Robert pattinson 2018 filmes

2009; US; 2h 10min; 12A; Directed by: Chris Weitz Cast: Kristen Stewart, Robert Pattinson, Taylor Lautner, Ashley Greene, Rachelle Lefevre, Billy Burke, Michael Sheen, Dakota Fanning A faithful reproduction of Meyer's second book covering the middle ground of the series. The epic relationship between Bella (Stewart) and undead Edward (Pattinson) falters, leaving space for a new lupine love ... Robert Pattinson has been in a range of movies, from historical dramas to fantasy films. Warner Bros. Entertainment Inc./Focus Features/Summit Entertainment Robert Pattinson is an actor who first skyrocketed to fame with his role as Edward Cullen in 'Twilight' (2008) . Confira todos os filmes de Robert Pattinson. De seus primeiros passos até seus próximos projetos. AdoroCinema. ... 2018 Idol's Eye - - 2017 Bom Comportamento: Connie Nikas 4,0 ... En las siguientes líneas haremos un recuento de los filmes favoritos de Robert Pattinson, los cuales fueron recopilados por Far Out Magazine:. Te recomendamos: Las películas favoritas de Tim Burton Atrapado sin Salida - 95% El galardonado clásico de Milos Forman cuenta la historia de Randle Patrick McMurphy, un hombre que es trasladado a una institución mental después de pasar unos meses ... Robert Pattinson is recognized for his roles in the 'Twilight' films, 'Harry Potter and the Goblet of Fire,' and Christopher Nolan's latest mind-bending movie 'Tenet.' The 34-year-old actor is also set to star as the titular character of Matt Reeves' 'The Batman.' Even though Pattinson's an A-lister now, it wasn't always that way. Robert Pattinson, Actor: Twilight. Robert Douglas Thomas Pattinson was born May 13, 1986 in London, England, to Richard Pattinson, a car dealer importing vintage cars, and Clare Pattinson (née Charlton), who worked as a booker at a model agency. He grew up in Barnes, southwest London with two older sisters. Robert discovered his love for music long before acting and started ... Directed by David Zellner, Nathan Zellner. With Robert Pattinson, Mia Wasikowska, David Zellner, Nathan Zellner. It's the Wild West, circa 1870. Samuel Alabaster, an affluent pioneer, ventures across the American frontier to marry the love of his life, Penelope. As his group traverses the west, the once-simple journey grows treacherous, blurring the lines between hero, villain and damsel. Kamaszként modellkedett, első filmes szerepét A gyűrű átk ... Christopher Nolan készülő filmjének szigorúan titkos a forgatókönyve Még az egyik főszerepet alakító Robert Pattinson is csak egyszer olvashatta el, ... PORT.hu 2018. október 16.: Robert Douglas Thomas Pattinson (Londres, 13 de maio de 1986) é um ator, modelo e músico britânico, mais conhecido por interpretar o bruxo Cedric Diggory no filme Harry Potter e o Cálice de Fogo e o vampiro Edward Cullen nas cinco adaptações cinematográficas da Saga Crepúsculo, papel este que o tornou internacionalmente famoso. How Many Robert Pattinson Movies Have You Actually Seen? Have you seen them all? ... (2018) Via A24 High Life (2018) Via A24 Image: Via A24 The Lighthouse (2019) Via A24 ...

I watch a horror movie every day, here's everything I watched in August

2020.09.18 13:52 nextzero182 I watch a horror movie every day, here's everything I watched in August

(2019) The Lighthouse 9.5/10
The visuals are jaw-dropping; almost every single frame of this film is photographic. The soundtrack is stripped down to just these haunting sounds of fog horns and piss buckets. The package everything is delivered in, from an artistic standpoint, is so memorable. The performances by Pattinson and Dafoe are both some of the best I’ve seen this entire year and really, the decade…possibly of all time. They deliver this brilliant script’s dialogue with such passion, humor and intensity. The story in this film is shrouded in mystery but the clues and tools needed to decipher it do exist and with a re-watch, finding them felt so rewarding.
(2007) Zodiac 9/10
This is one of my favorite Fincher movies and for anyone familiar with his stellar catalogue, that’s a bold claim. It feels so real and lived-in. The cast is absolutely stacked but so complimentary. It’s not the most violent film, it’s much more story driven but the moments of violence feel fucking powerful. The horror in this film isn’t about the serial killer, it’s really about obsession and Gyllenhaal absolutely nails his performance to bring that aspect home. Despite this film’s high praise by critics and regular assholes like myself, it is a slow-burn. It’s long and tedious and that aspect, which I love, could easily turn someone off.
(1981) Raiders of the Lost Ark 9/10
Raiders of the Lost Arc is such an important movie to me. It helped open my eyes to darker content as a child, for better or worse. It also introduced me to one of my favorite characters of all time, Indiana Jones. Harrison Ford doesn’t play a superhero in this movie, he’s very flawed and mortal. Yet, somehow he always seems to prevail, despite dire circumstances. Everything that could ever be said about this film has been said, I’m just here to show my appreciation.
(2014) Spring 8.5/10
This movie is wonderful, raw, natural and intriguing. It’s not over-acted or overthought in any way. It’s fucked up and complicated. This felt like an homage to Possession but the love story aspect really shines through. It feels helpless and hopeful at the same time. Benson’s script is amazing. The influences are impossible not to see but the dialogue is incredibly natural. The reactions are the same. I’ve always said that films shot in idyllic landscapes are a blank canvas for horror. There’s so much beautiful contrast.
(2007) Timecrimes 8.5/10
I loved this movie when I first saw it but upon rewatching it, I can’t help but stress its influence in the time-loop horror sub-genre. Sure films like Primer definitely helped pave the way but Timecrimes really manages to focus less on the science fiction and more on the horrifying consequences that come with time travel. I really enjoyed Karra Elajalde’s performance, his character’s physical and mental degradation throughout the film is really a high point to me. Almost all of these films on paper would seem predictable in concept but Timecrimes is just another one that manages to pull you in despite that. A part of me knew exactly how this was going to play out but a bigger part of me was too engrossed to be sure.
(2018) Gwen 8.5/10
This movie is an atmospheric slow burn down to the T so if that’s a sub-genre you generally don’t enjoy, this isn’t going to be something to change your mind. With that being said, it’s an incredibly heartbreaking story that, while exists in the folk-horror genre, subverts any and all expectations. The characters are real and suffering in this sort of beautiful but also incredibly bleak, barren landscape. Eleanor Worthington-Cox and Maxine Peaks carry the entire film. The story itself, while simple, yet powerful, is unwoven tediously, evoking all sorts of dread. I don’t think- scratch that, I know everyone is not going to like this movie. The plot is way too stripped down for mainstream appeal. If you find yourself empathizing with the characters and become personally involved in the period and setting, it can be an emotional watch.
