully made. 

Ok, so what does any of this have to do with how Bocchi managed to perform so well? 

(more under the cut)

As I established earlier, Bocchi is a comedy slice of life, with comedy usually taking the forefront of the show. With the sheer amount of gags and creative visuals (and I mean creative) the team shoves into each episode, the show almost seems to parody itself with how unserious it is. 

I’d argue that it is this very whimsical nature that allows Bocchi The Rock to succeed. 

For reference, let’s take a look at one of my favourite Starkid musicals, Twisted. Twisted isn’t Starkid’s first parody musical, but it is by far the fan-favourite and for a good reason. I recommend you watch Schaffrillas Productions video on Twisted, he makes a lot of really good points explaining why Twisted succeeds so well as a parody musical. But the most important part in his video is when he explains that Twisted’s comedic beats are what allow the emotional moments to deeply impact the viewers. 

“But that’s obvious,” I hear you cry. “Contrasting concepts is one of the most basic and typical ways to highlight emotional moments. What does this have to do with relatability?”

However, there’s a reason why it’s been so used for so many years. Writers don’t rely on juxtaposition, oxymorons and paradoxes when crafting their stories for unfounded reasons. 

And yea, you’re partially correct. The idea of putting two contrasting concepts side by side to bring out the best of each one is not new. We can see this in age-old classics like the tortoise and the hare, where the tortoise is slow but wise while the hare is fast and cocky.

Aren’t these devices merely a reflection of life? After all, what is life but an unending rollercoaster, a series of ups and downs where we are the temporary passengers of this exhilarating ride? 

It is this that makes the idea of relatability in Bocchi it's key to success.

The reason why Bocchi resonates with so many people is its very human portrayal. As a slice of life, Bocchi is supposed to show us excerpts of everyday life. But with the nametag of ‘slice of life’, Bocchi is expected to conform to the preconceived notions that many have formed of this type of media. The idea of a relatively peaceful and uneventful life, finding small happiness and being a show about cute girls doing cute things are all expectations that Bocchi was confronted with. 

But that’s not what we’re given. Instead, Bocchi shows us a cast of characters that are faced with a series of highs and lows and how they navigate and grow together. 

Most importantly, we get to see how Hitori lives. While her anxiety is often used to deliver comedic jokes, there is a certain level of meta-humour in these jokes. 

Like what Garnt says in this video, many people who are introverted or have experienced some level of anxiety can relate to some of Hitori’s shenanigans. Whether it be her overthinking or her inability to communicate with others in a way she believes to be “normal”, there is a feeling of painful relatability when we laugh at Hitori’s humorous moments.

Bocchi the rock is a show that recognises and understands its audience. The show knows it will not resonate with everyone and understands not everyone will enjoy it whether or not they can relate to Hitori. Yet, Bocchi the rock never demands its audience to like it more than they already do. 

And that’s so refreshing. With Netflix churning out cash grabs one after another, we’ve become so desensitised to the media screaming in our faces for our attention, demanding our time and effort, going so far as to conform and pander to everyone to achieve record-high views, only for us to forget about them in a couple of months. 

Bocchi the rock is a show of love. It is a show created out of love. It is a show about a love for music and performing. It is a show that sees its audiences and loves them.

#house blend #bocchi the rock! #spoilers #gotou hitori #ryo yamada #please watch this show if you haven't already #this show has been living completely rent free in my mind since it started airing #i neED TO TALK ABOUT THIS SHOW #i swear this won't be my last post about bocchi

[biteyourbetters]

some thoughts on the wandering earth II (spoilers under cut)

too bloody long

visuals: spectacular. plot: eh, dont think about it too hard. robots: not enough, but i liked the ones that existed. moon: kaboomed.

loved the worldbuilding though. they should have made a pseudo-documentary instead of a blockbuster.

hey, what was up with liu peiqiang locking the door? we're shown han duoduo repeatedly kicking your ass, she's clearly better than you at kicking ass yet you just leave her behind? are you an idiot? it's one thing if she were weaker, but she's supposedly stronger? could have at least shown a scene of him kicking her ass to justify this dumb fuck decision. was her stunt double too expensive or something? lmao

i don't know anything about the chinese mental health system, but i think sending tu hengyu to a grief counselor would have prevented at least one of the many disasters in this movie. blah blah insert justification about how grief is love and love is part of human condition and that love both saved them in the end and damned them in the first place.

someone was sobbing so fucking loudly at han duoduo's cancer scenes, i actually thought it was part of the movie at first. unfortunately, that means the only emotion i associate with that part of the movie is 'kinda annoyed'. ...now that i think about it, they might not have been crying. im going to say they were crying for my own piece of mind.

lots of reviewers complaining about the chinese military propaganda. i mean, yeah, but it's still got nothing on top gun maverick lmao. for real though, it's not even that bad. yall are just too used to american military propaganda.

some funny bits. i especially liked the gag about the russian bomb triggers having no safety, just two triggers. and that bit in the first act where liu peiqiang is told 'don't fall in love', sees a woman kick someone's ass and immediately imagines their marriage. really was too bad her badassery was to make her an especially sexy lamp instead of an actual character. /hj

bit in the movie where a fossil of a broken and healed femur was shown, and a story was told about human civilisation being about supporting each other or w/e. sorry, man, i get that it was supposed to be emotional and heartwarming, but all i could think of was this fucking site.

a bit that did make emotional though, was when liu peiqiang is wandering around the moon all confused and everyone waves him off bc they're too busy and his comm's broken. he doesn't know what the fuck is going on! everyone's on a suicide mission and he has no idea! i don't think there's any emotion worse to end a life on than confusion, except maybe fear. when the man contacted by zhang peng has to tap on liu peiqiang's helmet several times, that was when i realised, 'oh man, this guy is concussed as fuck'.

did they. ever explain who it was that organised the attack in 2044. pretty sure it was the digital lifers but like. they never expanded on it.

oh, ok, we're doing time travel now. hope they explain all the cuts to the cameras in the next movie.

apparently there were post credits. i chose the 9pm showing like an idiot bc i somehow did not register that the movie would be 3 fucking hours long, and had to bolt out of the cinema in order to not miss the last bus home. hope they're online somewhere.

read the synopsis for the first movie to jog my memory, and realised that i retained absolutely nothing from when i actually watched it. this will happen again when i watch the third movie.

#tldr i would not a call it a good movie but i enjoyed it. mostly for the setting. the characters and plot were meh. #would not recommend it to anyone but if you just want to sit in a cinema for 3 hours then this is the movie for you #the wandering earth #the wandering earth 2 #liu peiqiang #han duoduo

[canmom]

fwiw, i thoroughly enjoyed everything everywhere all at once and would probably consider it one of the best live action films i've seen in recent years (no comment on swiss army man as i haven't seen it); it should be out for streaming in mid-june i think, so i hope you check it out and enjoy it then! it really feels like something genuinely new and monumental (+ emotional wallop!), in spite of its referential nature. not to be THAT person, but smth smth explosive new possibilities for AsAm film

glad to hear! yeah honestly i'm probably gonna go see it in the theatre. i'm glad to have a bit more context on who the Daniels are, and hopefully I can stream it for friends sometime when the time comes!

speaking of which, I really neglected to talk about their short films, but seeing their earlier work, which can all be viewed on their Vimeo page (though you may need an account to see some of it). you see a lot of the same themes of weird body stuff achieved with practical effects, not to mention kind of mopey ostensibly hetero guys getting intimate in various ways that came together in Swiss Army Man. of course, the major one - thanks so much @extractivism-chan for pointing out that I neglected this!! - is the video for Turn Down For What:

...which features Kwan himself in one of the major roles (indeed, they often act in their short films). the floppy penis rig being one of the things they evidently reused in Swiss Army Man.

their early films, such as Pockets, are mostly explorations of a high concept visual gag, but the frenetic pace and tight editing means it packs a huge amount of twists on the premise into its short runtime:

by 2016, when Swiss Army Man comes out, you get longer films like Interesting Ball that go for a broader tone of existentialist absurdity, with a variety of skits all coming together around this theme of infinite absurd possibilities. the skits themselves mostly involve homoeroticism and a certain amount of toilet humour: a roommate disappears up another's butt, a fraternity turn into an elaborate human mecha around one of their own going through a breakup only to end up fucking on the beach, a woman is pursued by her fridge which is speaking in a child's voice, a man violently guns down the rubber ball which had sex with his wife.