(2005) Constantine 8.5/10
I was pretty surprised at the semi-mixed reaction to this film before I learned it was a comic book adaptation. Listen, I’ve obviously never even heard about this comic but let me just say, as a standalone movie, it’s fucking awesome. It’s basically Keanu Reeves battling his way through hell, murking demons and basically just being badass as shit. I love the entire cast, Rachel Weisz, Shia LaBeouf, etc. A true standout to me too was Tilda Swinton who plays the vague gendered Gabriel. The special effects, even 15 years later, are still fucking awesome. There’s a ton of CGI which isn’t always my favorite but it’s quality CGI that stands the test of time. I really loved this movie, I’d recommend it to anyone.
(2020) Relic 8/10
Robyn Nevin is fantastic here and all the supporting roles are great but not only does this woman make the movie, she is the movie. Her dialogue, her delivery and her body language, at least to me, are a huge chunk of the entire plot. I just found this movie to be gentle until it isn’t, which makes for the most tense moments. It’s a very claustrophobic film; I think it does justice to a very serious and frightening illness.
(1986) The Little Shop of Horrors 8/10
Okay to keep things real, I’ve never been a big musical dude but this movie is fun as hell. Rick Moranis is as goofy as ever and good god…the practical effects are mind-blowing. You’re watching this giant plant movie and it just melts your brain thinking about how it was accomplished. I had to look it up and after finding out it took sped-up footage, vocal matching with said footage and 60 men to operate this giant…puppet(?), I couldn’t be more impressed.
(2020) Palm Springs 8/10
It doesn’t take long to catch on that, while this is a romantic comedy, it’s also a sci-fi horror film and a specific subset of sci-fi that makes me anxious. So in some regards, at least to genre placement, there’s my bias. The movie is seriously a treat though. It’s a new spin on an old formula and it’s genuinely funny, suspenseful and endearing. Even if you disagree that it shouldn’t be discussed in the horror circles, you won’t regret watching it.
(1979) Nosferatu the Vampire 8/10
This film not only embodies and celebrates the original in terms of structure as well as substance, but in its restrained filmmaking methods; its ability to let shots live without intervention. It’s atmospheric, well-trimmed and just an all-around, exceptional film. Klaus Kinsi as Nosferatu is perfect; I loved the makeup design. His character is so out in the open that the shots have to be perfect in order to avoid the sillier pitfalls of films in the same vein attempting to achieve the same results. It still contains small doses of the eras beloved campiness, which I can appreciate to some degree, as it feels balanced within context. Dracula’s takeover of the town is anything but some violent, typical horror spectacle. Rather, Werner Herzog decides to portray it in a fever-dream-like fashion, elevated by the very minimal but well-used soundtrack.
(2009) The House of the Devil 8/10
Modern horror is no stranger to throwback aesthetics from earlier decades but in 2009, that wasn’t the case. Not only did this movie pioneer that but it did it so successfully. My absolute favorite aspect of this film is the retro feel. It captured 70’s horror so incredibly well. Ti West is a talented filmmaker and this is one of my favorites by him. It’s a slow burn but so sinister and despite many complaining that the payoff wasn’t worth the wait, I have to disagree. Also, the suspense during the build-up was my favorite part. The violence, especially early on, while limited, is so powerful and raw. It really set an uneasy tone for the rest of the runtime.
(1989) Indiana Jones and the Last Crusade 8/10
You know, this movie was the least memorable of the trilogy to me and I think that holds up, to a degree. I like this movie a lot though, fuck it, I love this movie. It’s the least horror focused but still has at least one intense body-horror moment. I don’t think too many people talk about how brave this movie is though; it tackles one of the most divisive topics, religion and does so in such a thrilling fashion. Indy is still Indy here, he’s fucking badass; his character and dialogue excel in this entry immensely. Not just dialogue but this film contains some of the best action choreography of the entire series, something that almost seems unfairly diminished through repetition. This movie is fucking awesome.
(1984) Indiana Jones and the Temple of Doom 8/10
This is probably the most influential horror movie of my entire childhood. The first time I watched it I had to shut it off at the heart scene and I think it took a few more tries to even make it through the whole thing. Unlike Scream, watching this decades later didn’t really totally eliminate that. I think it’s a scary movie and a really dark turn in the trilogy. There are quirky aspects of it character wise that are kind of goofy but playful. Overall though, goddamn dude, these set pieces are amazing. I love this movie and I’m totally biased but there are so many iconic moments during it. Harrison Ford is also jacked to shit and just at an all-time fuck-shit-up mode. His greedy and gritty character compliments the plot incredibly well.
(1984) The Terminator 8/10
This movie, simply put, is badass as shit. Everything you could ever need to know about it is established in the very first scene. I’m aware the series kind of progresses into more action focused territory with the sequels but the original will always be a horror movie to me. The pacing, the unstoppable force that is Arnold, it’s all thrilling as shit. Sure, there’s a few instances of 80’s special effects that have aged like milk, mostly with the final scene but for the most part, the effects look dope still. Cameron hasn’t missed in his entire career in my opinion and this film is a benchmark in multi-genre spanning, epic, cinematic movies. I love it.
(2009) The Loved Ones 7.5/10
This is the film that got me into Sean Byrne and it’s really something special. It reminds of almost a modern day interpretation of The Texas Chainsaw Massacre, if the dinner scene was the entire film. It’s a non-thinker, fun horror movie in a purest sense. Byrne seems aware of that and the story and pacing all cater to it so well. Robin McLeavy plays one of the most unlikable villains to date and that alone is a ticket for investment in this film. It would seem almost playful to a horror veteran but the sadistic and incestuous nature of her writing is something to behold. This is a popcorn movie but a great one at that.
(1973) The Crazies 7/10
There’s some silly and overly-eccentric characters, per Romero’s usual style but I actually enjoyed this one a lot. I’m not even speaking directly about the remake but this film inspired a lot of modern horror films and concepts. There’s this great scene with this old lady knitting that I just adore. The innocent and violent clash in such an effective way. Obviously the horror aspects in that scene, as well as the virus itself are very fictional. The government response though, seems almost plausible, considering how they’re currently handling Covid-19. The miscommunication within government agencies in this film is both satisfying and frustratingly accurate.
(2019) I Trapped the Devil 7/10
This one is a bit of a slow-burn but I felt the tension from beginning to end so none of it felt like a blind investment. It had the potential to be another, cookie-cutter, pretentious statement but what I found it to be was simply a well-crafted horror film. While this film doesn’t shoot for the moon, it executes a well-trimmed, concise story and I’d fully recommend it to anyone interested in satanic horror.
(1935) The Black Room 7/10
This is another Universal horror film starring Karloff, directed by Roy Neill. It presents itself with the usual, tight-knit flair you may have come to expect but it somehow has seen much less recognition than any of the major monster movies. I really liked this movie. Despite the predictable nature, I found the short run-time to be refreshing and the performances were great. It was also a really cleanly produced. I suspect that’s due to the lack of need for special effects but nevertheless, it’s a high point. Definitely check this one out. It feels warms and slightly gothic; overall, it’s just a very well-executed movie.