and speaking of Swiss Army Man, that was... quite an experience. the trailer really only covers the first third or so of the film - it barely touches on the elaborate crossdressing roleplay that the main guy Hank (Paul Dano) performs with his new best friend Manny's reanimated corpse, still mostly paralysed (Radcliffe), ostensibly to reawaken memories in Manny but really to work through his own social isolation. the tone of the skits really ends up feeling a lot like Nagisa's Death By Hanging, although with a totally different thematic payload lmao.

a lot of it functions as defamiliarising - Hank attempting to explain social mores to Manny, while trying to process his own shames, and Manny responding with a naive hedonist worldview - and there's a huge emphasis on physical intimacy; it comes across as less grossout humour and much more a genuine fascination with all the functions of the body, including the stigmatised ones. which is to say it's a lot of two guys going around, one carrying the other, talking about farting and masturbation, while Radcliffe does an incredible dead-eyed stare into the camera.

so, of course, with so much Gender shit going on, what's the read? it reminds me of something @baeddel was talking about with regard to the construction of sexuality on 4chan: the fact that you go on there to engage in erotic behaviour like sharing porn, playing games like 'you fap you lose', and generally talking constantly about masturbation with posters who are (at least ostensibly) other guys, but everyone has to work very hard to maintain the story that this is all heterosexual.

i think the coolest part of the film is how eagerly it pokes at that tension. Hank and Manny almost kiss during their elaborate larp (complete with facsimiles of a bus, a bar and a movie theatre constructed out of various bits of litter), and later Hank gives Manny a rescue breath underwater that's shot like a kiss. and of course the ending is that Hank comes to accept the aspects of life he finds shameful, like farting, after running away from the normie girl he fantasised about to attempt to escape once again with Manny. it's... interesting all right.

the soundtrack of the film is all clapping and singing, mostly a capella notes. i can see the logic here: all the sounds are produced by the human body, it's all about bodies and physicality. but it also makes it sound like a really annoying twee pop song lmao. i'd be fascinated by an edit of the film without any non-diegetic music. in the end, the film elects to keep the gay as barely-under-the-surface subtext, and Manny sails away on his farts in front of a small crowd, establishing that the events of the film were not figments of Hank's imagination - as much as Manny's feelings are very much projections of what he cannot say.

anyway, when i spoke of the appearance of Youtube martial artists on Everything, Everywhere as part of a general trend of 'mainstream' media turning to lean on the fame of the most successful independent web creators, I didn't realise that the Daniels themselves are an example, since their short films were apparently very popular on Vimeo (for obvious reasons - they're pithy and funny and creative with effects). oddly enough, another such figure shows up credited in visual effects, stop motion animator Kirsten Lepore, whose Hi, Stranger definitely feels like it shares something of an ethos with the Daniels. I'm not exactly sure what Lepore did on this film, but it was interesting to note!

it definitely seems that a lot of industries are starting to reconfigure in this way. the 'positive' spin is that thanks to the abundance of tutorials and free or pirate-able software, it is now possible to make a name for yourself making really sophisticated films, artworks music etc. for free on the internet, and, if you so desire, you can find your way into ~The Industry~ that way. the more realistic spin is that to make it as an independent artist in this way requires you to essentially perform a full-time job on a spec work basis, with very little direct support or guidance, and if you're very lucky and good at playing a readily parsable persona, whatever you're doing will align enough with the tastes of the crowd to let you 'make it'.

which is interesting in a way: because of this filter, the kinds of expression that boil out of the internet may indeed be the vision of a particular artist, but they're as much an expression of the milieu and its tastes. it's all a lot of complicated feedback loops and such. but i should elaborate on that somewhere else.

anyway, this is all mostly unrelated to Everything, Everywhere, but I'm definitely looking forward to seeing how the Daniels' style evolves in this new context, not to mention how Michelle Yeoh handles what sounds like a really cool role. they definitely do have some sort of spark, these guys, even though I think I'd perhaps 'get it' more if I like, was an upper-middle class person in New York lol.

#toku tuesday #daniels #swiss army man #film #short films

[squadron-of-damned]

Is Ace Attorney a good series to play? Which entries do you recommend?

It depends on your definition of good. Also I am hardly an expert, because I've cleared only the first two games in the series.

Ace Attorney is humorous and absurd. It's also dated back to 2001, so expect the old games not to be keeping up with the times as far as the themes go; it can be casually cruel to you. It haphazardly mixes anime and video-game logic with impactful real life parallels. Just when you think you have figured it out and are prepared for the next gag joke about the power of police and how it controls everything without being able to find its own arse even when they have a detailed map and an anatomical atlas a guy literally named Dick Gumshoe punches you in the emotional gut by having a meltdown and crisis of what his own worth to the world is. And then he turns around and goes "But I'm the world's best chef, I can make instant ramen like no one!"

Be prepared to get frustrated over "that is in no way obvious or logical!" prepare to have a favourite character who is an ultimate idiot. (It doesn't matter who will be your favourite, everyone is an idiot.) Prepare for an interactive visual novel where you aren't given choices to actually influence the outcome. Prepare to shout "WHAT? HOW?" a lot. Really really a lot. There will be a point where you will ask yourself "Can this shit-show be any more of a circus?" and the game will turn around and show you that yes, yes it can. (Turnabout Big Top might not be the most amazing episode, but it has impeccable timing.)

It's not a bad game and it is, in my opinion, a highly enjoyable game. Alternatively if you don't want to take a part in the absurd clusterfuck of a roller coaster.

I personally can’t play it for long in one sitting; I get emotionally charged and need to walk the charge off. I’ve walked many many kilometres to get through Farewell My Turnabout and Turnabout Goodbyes. At least I stay fit. But with mindless hack-and-slashers or puzzle games or strategy games I don’t have this problem. For the same reason I’m also stuck on Disco Elysium (objectively a great game, also very depressing). On the plus side AA is mostly character driven, which is something I am very much into.

My suggestion is that you play/watch a let's play chronologically in order of release. At least the first three games (Ace Attorney: Phoenix Wright, Ace Attorney: Justice For All and Ace Attorney: Trials and Tribulations) rely on each other that you know what happened in the previous installments. It also doesn't make much sense to play Ace Apollo Justice: Ace Attorney when you don't know who is that depressed guy in a beanie and what he's been up to previously. Ace Attorney Investigations will land flat when you didn't want to strangle its protagonist Miles Edgeworth with your bare hands for that autopsy bullshit he's pulled, not to mention meeting young Franziska. The Great Ace Attorney, which are set in 19th century are going to have you so lost without knowing the main series.

Start with the original trilogy of AA:PW, AA:JFA and AA:T&T, see how it goes. On Steam there are several good walkthrougs that spoiler the minimum of the story. Hug Wendy Oldbag for me, girl has shit luck. Also hug Maya. Dear gods, hug Maya.

[adamwatchesmovies]

Doctor Strange in the Multiverse of Madness (2022)

I enjoyed 2016’s Doctor Strange but aside from the trippy visuals, it felt like a standard superhero origin story. This makes the sequel a follow-up that far surpasses the original. Confidently directed by Sam Raimi, with the best villain the Marvel Cinematic Universe has seen since “Infinity War”, and loads of crowd-pleasing moments, Doctor Strange in the Multiverse of Madness is hugely entertaining.

While attending the wedding of Christine Palmer (Rachel McAdams), Doctor Stephen Strange (Benedict Cumberbatch) saves teenage America Chavez (Xochitl Gomez). Rather than thank Strange, America runs from him. They’ve met before. Well, not exactly. She’s interacted with another Doctor Strange from another dimension and it didn’t go well. After consulting Wanda Maximoff (Elizabeth Olsen), Strange realizes a demonic force is after America’s unique ability to travel through the multiverse.

There’s no way to talk about what makes this movie great without revealing that former Avenger Wanda Maximoff is the film’s villain. As someone who hasn’t seen Wandavision, I can't tell you whether this was something you could've predicted. A part of you likes and understands her, which makes this scenario a lot more complicated. She wants America’s powers so she can travel to a different universe - any universe - as long as the sons she never had live there. Nothing excuses what she's doing but the teensiest bit of sympathy you hold for her makes you wonder if the film might find a way to give her a happy ending even while she butchers alternate versions of heroes that might've been her friends in a different life.