(2004) The Day After Tomorrow 6/10
This may be due to the unrealistic science fiction needed to drive these plots, but I can’t decide if Emmerich takes his own work seriously. These films are undoubtedly brilliant visual spectacles at times and pretty goddamn entertaining but also a breeding ground for vapid characters. However, his films also seem to have actual political and social commentary. In the case of this film, it’s the world’s most on-the-nose message about climate change. I’m not even sure how much of a criticism that is but take it for what you will. The intense scenes in this movie are legitimately intense and even watching this 16 years after it was released, the CGI is pretty great. New York city is a fun sandbox for disaster porn and I had a great time watching it.
(2014) The Possession of Michael King 6/10
I was pleasantly surprised by this one. The “Possession of” movies are a mixed bag and despite this one in particular being really low-budget, they did a great job at creating scary visuals. I loved the psychological torment, specifically this idea with flies that’s legitimately creepy as fuck. They take it to a level where I think right at the end it dips off into the ridiculous but not in a way that’s awful, just not to my personal tastes.
(2019) Sweetheart 6/10
Sweetheart is a fairly well-made survival horror film that starts out well but unfortunately fades into mediocrity. While the first half is actually more of a methodical portion of the film, it’s strangely the second act that feels like a chore to watch at times. There’s some talent to look out for here but it seems underdeveloped on this project. With that being said, it’s still really entertaining for the most part, just treat it more as a popcorn movie rather than something to really sink your teeth into.
(2013) Boar 6/10
Yeah I don’t even really know what to say. It’s a killer boar movie. It’s fun, the gore is pretty great and it’s well-paced. I don’t really feel inspired to write a novel about it but it’s worth a watch.
(2014) Digging up the Marrow 6/10
I’m not surprised to hear people complaining about this film because it’s by no means perfect. However, I am surprised to hear so many people targeting Adam Green’s ego as being the shining flaw in this movie. I have no bias towards the guy, I’m a casual fan but I do think that people mistook the meta-aspects of this story to be simply for self-service. With that being said, I like this movie. I don’t love it but the build-up was pretty intense, carried by an always somewhat unhinged Ray Wise. I’m glad they didn’t show a ton right away or really, at all, because it would have been even cheesier. This is a fun movie though that’s really not meant to be taken all that seriously. The creature design is cool and it’s just an easily digestible popcorn flick. I would have re-wrote the ending a bit to be less convoluted and abrupt (paradoxical almost, I know) but I can still recommend this one.
(2015) The Vatican Tapes 6/10
I didn’t have high hopes for this one, exorcism movies are just so oversaturated. With that being said, I was pleasantly surprised. The horror of it all, the culmination or whatever, is exactly what you’d expect and if that seems like a spoiler, it’s more of a statement on the sub-genre itself. It’s the build-up and basically entire first half that impressed me. I truly felt like the events that conspire could happen to anyone. This was by no means a waste of time, despite how many times this story has been done.
(2014) The Last Showing 5.5/10
Robert Englund lends his talents to a b-movie of sorts here but the end product isn’t that bad. Outside of him, the acting isn’t bad either. Chris Geere from You’re the Worst is actually in it and he’s such a hilariously miserable cunt. It entertained me enough but in the end, felt really bland. I’m feeling pretty eh on this one.
(2017) Lost Child 5/10
Lost Child wasn’t quite what I was expecting, which in some ways, was the only thing I enjoyed about it. They keep the mystery going for a long time and to their credit, I was never exactly sure how things were going to play out. Unfortunately, it’s just really boring and there’s no huge payoff. I liked a few of the characters and as far as production and acting goes, it was just fine. It’s kind of one of those mid-movies that doesn’t do a whole lot wrong but also doesn’t do a whole lot right.
(2019) In the Tall Grass 4.5/10
People seem to be pretty divisive about this film to the point where not a lot of middle ground criticism is being offered but that’s where it lands to me. It often engaged me, I like a lot of the sci-fi aspects, felt there were a few good performances and I didn’t hate the conclusion. With that being said, not a single aspect of this movie wow’d me in any fashion. It feels like it actually could have been shortened a bit, as in like an episode of an anthology. I don’t hate it but I don’t love it either.
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2020.09.17 19:37 Cephalopodcoming2035 Discussion for Antonio Campos' new film The Devil All the Time on Netflix.

Firstly, want to preface this by saying I've seen most of Campos' filmography before his new Netflix film. This includes Afterschool (2008), Simon Killer (2012), Christine (2016) and the first season of The Sinner (2017). Anyone familiar with Campos' filmography will know that he is a director that likes to tackle characters who are fucked up.
I'd say even though Campos' is relatively unknown, even on the indie circuit, his most known work would have to be Christine, seeing as how Rebecca Hall got some awards traction for her performance as real-life reporter Christine Chubbuck.
Even though Simon Killer is part of the Eureka! Masters of Cinema collection (basically a UK Criterion label), most people see the film as a boring or trite character study of a sociopath, seeing as how the story is very, very simple, and the film borrows a ton of stylistic influences from already established directors like Haneke. Its overall consensus is good at best (seeing that Brady Corbet carries it) and forgettable and un-nuanced at worst. I won't say I share the same opinion as most others but I understand where they come from.
Going from character studies like Christine and Simon Killer to this film, I can already say I miss whatever style Campos' was trying to hone in on. I feel like to really enjoy something from Campos' is to study the central protagonist like he does. Their mannerisms, facial expressions, how they react and converse in different situations, etc. It probably gets boring quick for most people however, which is why he'd likely wanted to adapt a meatier story like Donald Ray Pollack's novel of the same name.
In the novel, there are 5 to 6 stories that all intersect. Willard's struggles after the war; the serial-killer duo; priest Roy and his brother Theodore; Lenora and the pedophile priest Teagardin; and Arvin. To adapt something as extensive as this faithfully would mean either turning it into a mini-series or a lengthy anthology film. As it stands, The Devil All the Time clocks in at 2 and a quarter hours, and honestly, it feels not meaty enough to be a proper anthology, nor does it feel tight and structured enough to be about one central protagonist. (Tom Holland, who gets top billing, is probably in a quarter of the film.) Campos' has always drawn out scenes with his characters, and often in one long take too, so seeing scenes edited and cut like this seem so jarring for someone like him.
In fact, I don't know whether to blame Netflix because they wanted the film to be shorter and more marketable, or to blame Campos because his adapted screenplay might have already been this messy to begin with, or even to blame his editor.
There are quite a few scenes in the film that seem to have shaved beginning and end shots. There's also smash cuts to previous scenes to give re-incorporation that was seriously unneeded, but was probably done on Netflix's part so I won't blame Campos for it. The scene with Willard's letter was probably the worst out of this, because it broke the film's actual timeline and left me confused for a good minute.
The scene with the black-and-white photograph montage also went on far too long for me, and probably solidified that 18 rating from the BBFC. Seriously, I think it took a full minute when it could've been 10 seconds.
If we're talking editing in general, at the end of a conversation, a character will say something to another character with a lot of weight and you expect to see their reaction, but you're already rushed to the next scene. A characters' death which is supposed to hold a lot of emotion is often relegated to one shot of the family members in a wide shot standing in a graveyard. There's no scenes where characters mourn and breakdown (with one exception), which is also why this film has next to no awards contention for its actors.
Speaking of characters, the cast here and their performances are a very, very mixed bag.
Tom Holland's given good material to work with, and his accent's mostly convincing, but I feel like he really should've been given a scene where he mourned over Eliza Scanlen's death. I did not buy his love for her, nor his final confrontation with Sebastian Stan's character, where his shocked face was just bugged-out eyes.
Bill Skarsgård's accent was all over the place, and the scene with him and his son at the prayer log was obviously cut around his performance because he was trying too hard to shed tears. (Honestly, Michael Banks Repeta's performance as young Arvin is the BEST performance in the film, exceeding Holland's. There were a couple scenes where they showed his pale, spiritless complexion and I completely bought it and felt for him.)
Riley Keough was quite good showing a nuanced and even somewhat empathetic accomplice, although too much of the novel was cut to make me buy her character's motivations in the film.
Jason Clarke was convincingly creepy, and his accent, as always, is the most convincing out of the cast.
Sebastian Stan was just fine, but frankly he was as wooden as the prayer log in the book. (I chuckled seeing him standing in the doorway about to shoot Tater Brown in his fatsuit.) In the scene where he discovers his sister has not only been an accomplice to several murders, but has probably had intercourse with their victims before and after their deaths, and shown-off with them in states of undress on camera, I'd expected his face to morph into something horrifying. But instead all I got was ಠ_ಠ
Harry Melling's performance was good, but his attempt at an accent was all over the place and ruined it for me. Pokey LaFarge as his dim-witted brother did a better job frankly.
Haley Bennett actually looked like a character that came from a backwoods town on the Bible belt in the 50s, and her performance and makeup really sold it. She didnt just seem like a pretty face on the cast listing. (I'd say the same for Clarke as well but he's already a serial killer so...)
Eliza Scanlen was really great, but just missed the mark for me seeing as she's the character that goes through the most pain and trauma in the film, and yet her complexion is always somewhat fair.
Mia Wasikowska, for her little screen time, was believable.
And then there's Robert fuckin Pattinson. He plays a new priest in the town of Knockemstiff, and is shown to commit pedophilic acts in the film. You'd expect a character like his to have a commanding presence in his voice, especially in his sermons, or sexy and alluring when he's enticing girls, but throughout the entire film, he puts on this squirrelly inflection that makes him seem like such a wuss. I did not buy him AT ALL, neither as a country priest, nor as a pedophile. This may have been a choice on his part, maybe to show the character's inner cowardice, but it could have been revealed in the final confrontation between him and Holland's character. I have no clue how I'm supposed to find him convincing when he gave his sermons. I even burst out laughing when he squeaked his voice at Holland before he got shot. Didn't help that his accent was the most inconsistent (other than Melling's) either. I'd say he's giving Eddie Redmayne's performance in Jupiter Ascending a run for its money.
I don't like giving comparisons between novels and their adaptations, but I honestly thought the characters in the film could have benefit from looking a lot more filthy like how they seemed in the book. The production and set design really sold it, with all the rusted vehicles and dilapidated houses. But their makeup was far too clean, and I was always distracted seeing how un-greased the male characters had their hair. Robert Pattinson, in particular, looked like he had the money and time to spend 2 hours in makeup. I bought it with his scene featuring his inauguration into the small church, but every scene after that he maintains an extremely clean complexion which was really distracting.
I'd say the cinematography was servicable, but compared to Simon Killer and Christine, and even Afterschool (where Campos basically copied off Haneke), it was probably the most forgettable. If you showed me shots of this and 10 other Netflix original period crime dramas I wouldn't have been able to tell you the difference, other than maybe the film grain. There were a couple standouts though. Alot of shots trailing cars were very stylish (especially the one at dusk); the scene where Arvin is told Lenora was pregnant when she committed suicide is shot beautifully against a sunset-lit backdrop; the interior car scenes with the two serial killers were very memorably shot. However, in the scene where Arvin and Sheriff Bodecker standoff, and Bodecker gets shot and collapses, the lighting on his face was so artificial and inconsistent from the wide shots it looked like it was from a bad 80s genre film with a shoestring budget.
The main theme by Bensi and Juriaans, for what is worth, is fine. It served the film, but I didn't think it was all that great in the end.
Overall, if I had to number a rating, I'd probably give it a 4 or a 5. Which is really depressing seeing as how I've liked his prior stuff, even including the first season of The Sinner.
Before ending, I'd like to say I noticed Campos didn't serve as executive producer for this film, unlike all his others. He co-founded Borderline Films with filmmakers Sean Durkin and Josh Mond. If they sound familiar its because Durkin did Martha Marcy May Marlene (2011) and The Nest (2020), and Josh Mond did James White (2015), which was high up on Adam's 2015 list. They've also produced Nicolas Pesce's films The Eyes of My Mother (2015) and Piercing (2018). Most, if not all, of these films are character studies of fucked up people, including Campos'. So my biggest question is, why wouldn't he serve as executive producer on The Devil All the Time?
I'd like to know what everyone else here thought too. If you liked (or even loved) this film please share :)
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2020.08.20 09:17 Deathly_rYaN DCFANDOME: HALL OF HEROES Event Schedule - This Saturday August 22nd, 2020

DC Fandome is on the way, for all you DC Fans! This Saturday at 1:25PMEST (10.25AM PDT/6.25PM BST), WB Montreal will be revealing their game off rumored to be the next Batman game featuring the Bat Family.
You can check out the full schedule for the event over at DC Fandome.
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2020.07.24 19:04 Ichbinian Text of Le Monde article on Christopher Nolan here (in French).

Lifted from France:
Sur les plateaux de tournage, que ce soit sur un glacier en Islande ou au bord de la mer en Italie en plein été, Christopher Nolan ne se sépare jamais de sa tasse de thé. Elle est comme collée à sa main, toujours à sa disposition. Avec le temps, sans doute en quittant son Angleterre natale pour s’installer aux Etats-Unis dans les années 1990, la tasse s’est transformée en un mug plus facilement transportable.
Le cinéaste américain Samuel Fuller dirigeait ses plateaux avec un pistolet à la main, Nolan le fait en dégustant son thé. D’ailleurs, la seule aspérité sur son visage de collégien modèle, au teint diaphane et à la mèche impeccablement couchée sur le côté, serait ces légères marques brunes sur les dents, résultat de son goût prononcé pour la théine.