DSitMoM has a great time exploring the various Earths as America and Strange look for a way to defeat Wanda. Some of them are comical. Most are serious, even frightening. It’s fair to criticize some of the lesser films in the MCU for their homogenous feel. The same sort of humor, the same sort of tone, the same sort of characters. This film has Sam Raimi's touch all over it. That means there are gags but they never undermine the heroic scenes. It also means an affinity for horror. Ghosts, demons, rotting corpses, dark sorcery, even some well-placed jumped scares.

Then, there are the horror-analogous scenes in which Strange encounters alternate versions of himself. They made the wrong decisions and wound up on a wildly different path than him. Is every Stephen doomed to repeat each other's mistakes?

A major theme in this story is “regret”. Strange could’ve rekindled his relationship with Palmer. Now, he’s missed his chance. He again sees the mistakes “he” made. He’s allowed to learn from them, but will he in time? If he doesn’t, he may end up just like Wanda, stuck in a loop of wondering “What if?” and unable to move on. The emotional stakes are high, and the numerous deaths (in which the camera cuts at the exact moment to ensure the film gets that PG rating) means the physical threats are real.

In terms of criticisms, I only have two. The first is that among all of the characters that juggle topics of unfulfilled loved, grief, destiny, and the need for/inability to change, America Chavez gets a little lost in the shuffle. More could’ve been done with her. I’m not sure what would’ve been cut, for room, however. The other is minor but comes in right at the end. Of course, the film has not one, but two scenes during the end credits and they take away from the shocker of an ending.

There's a lot you can do with the idea of Multiverses. At least three different films this year prove this and if the ones we get in the future are as good as the efforts from 2022, I say keep 'em coming. In the Multiverse of Madness is easily the MCU’s weirdness film, and in a way, the most comic-book-y too. We’ve finally reached a point where (at least in my case), there are too many “issues” to read. You pick up the main titles but those side stories and spinoffs? You're fine just sort of knowing what happened in them. Except now that you’ve seen the aftermath, you'll want to go back and check out what you missed. (3D Theatrical version on the big screen, May 5, 2022)

#Doctor Strange in the Multiverse of Madness #Doctor Strange #movies #films #movie reviews #film reviews #sam raimi #michael waldron #benedict cumberbatch #elizabeth olsen #chiwetel ejiofor #benedict wong #xochitl gomez #michael stuhlbarg #rachel mcAdams #2022 movies #2022 films #MCU #Marvel Movies #Marvel films

[jordoalejandro]

The Thirteenth Annual List of Movies I Saw the Past Year

This was one of the better recent years for film, in my humble opinion. A lot of really excellent stuff at the top of my list. On the other hand, the gulf between the good and not so good films feels more vast this year. Not as much depth.

I think I prefer that though. I like a year where I have more A’s and C’s handed out than a year where everything is a B.

This is also my longest list ever so let’s get to it.

Here’s the list of movies I’ve seen since-ish the last Oscars (3/12/23).

77. The Re-Education of Molly Singer - This feels like a throwback to the bad, cheaply made, straight-to-DVD comedies of the 2000s. Poorly written. Jokes that barely register and often don’t really have a punchline. A janky, cliché filled plot. Forced character arcs. Even the editing feels off. This is the kind of movie that should be 90 minutes (or really 80-something) and it ends up two hours long. Fixing the pacing wouldn’t have saved it but it couldn’t have hurt. Really nothing working here at all.

76. Vacation Friends 2 - I didn’t love the first film but I had some positive feelings about it at least. There was simply no reason for a sequel other than grabbing at cash left on the table. The original was about normal people going through some fairly normal circumstances, albeit slightly heightened for comedic effect. There really wasn’t that much more left to organically explore with them. Thus, this sequel did what a lot of unnecessary comedy sequels do when they are desperate for plot and need to introduce some dramatic stakes: add a criminal element. A random drug lord who can have men with guns chase our heroes. It’s so artificial it immediately lays bare how forced this film is. (This film also does another classic bad comedy sequel thing where it brings back a character from the first film in a way that makes zero sense because they wanted to use the actor again. Here, for some reason, one of the couples has hired an employee from the Mexican hotel from the first film as a babysitter for their newborn on their trip to the Caribbean. You know: a thing that happens.) That alone makes you roll your eyes but it’s not a fatal flaw. It’s forgivable if you can still make it funny. The bigger sin this film commits is that it just doesn’t do anything funny. The jokes are almost nonexistent. They’re barely trying and absolutely none of them land. The original had some humor and some heart to at least make it a decent watch. The sequel is drained of all of that. The weird thing is I can’t say I hated anything in particular here. I just felt pretty much nothing at all through the entire runtime, which is arguably worse. Mark Mothersbaugh’s score was nice though.

75. Fool’s Paradise - It’s kind of fascinating how this film misses every major mark. It wants to be a satire about Hollywood but it’s neither sharp nor insightful. It has a storyline about friendship that is supposed to lead to the emotional climax of the film but it doesn’t ever feel earned. The characters never actually feel like friends in any way and there’s no payoff to their relationship. There’s also a little bit of a Charlie Chaplin homage going on but there isn’t really any delight or charm in it. I don’t know what happened here. Everything is off. The worst part is there are almost no laughs in the whole thing. You could get by a little easier if you could at least nail some good jokes or visual gags or something but there are maybe a few chuckles at best. Even with the crazy amount of cameos by funny people. No one can find a laugh. The film looks nice at least.

74. 65 - Ultimately, it’s a bore. It’s a lot of walking through the jungle and occasionally being attacked by dodgy CGI dinosaurs. The action isn’t very compelling. Nor the visuals and music. Nor the story. Really standard lone wolf and cub stuff. Adam Driver tries but he’s given very little to work with. It’s a step above a Syfy channel film – in budget and quality – but not a huge step.

73. Meg 2: The Trench - I started this one up thinking, “Well, I saw the first one, I might as well watch the sequel” and about twenty minutes in, I realized I wasn’t sure if I actually did see the first one. I certainly didn’t write about it. I might have watched it on HBO? Or maybe it’s one of those films you don’t actually need to watch to know exactly how it goes down beat by beat. Speaking of films you don’t actually need to watch to know exactly how they’re going to go beat by beat: Meg 2: The Trench. There are moments in this film where it realizes it’s a stupid movie and leans in and those are the best parts of the film. Page Kennedy is the only person who is at that right level throughout the whole film. Mostly, though, the movie comes off like another bad Syfy channel film, in writing and especially in CGI. It’s one of those films where nothing looks real. Not just the animals and the sets. It’s so overbearing you can’t believe in the props they’re holding. It’s so much that you actually see past the CGI in your mind's eye and see all the blue screens the actors are standing in front of. Not great for the immersion of it all.

72. About My Father - A couple of nice moments (it has a smidge more heart than I thought it would) but it’s not really funny or sharp or surprising in any way. A lot of flat scenes.

71. Ferrari - You see the title and think it’s going to be a story about the car Ferrari, right? At least half about the cars? But no, it’s really like 80% about the man Ferrari. And the man Ferrari? Not that compelling. Lots of family drama. Mostly uninteresting. Some driving, which is done well but not as good as you’ve seen in other movies (including other period piece movies made within the last five years that have Ferrari in the title). It rolls along like that for a while. And then there’s this one scene that occurs near the end that’s completely unhinged (I’m trying to be subtle to avoid any spoilers but anyone who has seen the film knows exactly which scene I’m talking about). Even though this scene is based in truth, it’s not cohesive with what we’ve seen for the previous 100 minutes. It certainly snaps you awake like no other part in the film, so there’s that at least. Then it goes right back to the family stuff and then it ends. I’m sure there’s enough interesting, unique stuff in Ferrari’s life that it could sustain a biopic but what we got was mostly his relationship drama and that’s not particularly captivating. Adam Driver and Penélope Cruz are decent in this but not great in any kind of way that would merit awards or special recognition.

70. Plane - It’s basically exactly what you expect from a 2023 Gerard Butler movie called Plane. It’s a functional action thriller that doesn’t do anything (action, character, dialogue, humor) particularly well but pieces one thing to the next and gets to the finish line.

69. Killers of the Flower Moon - There are a couple of scenes that happen early in the film: Robert De Niro’s character and Leonardo DiCaprio’s character do some scheming, and then some Native Americans are killed. I hope you enjoy these scenes because they will be repeated over and over and over and over again for the next two hours. Does it ever get interesting? No, not really. Because at its core, the film is a murder mystery-type story and we’re witnessing the entire thing from the perspective of the murderers. Are these murderers at least clever or intriguing or sympathetic in any way? No, not really. They’re dullards who get away with things because no one cares that Native Americans are being murdered. ("You're supposed to feel that frustration!" Fine, but I could probably get there in half an hour. You don't need to drag me through mud for two hours.) The final hour of this behemoth is the law and order part of the show, which is so slow it drove me to near rage. I came right up to the edge of literally shouting at the film to move along. It’s a shame that there’s apparently no one left in the entertainment industry who can tell Martin Scorsese to not make three and a half hour movies. This is a film that is technically sound, at least, and that’s why it’s not at the bottom of the list. It looks good, the writing is fine, the acting is fine (the actors don’t really get a ton to do which is weird because there is so much goddamn time to do stuff!). But it’s just so impossibly long that it becomes an endurance test more than anything, and in doing so, destroys any potential chance for me to care about what is happening in the film or to the characters. I think there’s a good story in here, one I might be interested in watching, if it’s told in, let’s say, two-ish hours. Watching this film, I found myself only wanting it to end already.

68. The Flash - Some decent pieces hidden throughout – a few clever bits or jokes, action sequences, and emotional moments – but more stuff that doesn’t work than does. An unsatisfying plot. An overload of terrible CGI to the point where it often looks like you’re watching a PS3 level video game cutscene. Cameos and Easter Eggs that are jammed in so poorly that there’s no joy in them. Mostly though, it’s just an irritating film. The dialogue often tries too hard to force a laugh. A lot of broad, lazy humor. And worst of all, Ezra Miller’s Flash, the center of the film, is flat out annoying. His awkwardness is turned to 11 and he comes off more like a romantic comedy heroine (I’m too clumsy to get my life together!) than a superhero for the first act of the film. Everything gets even worse when the teenage version of the Flash shows up and behaves, for some reason, like an eight year old hopped up on sugar. It’s not just grating, it’s bad for us as an audience to immensely dislike the film’s main character. This is a movie that feels like it was pieced together from too many visions (including producers demanding more cameos because the other studios do it) and ultimately, it’s a big mess.

67. The Machine - There’s at least some plot though it’s not particularly strong. It works well enough to keep the movie moving along. Serviceable action. The big issue is there are only a couple of genuine laughs and that’s all you’re really looking for here so to be so lacking in that department is a huge issue for the film. An okay plot and serviceable action is not enough to get by. It’s supposed to be really funny and it just isn’t.

66. Good Grief - It has its moments of humor or dialogue but just doesn’t get there for the most part. I think the writing was lacking. Not enough humor, drama isn’t gripping, emotion isn’t there. This plot was fertile ground for a good dramedy but it simply does not capitalize.

65. Polite Society - This is a movie that should be fun and breezy but it’s unfortunately very bad at maintaining any kind of momentum. The final act in particular drags horribly, gaining steam and losing it almost immediately several times, making a 1:40 movie seem much, much longer. A few good moments scattered throughout and definitely some style to it, but overall the humor and action are nowhere near the quality they should be for this to work.

64. Rebel Moon - Part One: A Child of Fire - Really generic sci-fi. You’ve got your farmer type rebels and your fascist military army and your laser rifles and CGI aliens and the one hero who can save the universe, but she’s got to pull together her ragtag group to do it. Fine. I can forgive generic if it’s executed well but this is all pretty dull. The characters aren’t interesting, heroes and villains alike. Nor the dialogue. The plot is a standard "get the team together" plot but the heroes just go place to place and have people join them without having to actually do much. Mostly they show up, watch a new character do some sci-fi business, and then that character goes “Okay, let’s go.” Even the action isn’t very good, which is generally Zack Snyder’s strength. The film is interesting to look at, at least, so he hasn’t lost that from his arsenal. But this is supposed to be the jumping off point for a new Star Wars type universe thing and I just don’t see it. I don’t care about any of the goings-on with these characters or this world. There’s nothing here that makes me even the slightest bit enthusiastic for like a dozen movies and spinoff TV shows and video games or whatever.

63. Priscilla - This is the newest addition to the “various scenes from a sad famous woman’s life” collection. It has a little bit more life to it than that but not much. Technically solid. Good looking, good music, fine acting performances. But this feels like a movie made as a direct response to Elvis because his relationship with Priscilla was a bit creepy and, in theory, it does deserve further inspection. The problem is, in practice, when you’re actually watching a two hour film about it and you’re like, no, I guess I really don’t care about any of this. For what it’s worth, the actual Priscilla (an executive producer on this project herself) doesn’t seem to fall on one side of the debate or the other too strongly. The film seems to be sending the message that there was good and bad, that the fame and drugs certainly made things worse and ruined their marriage but, well, the whole thing also ends with “I Will Always Love You” playing so… it’s complicated, I guess? I appreciate it exploring the issue as gray but then that really highlights the “who cares?” of it all. I can’t shake the feeling this was a whole film dedicated to telling me a relationship with Elvis that started when you were a child is kind of weird. Okay. Got it. Thanks.

62. You Hurt My Feelings - Too many scenes that don’t really go anywhere and too many exchanges with no punchlines. It makes it feel like the film is stretching to make its 90 minutes. There are some interesting ideas and some funny bits in here but simply not enough in terms of character or dialogue or plot.

61. A Good Person - It never reaches a level of emotion or poignancy to truly be worth the journey, especially because the journey, at its core, is a generic addiction story (read: a melodramatic, repetitive cycle of relapse and recovery). Florence Pugh is good as always and Morgan Freeman does nice work, but the film as a whole just never gets there.

60. Chicken Run: Dawn of the Nugget - I don’t really remember the first one. I saw it in theaters as a child and have generally positive feelings about it but that was also two-plus decades ago so I can’t say with any certainty if I liked it or if I just liked being unburdened by age. Anyway, though this sequel is fine, it doesn’t seem to me as good, in writing and style, as the original. (Or maybe it is. Again, I can barely remember.) This is a fine movie for children and I’m sure children would enjoy it. It’s not really anything that appeals to me.

59. Shazam! Fury of the Gods - A couple of funny bits (Djimon Hounsou actually gets most of the better laughs, stealing the few scenes he’s in) and serviceable though not exactly enthralling action, but it still mostly feels like an uninspired sequel. Middling villains and a plot it’s hard to connect with. A lot of murder of innocent people that doesn’t mesh with the otherwise more lighthearted tone. Two movies in and they still haven’t figured out how to make the adult and kid versions of Shazam seem like the same character. It’s a little closer in this one than in the first but adult Shazam acts like an eight year old and kid Shazam (who is 17 years old, not eight) is more serious. You feel like they’re two entities and not the same person. If I had to point the finger, I’d say it’s probably Zachary Levi’s fault. Maybe adult Shazam’s lines might match better with different readings but he plays it very much like a small child and it’s off. The director should probably be on top of this, too. All of this sounds more negative than it is. It’s mostly forgettable fluff but it’s easy enough to watch and not hate. It’s just that it’s also not going to interest anyone outside of fans of the first film.

58. Down Low - Some decent laughs but about as many misses as well. Not funny enough for what flows, plotwise, as a sort of standard dark comedy.

57. The Creator - A good looking film, in cinematography and production design. Slick. But it just could not get me to care about the characters or story. Another sci-fi flick that falls right into your typical lone wolf and cub story. It tries to provide a few cute moments to get you to buy into their relationship but mostly hopes you’ll just accept it because our main character is protecting a “child.” While that is usually enough to go on in most of these types of stories, the child here isn’t really a child. It’s a stand-in for something much more gray. The film hopes you won’t examine that gray area very much if the child says something sweet every now and then. I could maybe get there if the whole thing was executed better but our main character is only sometimes compelling and his relationship with the cub feels more obligatory than earned so I spent the last half of the movie not particularly caring if they succeed or not.