« Il a toujours un sachet de thé dans sa poche, remarque l’acteur britannique Michael Caine, qui a travaillé sur tous les films de Nolan depuis Batman Begins [2005] jusqu’au nouveau, Tenet, soit huit longs-métrages. Il peut faire une chaleur d’enfer, il portera toujours sur lui un imperméable avec une poche suffisamment grande pour transporter ses sachets de thé. Et vous le voyez tranquillement siroter sous vos yeux toute la journée. Je me suis dit un jour qu’il devait avoir dans sa poche quelque chose de plus engageant. » L’acteur s’est risqué à demander au réalisateur d’Inception (2010) s’il n’y avait pas un peu de vodka planquée dans la doublure. « Non, a répondu Nolan. Du thé. Rien d’autre. »
Le seul capable de ramener le grand public au cinéma
Si la sobriété est l’un des traits structurants du réalisateur de 49 ans, il en va très différemment de ses films. La folie des projets de Christopher Nolan s’accompagne en plus avec Tenet et ses 200 millions de dollars (172 millions d’euros) de budget d’une attente démesurée. Dans un été déserté par les productions hollywoodiennes, pour la plupart ajournées à 2021, le film tient un rôle messianique. Il est considéré par de nombreux observateurs comme le seul pilier capable de maintenir d’équerre l’édifice des salles obscures, durement frappées par le Covid-19, en ramenant le grand public au cinéma.
Nolan sait la responsabilité qui lui incombe. Le 20 mars, le cinéaste publiait une tribune dans The Washington Post où il demandait au gouvernement américain de venir au secours des exploitants. Le metteur en scène insistait aussi sur l’expérience unique procurée par la salle, « le rôle essentiel qu’elle tient dans notre vie sociale ».
D’abord annoncée au 17 juillet, la sortie du film a été repoussée au 31 juillet puis au 12 août. Avant que Warner Bros ne décide en catastrophe d’un nouveau report sine die, précisant que les dates aux Etats-Unis et dans le reste du monde pourraient ne pas être identiques.
Car programmer, en pleine pandémie, une production aussi onéreuse que Tenet, alors que les cinémas demeurent fermés dans de nombreux Etats américains, y compris en Californie, est une proposition aussi peu raisonnable que les scénarios de Nolan. Autre difficulté : en Chine, seuls les films de moins de deux heures sont éligibles pour la réouverture des salles. Tenet durerait, lui, deux heures trente.
Pour patienter, les spectateurs français pourront se consoler avec la ressortie sur grand écran le 29 juillet d’Inception. Un thriller qui rappelle à quel point les films de Christopher Nolan défient le sens commun. Inception met en scène une équipe d’espions qui infiltrent le subconscient de leurs victimes pour s’installer dans cette zone grise où le rêve se mêle à la réalité. Dans Interstellar (2014), un astronaute envoyé dans une autre galaxie afin de trouver une planète habitable transmet à sa fille, depuis le futur, les informations quantiques lui permettant de maîtriser la force de gravitation afin d’évacuer l’ensemble des Terriens vers un trou de ver à proximité de Saturne.
Une obsession du temps
Lorsque le cinéaste s’attaque à la reconstitution historique avec Dunkerque (2017), relatant le rembarquement, en mai 1940, des troupes britanniques coincées dans la poche de Dunkerque, à la fin de la campagne de France, c’est pour manier une autre de ses obsessions, la flexibilité du temps, entrecroisant les destins de trois soldats qui se jouent sur l’espace d’une heure, d’une journée et d’une semaine.
Même lorsqu’il s’essaie à la forme plus conventionnelle du film de super-héros, avec sa trilogie Batman Begins, The Dark Knight (2008) et The Dark Knight Rises (2012), c’est pour faire du justicier en cape un héros post 11-Septembre qui lutte contre le terrorisme alors que sa légitimité et son pouvoir sont remis en question.
Dans le cinéma américain, Nolan est un cas unique. Le seul à récolter les budgets les plus élevés auprès des studios (de 100 millions à 150 millions de dollars pour Dunkerque, plus de 200 millions pour Tenet), tout en concevant les scénarios les plus cérébraux et les plus audacieux. Et lui, le métaphysicien d’Hollywood, celui qui fait de la physique quantique la matière même de ses fictions, à rebours de toute ficelle facile, séduit le public, le convainc d’adhérer à des expériences narratives qu’il ne tolérerait chez aucun autre réalisateur.
Il y a des raisons objectives à cela. Au Nolan avant-gardiste se superpose un Nolan hédoniste, fasciné par les films de James Bond, leur esthétique de globe-trotteur de haut vol, leur univers en papier glacé traversé de créatures blondes sculpturales, de demeures somptueuses et de navires de plaisance rutilants. « LA NASA VIENT D’ANNONCER QU’ON A PEUT-ÊTRE TROUVÉ UN UNIVERS PARALLÈLE OÙ LE TEMPS S’ÉCOULE À L’ENVERS. D’OÙ MA QUESTION : QUE SE PASSERAIT-IL S’IL DEVENAIT POSSIBLE DE CHANGER LA DIRECTION DU TEMPS ? » CHRISTOPHER NOLAN
Ce décor est celui de Tenet. Dans le nouveau long-métrage de Nolan, un agent secret, incarné par John David Washington, est chargé d’épargner à la planète une menace plus tragique qu’un affrontement nucléaire, « une guerre froide, précise le réalisateur, mais une guerre si froide qu’il devient à peine licite de l’évoquer, tant elle doit demeurer secrète ».
Nolan avait tourné Inception au Japon, à Paris, au Maroc, en Californie, au Royaume-Uni et au Canada. Pour Tenet, il s’est rendu en Inde, en Italie, en Norvège, au Danemark, en Estonie et en Angleterre.
Et le paradoxe Nolan de se confirmer. Tenet est une œuvre hautement personnelle, complexe, où l’auteur matérialise une de ses réflexions personnelles, celle du temps. Quand il l’évoque, il affiche un air encore plus assuré. Une forme de fierté qui l’anime. Le soulagement d’avoir fixé pour de bon une idée obsédante. Dans le film, à l’occasion d’un exercice de tir, une balle semble rebondir sur son point d’impact pour retourner dans le canon de l’arme.
Quelques scènes plus tard, un immense cargo avance alors que les vagues semblent se rétracter, naviguant pour ainsi dire en arrière dans le temps, tandis qu’une poursuite en voiture, dans laquelle se trouve impliqué le personnage principal, se conclut par un véhicule accidenté retournant à son état initial. « Que s’est-il passé ? », demande un mystérieux agent double incarné par Robert Pattinson à John David Washington. « Rien, répond ce dernier, les choses ne se sont pas encore vraiment produites. »
Une mémoire exceptionnelle
Le titre du film, Tenet, est un palindrome, il peut se lire indifféremment de droite à gauche ou de gauche à droite. En physique, la notion d’inversion, et, avec elle, l’idée que les lois de la physique seraient réversibles et symétriques, fascine Nolan.