56. Nyad - There’s some of the decent stuff you expect in a story about battling nature (and yourself) to do something incredible. And the relationship between the two leads is strong (so is their acting). But the movie itself isn’t incredibly interesting as a whole. Mostly because it’s a lot of swimming, then getting hurt while swimming, then resetting, then more swimming. And repeat. Nyad goes through a The Revenant-esque series of ass kickings to the point it becomes almost humorous. Also, and this is probably mostly a personal thing, but I don’t really care about feats like this, swimming long distances and such. Of course, there are plenty of films that are about things I don’t care about and I was made to care about them by the film. Nyad never really did enough to get me to buy into why I should care whether or not she can do it. In fact, they often make her such a miserable, unlikeable character that I sometimes found myself rooting for the ocean. The problem is, if you’re not bought in to the glory of the achievement, then you’re really just watching swimming.

55. The Color Purple - I haven’t seen the original but I had a general idea of what it’s about and I sort of formed a version of the film in my head and now, having seen this version, I think I was pretty close. Lots of melodrama about being a woman and Black and poor in the South in the past. It’s not fun! This version has music, at least. A lot of enjoyable songs. Great performances (in singing and choreography). They’re the high points of the film by far and keep things lively. Honestly, another song was something to look forward to when you’re caught in the trauma and sadness parts. It’s a visually strong film as well. Good acting, with Taraji P. Henson, Fantasia Barrino, and especially Danielle Brooks doing strong work. All that said, I write a lot of these reviews and get to the end and say something like “this is coming off more negative than how I actually feel about the film.” This is sort of the opposite. All of this sounds more positive than how I felt about the film. Despite my enjoyment of the musical bits and appreciation of the acting, the film is a lot of dull melodrama. Maybe primarily that. That’s why it’s around here on the list.

54. The Super Mario Bros. Movie - I enjoyed the incorporation of musical themes from the game and some of the Easter Eggs. It’s a pleasant looking film. Colorful but not overwhelming. Is this just stuff I like about the games, though? Maybe there’s credit, at least, in the movie knowing what to pull from the games. Jack Black was good as Bowser. I’m just listing things now. It’s very much a decent kid’s movie: pretty straightforward story, basic jokes. That’s fine. It’s good to have movies for kids that aren’t torturous, but I don’t have kids so I don’t get a ton out of this.

53. Aquaman and the Lost Kingdom - It’s mostly a mess. Most of it is CGI’d to hell, so much so that you start to question whether Jason Momoa is even real. The action scenes aren’t very interesting and neither is the plot. There’s a lot of flat acting in it, too. It’s not what you would call a good film. But you know what? There’s actually a decent amount of enjoyable stuff in here. Some funny lines and gags (though many that do not work). And much of the second act has Momoa reuniting with Patrick Wilson’s villain/brother character from the first film and they have a little buddy comedy thing going that works surprisingly well. Their chemistry is good. Momoa himself is very charismatic. He’s trying. He just has very little to work with. The fun stuff in the film is simply not enough to save it but it at least prevents it from being a train wreck and makes it not a miserable watch.

52. The Caine Mutiny Court-Martial - Well directed, well written (it’s based on a 1950s play which is based on a 1950s novel so it’s mostly adapted but it’s been modernized well), well acted. William Friedkin was a masterful director, and he’s able to mostly keep the film moving and the energy up. Ultimately, though, it does end up feeling like the straight up play adaptation that it is. 95% of the film takes place in one room and it’s essentially a dialogue-only film, and there’s only so much you can do to prevent it from slowing down, even as an expert director.

51. Past Lives - There’s some strong acting and good writing in parts. Moments of brilliance (mostly in the last half hour) but I need more overall. Humor, drama. Something. I’ll settle for more dialogue. It’s a movie with a lot of walking and sightseeing. Very long takes with very few lines. I appreciate letting a moment breathe but, well, let me put it like this: it's a 105 minute movie and I looked up the screenplay and it’s 85 pages long and the dialogue within is written twice, one in Korean and once in English. That’s not an equation that adds up to a fast (or really even medium) paced film.

50. Gran Turismo - Decently directed. The action scenes are well shot and have good energy. David Harbour is very good, turning what might be a cliché curmudgeonly mentor character into a charming curmudgeonly mentor character. He takes really basic lines and imbues them with some life. That’s sort of the problem with the whole script, though. It’s very basic in both plot and dialogue. (There are tons of lines that are just describing what’s happening. “Gotta catch this guy!” “Make the turn!” It’s not the worst thing but once you catch it, you don’t stop hearing it.) There are parts of this film that rise above its base level of basic-ness, but not too many.

49. Dumb Money - Credit to the filmmakers for taking a story that doesn’t really lend itself to a plot nor have any real heroes and crafting a watchable film out of it. It’s entertaining enough and has a few laughs. The second act is very repetitive as they run through the hold or sell question like half a dozen times. I don’t know if this is valid as film criticism because it’s based on me knowing a lot about this story in real life but I found myself rolling my eyes at much of the film and its attempts to oversimplify and create heroes. That’s the issue with telling a story that just happened. The full fallout of the story hasn’t occurred yet. Some of the things in the film have already aged poorly. There’s a title card at the end saying what happened to some of the characters and one says a character was still holding GameStop stock waiting to sell. The stock is like 80% lower now than it was at the peak this film presents. She’s screwed. She’s not a real person, but she does represent a lot of real people who did get caught up in the excitement of this thing and got left holding the bag when it stopped working. Again, I debate with myself if that’s a legit way to criticize a film, so I’ll put that aside and just settle on this being fine.

48. No Hard Feelings - The story, the characters, the comedy: certainly could’ve been better but still passable. They all come together to make a solid enough film with a few laughs but nothing extraordinary.

47. Strays - It has some laugh out loud moments but most of the humor is more “hah.” than actually funny. That’s a problem for a film like this which is really about the jokes more than anything. There is some heart to the film but I don’t know if it’s a strength of the writing so much as an exploitation of our feelings about dogs. That is, show us a dog being sad, then being happy, and their faces and our brains do most of the work. It’s a nice effort to try and create some depth in a film that’s mostly about dogs cussing and humping things, at least.

46. Pinball: The Man Who Saved the Game - Cute and cleverly told. It has some good moments and a likability to it but not enough drama to really carry it over even its 90 minute runtime. It basically tries to get by on being cute and cleverly told and that can only get you so far. It’s solid if not spectacular.

45. Ant-Man and the Wasp: Quantumania - Just okay. It just doesn’t have the life the first two films in this series had. It misses the groundedness of those films and those side characters. A lot of time here is spent setting up the Quantum Realm and its factions and showing it all off but it’s hard to really care about all these new characters or this world which reads like a generic alien world and never feels more than a giant load of CGI. A lot could probably be forgiven if it was funnier but while it has moments of humor and creativity, it goes too long in between to forgive its weakness in other areas.

44. Rustin - A decent, if straightforward, civil rights biopic. A very strong performance from Colman Domingo at the center. Not a lot of surprises but it moves well enough for a biopic.

43. Champions - It’s a film about a curmudgeonly, washed up basketball coach who has to coach a team of young adults with learning disabilities. If you hear that premise and immediately build the film in your head, you’re probably at least 80% right. It’s done well, though. It has some heart and a few good laughs and moves well enough. I would’ve liked it more if it was funnier or tapped into something more emotional, but as is it’s decent enough.

42. Lift - It’s a sleek heist film with a decent score and it moves well which makes it quite watchable even if it’s not exactly a great film. It’s very clunky. The writing isn’t fun enough. Only really Billy Magnussen and Vincent D’Onofrio are given characters with some personality. They aren’t written particularly well but the actors make them work by leaning in. The rest of the team doesn’t offer a whole lot. Kevin Hart seems miscast. He’s playing a veteran criminal (think George Clooney in the Oceans movies) but he doesn’t fit the role well and he’s given almost nothing funny to do. More action than anything, which is not his wheelhouse. The main heist isn’t plotted particularly sharply. It sidelines most of the team at the halfway point so Hart and Gugu Mbatha-Raw can have an action romance style third act. Again, it’s not great. More than a handful of weird choices. But it didn’t exactly stop me from enjoying the ride, so I can’t really ding it too badly I guess.

41. Bank of Dave - Cute, sweet, kind of simple. Nothing too surprising. Could be funnier. Based off a true-ish story (as it says) and a lot of it feels movie-fied (some parts egregiously so) but it still mostly works and you can watch it and feel good.

40. Blue Beetle - It’s a DC origin film that’s about on par with the first Shazam. It shares some of the highlights and issues with Shazam, as well. Highlights: some good humor, fun character interactions between the heroes and the side characters. Issues: action is just okay, some darker tone shifts that don’t jibe with the lightheartedness in most of the rest of the film. The villain in this film was much weaker than Shazam but the soundtrack was much better and more memorable. Xolo Maridueña is a more charismatic lead, too. So, some give and take but I’d rate them around the same quality level.

39. Linoleum - Some interesting stuff for the first 80% of the film but a bit slow. An excellent finale, though, that sort of saves everything. In that sense, it’s sort of the opposite of a film like Don’t Worry Darling, proving a good ending can really make or break you. Linoleum’s strong, moody, emotional finish ties everything together and sheds light on what we’ve seen and makes the whole thing feel worthwhile.

Are you still with me? We’re about halfway there. Grab a snack. Let’s do a quick mid-list documentary break.

Still: A Michael J. Fox Movie is a creatively edited, sometimes difficult to watch film about the actor’s life with some strong emotional moments throughout. Parkinson’s is a hell of a disease.

The Eternal Memory is another touching, heart-wrenching film. Also not an easy watch but it finds a way to inject love and beauty into something quite bleak. Alzheimer’s is a hell of a disease.

Okay, let’s get to the top half of the list, which is longer than some previous whole lists. Why did I do this to myself?

38. Are You There God? It’s Me, Margaret. - A cute and snappy coming of age story. Doesn’t talk down and doesn’t get too melodramatic. Some sweet moments, some funny moments. I would imagine it probably hits harder for women but I can appreciate the quality of the work.

37. The Killer - Very stylish, as David Fincher does. It moves well. Michael Fassbender is very good in the role. Tilda Swinton has a good bit role, too. It’s fun as a sort of neo-noir experience but as a story it’s not incredibly fulfilling. The setup is fun (the opening sequence which gets you right inside the killer’s mind is the high point of the film), then you get the inciting incident, and then four revenge chapters which are different enough from one another to stay fresh but not entirely compelling overall in a storytelling way. It’s similar to John Wick in that sense, though it’s a bit more artistic and less action-y than that.

36. The Marvels - Funny. Good characters. Iman Vellani, who was strong as the lead in her MCU show, does an excellent job here, able to still stand out even amongst bigger acting names. There’s a power swap thing between the three leads that is inventive and creates for some very fun action scenes. The villain is entirely forgettable, though, and the story isn’t really there either. Plus, the film is structured in a weird way. It sort of skips a first act and jumps right into act two, which makes it feel a little bit unsatisfying. Not necessarily unsatisfying as in letting the viewer down, but unsatisfying in a way that makes you feel as if you’ve just watched an episodic adventure rather than a full satisfying film story.

35. Extraction 2 - A strong follow up that shares the same strengths and weaknesses from the first. Action is really well done. There’s a 20+ minute one-shot early in the film that’s so impressive and long it almost feels arrogant. Like, it just keeps going to the point where you start thinking enough already. It also kind of makes every action piece that follows feel like a let down. Chris Hemsworth is good in the role again. The weakness, like the first, is in the story. It’s mostly there just to give reason for our heroes to run around and kill bad guys.

34. Tetris - Presented in a really clever way. It moves well. It’s movie-fied for sure and you can absolutely feel it, but it’s in service of making what’s likely a pretty dry story into something more thrilling and effective.

33. Nimona - Great looking animation. A good story. Funny. Solid voice acting. It’s mostly for children but an adult can watch it, too, and appreciate some of the jokes and not be miserable.

32. Leo - Not every bit lands but there are some very good ones that produce genuine laughs. It has some heart and sweetness to it, too. Adam Sandler does solid voice work. A lot of songs, some good, some weak. Like Nimona, a cute film for kids that parents can watch and get something out of as well.

31. May December - A fascinatingly dark film with notes of sharp satire. It’s not the most thrilling film but it keeps you engaged. Well written and directed. Well acted. Natalie Portman and Julianne Moore are good, of course, but Charles Melton is excellent as well.

30. Elemental - A well done, insightful story about immigrants. The romance story was fine but didn’t really hook me. I enjoyed the film as a whole but it just didn’t hit me in the emotions like so many Pixar films do. A good film but not one of their best.

29. John Wick: Chapter 4 - A little too long to the point where even the action scenes, which are the main attraction, start to overstay their welcome. You start to go “Okay I get it, let’s move on.” Still, the action is very well done. Fun locales. A good looking film. Even a few bits of well-employed humor. I think it’s my favorite since the first one and perhaps the best one of the series but I also say that knowing that this series is very much four movies that are fun while you’re in the ride but leave your memory almost immediately after. They are what they are.

28. Maestro - Really impressive acting from Bradley Cooper and especially Carey Mulligan. Strong directing and visuals. It’s almost told in vignettes, which makes it kind of dreamlike. Some of the vignettes really work but a lot hit your sort of standard biopic pieces and don’t do as much. Overall, it’s solid.

27. Somewhere in Queens - Decent writing, decent acting, with Laurie Metcalf giving a nice performance. Complex, nuanced characters. It’s a good family dramedy with a little bit of humor and emotion.

26. Saltburn - It’s delightfully dark and keeps you interested, even if it sort of reaches an ending that, while not bad, doesn’t land with the sort of punch you want it to. There’s something missing in character motivation and plotting that makes it feel like it’s missed the mark. Still some fun performances (especially Barry Keoghan and Rosamund Pike) and excellent cinematography and design. It works as is. It just feels like there was potential for this to be more and it didn’t get there.

25. Bottoms - Very funny, very silly. I think my main problem is that it’s such a hyper-heightened reality the film takes place in that when it comes back down to Earth and tries to have some human drama it makes me roll my eyes. Having football players kept in a cage in history class and also a sincere best friends argument feels like trying to have your cake and eat it, too. Still very fun though when it sticks to the over the top satire, which is the majority of the film.

24. Indiana Jones and the Dial of Destiny - I think part of the problem is the original three were so good and ended so perfectly, it’s really hard to find a story to make further adventures worthwhile. This one is fine, but it just doesn’t get all the way there. It doesn’t quite measure up, in basically every sense. The action, the humor – they’re there but just not totally up to par. The other thing that is a little off is that this feels very much like a modern action movie, like someone doing Indiana Jones years later. There was a pulpiness to the original three that made them feel less plastic and that’s missing here. Even with its faults, I still think this is a good film. John Williams’ music is still great and Harrison Ford still has the charisma, and there are moments where you feel the magic again. Just not enough to string together a fully great film. It leaves a better taste in my mouth than Crystal Skull, at least, even if it can’t live up to the original trilogy. Maybe it never had a chance.

23. Theater Camp - Very cute, often funny. It pokes fun at theater kids and actors but in a loving way. A sweet movie that’s an easy watch.

22. Quiz Lady - A very endearing film. Sweet, silly, funny. A little bit of heart, too. There’s certainly room for it to be funnier or more original but it works and has some good bits and fun performances.

21. Dungeons & Dragons: Honor Among Thieves - Lots of fun. It has solid action pieces and good humor. Importantly, it finds ways to do fresh things with a sort of standard fantasy story and keeps it entertaining throughout. The writer/director team of Jonathan Goldstein and John Francis Daley did this with their last film, Game Night, too. Take a premise that could be kind of bleh and get creative. You don’t have to reinvent the wheel, just write a sharp, funny script.

20. Red, White & Royal Blue - This is my token “sweet gay romcom that I have a tough time being objective about” pick. I get one of these every few years or so. It’s a very cute film with some decent humor and good flow. Sort of your standard romcom fare but it’s executed well. Should it be this high on the list, quality-wise? No, probably not. It’s not that much worse, but it’s, objectively, not that great either. I enjoyed it enough, however, to bump it up here. And it is my list after all.