« Je vais tenter d’expliquer les choses de la manière la plus lisible possible. Il est théoriquement tout à fait possible d’inverser la courbe du temps. Selon des principes classiques, le temps s’écoule de manière unidirectionnelle : il y a le passé, le présent et l’avenir, avec une flèche du temps allant dans cet ordre. Mais, à une échelle quantique, il se révèle tout à fait possible d’inverser cet ordre, d’aller du futur vers le passé. La NASA vient d’annoncer qu’on a peut-être trouvé un univers parallèle où le temps s’écoule à l’envers. D’où ma question : que se passerait-il s’il devenait possible de changer la direction du temps ? L’idée de Tenet est que le temps puisse tout à fait emprunter des directions différentes. » La délinéarisation du temps reste le trait distinctif du cinéma de Nolan.
Et le film sur lequel ce dernier revient inévitablement, comme si tout partait de là, reste son deuxième, Memento (2000), où le temps s’écoule à reculons. L’ordre de ses scènes avait été inversé, mais jamais l’action à l’intérieur de celles-ci. Le personnage principal, Leonard Shelby, un inspecteur de police souffrant d’amnésie à la suite d’un traumatisme crânien, perd sa capacité à utiliser sa mémoire à court terme, au point de devoir tout noter et de tatouer sur son corps les informations capitales lui permettant de retrouver la trace du meurtrier de sa femme.
De tous les personnages imaginés par Nolan, Leonard Shelby apparaît comme le plus proche de lui-même, et pas seulement parce que ce dernier, en parfaite harmonie avec la logique inversée de son film si singulier, a depuis longtemps pris l’habitude de lire les journaux de droite à gauche, commençant systématiquement par la dernière page. Mais à l’effondrement de la mémoire du protagoniste de Memento répond l’hypermnésie de son créateur. L’épouse de Nolan et également productrice de ses films, Emma Thomas, avait d’emblée été frappée par l’étrange mode de fonctionnement du cerveau de son mari.
« Une idée chez lui ne s’exprime que s’il trouve un cadre pour la raconter, constate-t-elle. C’était ainsi le cas pour Inception et Interstellar. Avec Tenet, ce fut encore plus douloureux, dix ans peut-être, cela relevait de l’idée fixe. Mais, une fois son scénario écrit, il a pour ainsi dire son film en tête, à l’image près. Quand il passe dans la salle de montage, c’est encore plus impressionnant. Il garde une trace intacte de chaque prise pour la moindre scène. S’il faut faire la différence entre trente prises, il y parviendra avec une facilité déconcertante. » L’ordre et la rigueur
Christopher Nolan a besoin d’une routine éprouvée pour gérer sa mémoire. Il range systématiquement ses clés dans la même poche. Et prend soin de noter consciencieusement ses idées sur un calepin. Sa tenue vestimentaire de rigueur – un costume trois-pièces, une chemise blanche ou bleu pâle, toujours sans cravate –, portée indifféremment toute l’année, qu’il vente ou qu’il pleuve, s’inscrit dans ce minutieux train-train.
Pour laisser vagabonder son esprit avec la plus grande liberté, Nolan s’est efforcé d’automatiser les tâches matérielles et les aspects les plus fondamentaux de sa vie, à la manière d’une équation de taille qui, une fois résolue, ne nécessite plus d’être revue.
L’ordre et la rigueur règnent dans son monde. Et, en période d’épidémie, c’est très scrupuleusement que le réalisateur respecte les règles sanitaires d’usage. L’entretien se fait à distance et les autoportraits sont réalisés avec l’aide de son fils Oliver afin d’éviter le contact avec un photographe.
Le réalisateur a rencontré à 19 ans son épouse, la future mère de ses quatre enfants, alors qu’ils partageaient les bancs de l’université à Londres. Il s’entoure des mêmes collaborateurs, les directeurs de la photo Wally Pfister puis Hoyte van Hoytema, le monteur Lee Smith, le directeur artistique Nathan Crowley, son frère et scénariste Jonathan Nolan.
Le metteur en scène travaille également pour le même studio, Warner, depuis Insomnia (2002). En fait, le gigantisme de ses productions, l’entreprise titanesque pour les mener à bien, ne relève du possible qu’après avoir bâti un écosystème verrouillé où chacun est à sa place. Intégrer ce phalanstère ne devient envisageable qu’après un strict examen de passage. Un héritage des débuts de Nolan où, sur le plateau de Following (1998), un film tourné les week-ends avec une équipe réduite, il s’occupait d’absolument tout, de la direction de la photo à la direction artistique, jusqu’au menu des déjeuners et à la gestion du ménage à la fin de la journée. Secret-défense
Sur un plateau, Christopher Nolan possède une idée précise de ce que constitue chaque poste de travail. « Je ne suis jamais allé dans une école de cinéma », précise-t-il. Avant d’ajouter : « Comme Stanley Kubrick. » Le seul point commun avec son maître absolu qu’il s’autorise à revendiquer. Intégrer la garde rapprochée de Nolan, un peu à l’image de celle de Stanley Kubrick, passe par un rigoureux bilan de compétences. Il s’agit aussi, à côté de l’indispensable bagage technique et créatif, de faire vœu de silence.
Travailler à ses côtés exige un goût assumé de la confidentialité, en particulier concernant les intrigues de ses films. Avoir accès à des extraits de Tenet pour préparer un entretien avec son réalisateur relève du secret-défense : ceux-ci sont accessibles sur un site sécurisé, avec un code d’accès, pendant une heure avant de s’autodétruire. Comme dans le générique de chaque épisode de Mission impossible.
Michael Caine a fait la connaissance de Christopher Nolan sur le pas de sa porte. L’acteur vétéran britannique, l’une des figures masculines – avec Sean Connery, Albert Finney et Richard Burton – du renouveau du cinéma anglais dans les années 1960, l’avait confondu avec un coursier, tant la démarche – frapper à l’improviste à la porte d’un de ses futurs comédiens – était inhabituelle.
« Je m’appelle Christopher Nolan, j’ai en ma possession un scénario pour vous », avait-il déclaré. Le cinéaste tenait à ce que Caine incarne le majordome de Bruce Wayne dans Batman Begins. Le comédien assure au metteur en scène qu’il prendra le temps de lire le scénario rapidement, mais Nolan, dans l’impossibilité de le laisser circuler, lui demande de le consulter immédiatement. Il s’est alors installé dans le salon, a avalé plusieurs tasses de thé puis, après avoir obtenu le quitus de son acteur, est reparti avec son scénario sous le bras.
L’analogique dans le sang
De Kubrick, Nolan retient un film au-dessus des autres : 2001 : l’Odyssée de l’espace. Il l’a découvert enfant, en a assuré la restauration en 2018. Il y avait ici une démarche altruiste mais aussi mystique. Comme si s’emparer de 2001, en nettoyer le moindre photogramme, permettait enfin à ce réalisateur autodidacte d’accéder aux secrets d’une œuvre dont il n’arrive pas à épuiser la richesse. Car son obsession du temps, il l’éprouve dans son goût revendiqué pour la pellicule.
Quand la quasi-intégralité des réalisateurs hollywoodiens travaille avec le numérique, explorant les possibilités de l’imagerie technologique, et tourne sur fond vert, Nolan est l’un des seuls à résister, membre d’un dernier carré de fidèles avec Steven Spielberg et Quentin Tarantino. « Ce n’est pas uniquement une question de fétichisme, l’analogique se rapproche de ce que voit mon œil. Or je tiens à restituer à l’écran ce que j’ai vu. »
Mais il y a surtout un aspect tactile dans le 35 mm, essentiel aux yeux de Nolan : la pellicule reste concrète. Le cinéaste peut la prendre dans ses mains, inspecter avec ses yeux chaque photogramme, obtenir la sensation du temps qui passe, d’une action qui est, qui ne sera plus, mais dont le mouvement a été fixé pour l’éternité. Ou, à l’opposé, il regarde cette pellicule à l’envers, remonte le cours d’une histoire.
« La caméra vous laisse voir le temps, ce n’était pas possible auparavant dans les autres formes d’expression artistique. C’est pour ça que je m’efforce tant de trouver des histoires ne pouvant être racontées qu’au cinéma », explique le réalisateur. Physique quantique et mélancolique
Quand il triture la pellicule, Nolan concilie les deux grandes affaires qui ont façonné sa personnalité, et donc son travail : le goût de l’abstraction et le besoin de raconter des histoires. Très jeune, sans doute influencé par les films de science-fiction, il s’était pris de passion pour la physique et avait été frappé par les biais narratifs sur lesquels s’appuyaient certains scientifiques.
Albert Einstein, notamment, travaillait toujours de manière intuitive, en partant d’un récit. Le physicien pensait par exemple à des jumeaux. L’un prend le train, l’autre se trouve abandonné sur le quai de la gare. Mais ils se retrouvent quelques années plus tard. « Ont-ils vieilli de la même manière ? se demande Nolan. Il y a une certaine mélancolie dans la réponse à une telle question qui illustre à merveille les lois de la physique quantique. »
Le cinéma lui a permis de trouver cette mélancolie, d’apposer de la tristesse au monde apparemment mécanique de la science. Pour lui, les avancées technologiques révèlent une immense solitude. Voilà ce qui l’a toujours frappé dans 2001 et qu’il n’en finit plus de contempler à chaque visionnage : l’humanité, à sa toute petite échelle, confrontée à l’immensité de l’univers.
Alors Nolan regarde les détails qui l’entourent. Il scrute son univers, jusqu’à sa tasse de thé. Il observe le liquide, étudie sa teinte, la théine qui se concentre dans l’eau chaude, la température qui baisse doucement. Cela lui permet de s’échapper de la conversation et retourner à son isolement. Seul dans ses pensées. Là où il s’épanouit.
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2020.07.15 08:06 INFPindahouse Aw

2018 * Best film: Under the Silver Lake (David Robert Mitchell) * Best director: Burning (Lee Chang-dong) * Best actor: Vice (Christian Bale) * Best actress: * Best supporting actor: * Best supporting actress: * Best original screenplay: Under the Silver Lake (David Robert Mitchell) * Best adapted screenplay: Burning (Lee Chang-Dong & Jungmi Oh) * Best foreign film: Burning (Lee Chang-dong) * Best cinematography: Cold War (Lukasz Zal) * Best editing: * Best score: Burning (Mowg) * Best art direction: The Favourite (Fiona Crombie & Alice Felton) * Best sound: First Man * Best VFX: First Man
2017 * Best film: Good Time (Benny & Josh Safdie) * Best director: Good Time (Benny & Josh Safdie) * Best actor: Good Time (Robert Pattinson) * Best actress: Three Billboards (Frances McDormand) * Best supporting actor: Three Billboards (Sam Rockwell) * Best supporting actress: I, Tonya (Allison Janney) * Best original screenplay: The Shape of Water (Guillermo Del Toro) * Best adapted screenplay: The Disaster Artist * Best foreign film: * Best cinematography: Blade Runner 2049 (Roger Deakins) * Best editing: Dunkirk (Lee Smith) * Best score: Good Time * Best art direction: The Shape of Water * Best sound: Blade Runner 2049 * Best VFX: Blade Runner 2049
2016 * Best film: Silence * Best director: Silence * Best actor: Manchester by the Sea * Best actress: Jackie * Best supporting actor:
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2020.07.11 08:17 subreddit_stats Subreddit Stats: DC_Cinematic top posts from 2019-07-08 to 2020-07-06 15:44 PDT

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Submissions Comments
Total 999 116258
Rate (per day) 2.74 316.12
Unique Redditors 356 17851
Combined Score 1813100 1524088

Top Submitters' Top Submissions

  1. 136099 points, 61 submissions: chanma50
    1. News: Zack Snyder Will Release the ‘Snyder Cut’ of ‘Justice League’ on HBO Max (15349 points, 2018 comments)
    2. News: Henry Cavill is in talks to reprise his role as Superman in the Warner Bros. DC Universe. (8152 points, 724 comments)
    3. Appreciation: "I'm standing here on the shoulders of my favorite actor Heath Ledger." - Joaquin Phoenix wins SAG Award 11 years after Gary Oldman accepted the posthumous SAG Award on behalf of Heath Ledger. (4278 points, 79 comments)
    4. News: Batman Returns! Michael Keaton in Talks to Play Bruce Wayne in ‘The Flash’ Movie (4223 points, 679 comments)
    5. News: Joaquin Phoenix wins Golden Globe for Best Performance by an Actor in a Motion Picture — Drama for Joker. (3856 points, 148 comments)
    6. Fan-made: Justice League, by @godot_23. (3451 points, 91 comments)
    7. Article: Henry Cavill on the Superman rumors - “If people are chatting about it and even if they’re making stuff up, it’s okay, that means they want to see the character again. And in an ideal world, I would absolutely love to play the character again.” (2972 points, 167 comments)
    8. News: Todd Phillips and Joaquin Phoenix accepting the Golden Lion for Best Film at the Venice Film Festival (2972 points, 169 comments)
    9. Fan-made: Oscars 2009 and 2020 (credit: @ultraraw26 and @houseofmat) (2970 points, 33 comments)
    10. Social media: James Gunn shares his thoughts on GOTG Vol 3 and The Suicide Sqaud. The former likely would have been released today. (2459 points, 197 comments)
  2. 134101 points, 69 submissions: donbosco2017
    1. APPRECIATION: I love it when DC movies have stuff like this. (5253 points, 171 comments)