19. Wonka - Like Paul King’s Paddington films, this is much better than you expect it would be or than it really needs to be. Also, like the Paddington films, this is still mostly a movie for kids so it’s only going to go so far for me. But it’s quite a delightful film. Some clever lines and gags. Good songs, though nothing iconic that will stick long term. I have to stop doubting Timothée Chalamet. When I first heard of this, I thought it was going to be a mistake, but he’s so damn charming that he’s able to pull it off. He dives headfirst into this role and gives it his all and it pays off.

18. You Are So Not Invited to My Bat Mitzvah - It’s similar in theme to Are You There God? but mixed a little with Mean Girls and flavored incredibly Jewishly. I found it to be a sharper, funnier, and more modern approach to those themes. The nepotism of it all is a little gross (it’s crazy that Adam Sandler’s immediate family all won major roles in this film he produced after what I’m sure was a thorough audition process) but Sunny Sandler is, in fact, quite good in the role so you can forgive it.

17. Anatomy of a Fall - Smartly written, well acted. Sandra Hüller gives a strong, subtle performance at the center of the film and Milo Machado-Graner is great in a supporting role. The film does feel a little bit like an intense, fleshed out episode Law and Order though. There’s an hour of courtroom drama in the middle that’s engaging but also mostly dialogue on dialogue. It’s similar to The Caine Mutiny Court-Martial in that there’s only so much you can do to dress that up. It’s a film that doesn’t spoon-feed you, which I appreciate. It’s confident in its ambiguity and it lets you decide where you fall, pun absolutely not intended.

16. Air - Sharp writing, moves well, good acting. Matt Damon and Viola Davis are especially strong. (Damon delivers a speech near the end of the film that is particularly affecting.) Nothing groundbreaking. Just a really well done sports/business story.

15. Next Goal Wins - Sweet, funny, and some heart as well. The story has some clunkiness and there are definitely some misses amongst the many jokes in the film, but a lot more that works than doesn’t. Michael Fassbender is very good and Oscar Kightley is excellent as the surprising heart of the film. It gives you everything you want from a feel good sports film.

14. Oppenheimer - Some great stuff but also simply too long. The film is paced well enough for a three hour film but it likely didn’t need to be three hours. The most compelling stuff, as you might imagine, is the creation and moral implications of building a world destroying bomb. Interpersonal affairs, while interesting enough still, are much less so. Good acting from Cillian Murphy and Robert Downey Jr., who really are the only ones to get enough screen time in this giant cast to truly make their mark. (I would argue though, if you wanted to trim an hour from this film, you could probably pare down Downey’s role almost entirely.) Good directing and writing, taking what might be very dry material and keeping it enthralling.

13. Barbie - I really like how many wild swings this film took for being a big budget film based on a worldwide property. Interesting characters. Margot Robbie and Ryan Gosling do great work in their roles. Sharp writing. More than a few laugh out loud jokes and gags (though also a handful that fall flat). It does veer into too silly territory at some points and drags a little here and there but is able to recover, usually by taking a sharp left turn you don’t expect. Its messages are laid on thick but it’s playing to a certain younger audience so I’ll roll with it. A couple of nice humanist moments as well (which is something Greta Gerwig excels at including in her films) though nothing in the film that really cut through me emotionally.

12. Blackberry - A fairly straightforward rise and fall story of a tech company but particularly well done. Fun, smart, doesn’t drag. Good music, good style. Glenn Howerton in his wheelhouse as a barely restrained maniac and gives an excellent, memorable performance.

11. Rye Lane -  Smart, sharp writing. Strong performances from the two leads, David Jonsson and Vivian Oparah, who have great chemistry. Fun direction and editing. It rolls right along for about 75 minutes, tells its story, and then ends. This is another film where it’s like: is this, at its core, just a very cute rom com? Yes. But while it’s not reinventing the genre it is a great execution of it.

10. All of Us Strangers - A truly beautiful, haunting film about love and loss and the things we wish we could say. It’s very artsy so it certainly has its slow points where moments just breathe and breathe, but its high points are so damn high. It’s like an emotional assassin. Several scenes, especially in the back half, that just nail you right in the heart. It’s basically a four actor film - Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy - and each of them puts in just tremendous work, all worthy of being on my top five individual performances list.

9. Society of the Snow - “Alive - Now with real Latinos!” It’s a pretty straightforward survival film about a story that you’ve likely heard of and so there aren’t really a ton of surprises but it’s expertly made. Shot well, acted well. Tense and thrilling. Aided by a beautiful score from Michael Giacchino. It’s a brutal story but one that’s also about sacrifice and strength and hope. It’s a simple theme but it lands well, puns still completely unintended.

8. Poor Things - Absolutely fascinating from a visual and musical standpoint, as Yorgos Lanthimos does. His directing is truly excellent and matches great with Tony McNamara’s sharp writing. The film is just a bit too long. You can feel it gaining and losing momentum in the back half. Mark Ruffalo’s scenes are definitely the best in the movie and the others, while generally good, are just not as strong (with Willem Dafoe’s scenes being the strongest of the rest). Excellent acting performances from Ruffalo and Dafoe and especially Emma Stone at the center of this wild ride.

7. Spider-Man: Across the Spider-Verse - A fantastic sequel, on par with the first. Smart, funny, emotional writing, good voice acting. The visuals are excellent but often have so much happening on screen you can’t focus and have to just kind of glaze over and let it go. It’s fine – you never really feel lost – but it’s also kind of sad because there are interesting details happening that you almost literally can’t catch without stopping the movie. I was really loving this film until the final minutes. Without giving too much away, I’ll just note it basically concludes on a “to be continued…” note, stopping at what feels like the mid-point of the third act. It’s an ending that doesn’t not work but movies that end like that leave a bad taste in my mouth. Set up threads for the next film, sure, but don’t leave me hanging completely. Don’t make me leave your film with a groan. The ending was obviously not enough to make me hate the film, hence why it’s way up here on the list, but it would’ve been higher with a more complete one.

6. Leave the World Behind - A fascinating neo-paranoia thriller that’s masquerading as an apocalypse film, which is very meta in itself. It has a lot of interesting things to say about us as a society, which risks it getting preachy, but it walks the line by telling the story in a really engaging way and never sacrificing plot for message. Good acting, smart writing, and interesting directing. It doesn’t force you to a conclusion but presents you with some ideas and lets you decide.

5. Guardians of the Galaxy Vol. 3 - A little overstuffed but other than that a really wonderful end to this trilogy. James Gunn brings the humor, the music, the emotional beats, the action. He writes these characters and their interactions so well. I don’t know how or if this series will continue, but whoever takes it over will have a tremendous challenge trying to match Gunn. It would have been a travesty to have not let him come back and close out this chapter for these characters, and I’m so glad they got one last ride under his direction.

4. Mission: Impossible - Dead Reckoning Part One - It feels like there should be another dash or colon or something between Dead Reckoning and Part One, right? But that’s how they list it. I think they got self-conscious about already having too many punctuation marks in the title. One more would look ridiculous. The night after we watched this film the first time, we were going to watch another film that we’d been putting off (it appears on this list, much lower) and all I could think while navigating towards the other film was how much I just wanted to watch Dead Reckoning again instead. That’s the kind of film this is. It energizes you. It makes you want to come back for more. The action sequences are fantastic, as always. The humor is there. The visuals. The music. The franchise has had issues with villains (generally its weak point) and making the main villain of this arc a nebulous computer program isn’t really helping to remedy that. (Esai Morales is fine but unremarkable as the human face of that program.) The decision to make the villain an AI that can manipulate essentially anything adds a really nice dose of paranoia to all the proceedings but also requires a lot more heavy exposition and makes the film much more heady. Making you think a little more isn’t necessarily a bad thing for a film, but is it the right choice for a Mission: Impossible film? I’m not sure. It’s maybe better for these films to just have a MacGuffin and keep things moving. Still, this film’s nearly three hours fly by and despite it being a “part one,” it tells a full enough story to be satisfying.

3. Asteroid City - The music, production design, and cinematography are excellent as always with Wes Anderson. Strong acting from the whole ensemble in small pieces and a surprisingly strong performance by Jason Schwartzman at the center. Smart writing as well. Fast and very funny, and then movingly poignant. It’s a little inaccessible in parts. The plot is purposefully all over the place and it can make it quite difficult to parse exactly what’s going on at first glance, but I think the greater message still comes through and in a deeply emotional way, in my view at least. It really worked for me.

2. American Fiction - Tremendous writing. A strong, smart, very funny satire about media mixed with a moving family dramedy. Great acting performances all around but especially Jeffrey Wright, who is excellent as the film’s anchor, and Sterling K. Brown, who delivers a very strong supporting performance, embodying a character who’s both funny and deeply pained. Everything about this movie works.

1. The Holdovers - I guess the theme of this year’s list is “brilliant execution.” No other film for me embodies that theme this year more than The Holdovers. Yes, the film is your sort of standard “curmudgeon bonds with young person who melts his heart” tale but it is executed flawlessly. It finds the right tone immediately and never lets it slip. A pitch perfect mix of humor and drama. Heart and sorrow. Very human. Sharp writing. Brilliant acting all around. Paul Giamatti is fantastic. The too smart for his own good sad sack who is actually a human being underneath the layers of protection he puts between himself and other people. Da’Vine Joy Randolph, who, if this blog’s search function worked, you could find me singing the praises of for years, once again turns in an excellent performance. I’m so glad she’s getting big-time recognition. Dominic Sessa is great, as well, and it’s very impressive that he’s going toe to toe with these other two established actors and sticking right with them. The core three characters’ stories unfold so beautifully throughout the film, getting you to empathize with them slowly and naturally. It’s filled with great music and great visuals. You feel yourself in New England in the 1970s. I think the thing I can say most in favor of this film is that I just didn’t want it to end. It’s such a warm, wonderful story that I was actually disappointed when I felt it turning from act two to act three and starting to wrap up. In a year where I’ve complained over and over that a lot of these films are too long, this was the one film I could’ve spent much, much more time in.

Time to do some individual awards.

Best Actor

5. Jason Schwartzman, Asteroid City 4. Barry Keoghan, Saltburn 3. Andrew Scott, All of Us Strangers 2. Jeffrey Wright, American Fiction 1. Paul Giamatti, The Holdovers

Best Actress

5. Sandra Hüller, Anatomy of a Fall 4. Natalie Portman, May December 3. Margot Robbie, Barbie 2. Carey Mulligan, Maestro 1. Emma Stone, Poor Things

Best Supporting Actor

5. Paul Mescal, All of Us Strangers 4. Willem Dafoe, Poor Things 3. Glenn Howerton, Blackberry 2. Sterling K. Brown, American Fiction 1. Mark Ruffalo, Poor Things

Best Supporting Actress

5. Julianne Moore, May December 4. Rosamund Pike, Saltburn 3. Claire Foy, All of Us Strangers 2. Danielle Brooks, The Color Purple 1. Da’Vine Joy Randolph, The Holdovers

Best Directing

5. Emerald Fennell, Saltburn 4. J. A. Bayona, Society of the Snow 3. Yorgos Lanthimos, Poor Things 2. Wes Anderson, Asteroid City 1. Alexander Payne, The Holdovers

Best Writing

5. Greta Gerwig and Noah Baumbach, Barbie 4. Tony McNamara, Poor Things 3. Wes Anderson, Asteroid City 2. David Hemingson, The Holdovers 1. Cord Jefferson, American Fiction

And now let’s look at the ACTORS WEB:

What a nightmare! Here’s a fun fact about the making of this graphic: I almost cried and gave up on it four or five times! I saw too many movies with too many big casts this year. A terrible mistake on my part.

Okay, that’s more than enough for this post. It’s over. We made it.

Enjoy the Oscars.

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Read More:

Annual Lists of Movies I Saw the Past Year

#reviews #annual lists of movies I saw the past year

[talkingfilmsnet]

From Action to Art-house: A Journey Through the Best Indian Films of 2023

2023 wasn't just a year in Indian cinema; it was a kaleidoscope of colors, emotions, and storytelling styles. From pulse-pounding action sagas to soul-stirring dramas, rib-tickling comedies to thought-provoking art-house gems, there's a film for every mood and cinephile in this diverse cinematic landscape. So, fasten your seatbelts, cinephiles, because we're embarking on a journey through the best Indian films of 2023, a journey guaranteed to leave you exhilarated, moved, and perhaps even a little bit wiser.

Adrenaline Rush with the Action Kings:

·         Jawan: Shah Rukh Khan sheds his romantic charm and dons the rugged avatar of a global espionage agent in Atlee's high-octane thriller. Expect breathtaking stunts, mind-boggling fight sequences, and a gripping plot that will keep you on the edge of your seat. Get ready to see King Khan like never before in this action spectacle.

·         Pathaan: Siddharth Anand raises the bar on Bollywood action with this stylish spy thriller starring the sizzling pair of Hrithik Roshan and Deepika Padukone. Exotic locales, smoldering chemistry, and edge-of-your-seat action sequences make Pathaan a visual feast. Prepare for car chases, high-tech gadgets, and thrilling escapes in this adrenaline-pumping ride.

·         Animal: Ranbir Kapoor takes on a dark and gritty role in Sandeep Reddy Vanga's gangster drama. Raw realism, intense performances, and a gripping storyline promise a stark contrast to Kapoor's usual romantic persona. This film delves into the Mumbai underworld, exploring themes of power, violence, and the complexities of human nature.

Laughter is the Best Medicine:

·         Rocky Aur Rani Ki Prem Kahani: Karan Johar returns with his signature brand of quirky rom-com, starring the effervescent duo of Ranveer Singh and Alia Bhatt. Expect an explosion of energy, slapstick humor, and a whirlwind romance that will leave you in stitches. This film promises to be a feel-good escape filled with classic Bollywood masala at its finest.

·         Dunki: Shah Rukh Khan teams up with Rajkumar Hirani, the master of heartwarming stories, for this lighthearted adventure comedy. Global mishaps, witty dialogues, and Shah Rukh Khan's infectious charm promise a laugh-fest that celebrates life's unexpected journeys. Get ready for a film that will leave you with a warm fuzzy feeling and a renewed sense of optimism.

·         Fukrey 3: The beloved gang returns for another round of side-splitting antics in Mrigdeep Singh Lamba's comedy caper. Absurd situations, relatable characters, and non-stop laughs make Fukrey 3 a perfect dose of escapist fun. Be prepared for hilarious one-liners, slapstick gags, and unexpected twists that will leave you rolling on the floor.

Drama that Touches the Soul:

·         Ponniyin Selvan: Part Two: Mani Ratnam's epic historical saga concludes in 2023, promising grand visuals, a sweeping story of the Chola dynasty, and powerful performances. This film is a treat for history buffs and drama lovers alike. Get ready to be transported to a bygone era filled with intrigue, political maneuvering, and epic battles.

·         The Kerala Story: Based on the real-life 2018 Kerala floods, this poignant drama is a testament to human resilience and the spirit of community. Tales of rescue, the power of hope, and the raw emotions of the tragedy touch hearts and spark inspiration. Be prepared for a film that will move you to tears and leave a lasting impact.

·         Mrs. Chatterjee vs Norway: Rani Mukerji delivers a tour-de-force performance as a mother fighting for her child in this courtroom drama. Expect a thought-provoking exploration of cultural clashes, parental rights, and the lengths a mother will go to. This film promises to spark important conversations and stay with you long after the credits roll.

A Touch of Art-house Magic:

Indian cinema isn't just about mainstream spectacles; it also boasts a thriving independent scene. Look out for films like:

·         Aamis: This Assamese drama explores the complexities of gender and identity through the lens of two meat shop owners. The film's unconventional narrative and nuanced performances challenge societal expectations and offer a fresh perspective on human relationships.

·         Sher Shivraj: This Marathi period drama, while steeped in history, resonates with contemporary environmental concerns. The film's portrayal of King Shivaji's dedication to water conservation and sustainable practices offers a historical perspective on ecological responsibility and challenges viewers to think about the present.

·         Writing with Fire: This documentary sheds light on the fearless female journalists who run India'

Conclusion

The year 2023 will mark a new era for Indian cinema, with a lineup of top films that will leave a lasting impression. These films represent the best of the industry and showcase the immense talent and cultural richness of India. Whether you are a fan of action, romance, or comedy, there will be something for everyone to enjoy in the top Indian films 2023. So mark your calendars and get ready to be immersed in a cinematic experience unlike any other in 2023.