    2. HUMOR: The other team wished they had Victor Stone. (4446 points, 90 comments)
    3. OTHER: 3 Generations of The Bat Trinity! (3685 points, 306 comments)
    4. COSPLAY: " You are not brave. Men are brave! It's time you learned what it means to be a man. " (3662 points, 67 comments)
    5. HUMOR: Tragedy right after watching a comedy. (3591 points, 100 comments)
    6. APPRECIATION+HUMOR: 4 significant Bat Generations. (3581 points, 241 comments)
    7. COSPLAY: When you live long enough to..... (3554 points, 109 comments)
    8. OTHER: One Batmobile per decade since 2000. I hope Battinson remains our Batman for the entirety of this decade. (3482 points, 383 comments)
    9. APPRECIATION: Impactful Soundtrack by a very good composer! (3219 points, 114 comments)
    10. HUMOR: "What I do is not up to you." (3040 points, 26 comments)
  3. 94457 points, 57 submissions: AldebaranTauro
    1. NEWS: WW84 new trailer (5154 points, 791 comments)
    2. HUMOR: Henry Cavill reply to Ryan Reynolds for the mustache joke (4756 points, 153 comments)
    3. OTHER: Ben Affleck expressing his love for Zack Snyder and thank the fans (3236 points, 338 comments)
    4. FANART: 'The creation of A New #Joker' by ultraraw26 & houseofmat (3076 points, 48 comments)
    5. APPRECIATION: Celebrating as it should (3030 points, 78 comments)
    6. HUMOR: Exclusive and full look at Superman face (and neeeeeeeck) in Shazam movie by David F. Sandberg (2901 points, 67 comments)
    7. APPRECIATION: The moment they seal Joaquin's name at his Oscar (2800 points, 67 comments)
    8. OTHER: Gorgeous Diana (WW84 new still) (2719 points, 56 comments)
    9. OTHER: Joker Movie BTS pic by cinematographer Lawrence Sher (2579 points, 30 comments)
    10. OTHER: Likeness (2564 points, 83 comments)
  4. 92474 points, 57 submissions: BeenTryin
    1. APPRECIATION: The Variety. (3650 points, 373 comments)
    2. VERO: Zack Snyder shares video of Ben Affleck doing push-ups on set of Batman V Superman (3224 points, 266 comments)
    3. VERO: Zack Snyder shares a photo of the Trinity (2977 points, 327 comments)
    4. JL: Gal Gadot's body double Caitlin Burles just shared these behind the scenes set photos on IG. (2917 points, 112 comments)
    5. SOCIAL MEDIA: Jason Momoa on IG: "Release The ****** Snyder Cut" (2899 points, 248 comments)
    6. BVS: Bruce Wayne running towards chaos while everyone else is running away is so powerful. (2705 points, 282 comments)
    7. VERO: Zack Snyder thanks fans for putting up a #ReleaseTheSnyderCut billboard in Times Square. "This is truly amazing and I am Speechless and humbled by the support and love" (2436 points, 179 comments)
    8. JL: Snyder Cut promotion in SDCC has started. Money was raised by fans (50% goes to Foundation for Suicide Prevention). There's a bus stop with Justice League themed art and quotes from people who worked on the movie (photo by Will Rowlands). (2425 points, 290 comments)
    9. VERO: If you had any doubt who Bruce was looking at... (2418 points, 153 comments)
    10. HUMOR: Zack Snyder's Justice League. (2350 points, 36 comments)
  5. 69573 points, 39 submissions: bewarey
    1. OTHER: Me when they warned Joker would cause incel violence vs me when Joker caused no violence whatsoever and will gross over $1 billion (3991 points, 144 comments)
    2. APPRECIATION: They mean something (2951 points, 103 comments)
    3. OTHER: Margot Robbie training for Birds of Prey (2933 points, 266 comments)
    4. OTHER: Happy 49th birthday to Todd Phillips, the director of Joker (2577 points, 31 comments)
    5. OTHER: Make it happen WB (2547 points, 97 comments)
    6. OTHER: Oh boy.. (2540 points, 117 comments)
    7. OTHER: New Snyder Cut Batman pic (2516 points, 279 comments)
    8. OTHER: New Wonder Woman 1984 Poster (2503 points, 200 comments)
    9. HUMOR: Who is protecting whom? (2424 points, 129 comments)
    10. APPRECIATION: The DC Extended Universe (2373 points, 376 comments)
  6. 39632 points, 26 submissions: cryptic_nightowl
    1. OTHER: Snyder confirms it’s not an assembly cut (3549 points, 475 comments)
    2. OTHER: Darkseid is coming to HBOMax (3446 points, 302 comments)
    3. OTHER: Zack Snyder thanks fans for helping raise $200k for suicide awareness and prevention (3086 points, 50 comments)
    4. OTHER: Ray Fisher on Twitter (2836 points, 141 comments)
    5. OTHER: More pictures of the incredibly detailed shrine (2500 points, 84 comments)
    6. OTHER: Zack Snyder shared photo of Gal Gadot performing ADR (late stages of production) (2067 points, 223 comments)
    7. SOCIAL MEDIA: HBO Asia reacts to the Snyder Cut Promotion at SDCC 2019. (1882 points, 200 comments)
    8. OTHER: [Snyder Cut] Atlanteans vs Parademons in Iceland (Credit: @BigMonkeyLuvr25 on twitter) (1721 points, 37 comments)
    9. VIDEO: Flash running (Extended, Color corrected - VFX Reel) (1703 points, 110 comments)
    10. FAN-MADE: Joker by Datrinti (1664 points, 17 comments)
  7. 31345 points, 20 submissions: LookAtMyEyess
    1. APPRECIATION: Aquaman and The Flash saving Hawaii (3380 points, 133 comments)
    2. HUMOR: The best thing i saw today (3235 points, 41 comments)
    3. OTHER: This is why i love this guy! (2892 points, 63 comments)
    4. NEWS: ALL DC MOVIES WILL BE AVAILABLE ON HBO MAX AT LAUNCH INCLUDING JOKER (2688 points, 280 comments)
    5. OTHER: Robert Pattinson's different accents and voices (2244 points, 112 comments)
    6. OTHER: Actress Karen Gillan said that she would love to play and direct Batgirl. (Source:omele) (2175 points, 207 comments)
    7. OTHER: CRISIS ON INFINITE EARTHS QWTF WTF WTF WTF WTF (2170 points, 428 comments)
    8. OTHER:The Rock training for the Black Adam movie. (1924 points, 202 comments)
    9. OTHER:@ErickWeber says this about Joaquin Phoenix's Joker (1890 points, 247 comments)
    10. NEWS:Art director Joe Howard has come aboard Matt Reeves' The Batman! His recent credits include Kingsman: The Secret Service, Overlord, and Spider-Man: Far From Home (1225 points, 51 comments)
  8. 30780 points, 18 submissions: NineZeroFour
    1. Other: It’s February 19, Happy Birthday to Bruce Wayne (3193 points, 87 comments)
    2. Fan-made: Ana de Armas as Power Girl (art by Datrinti) (2889 points, 311 comments)
    3. NEWS: Dwayne Johnson’s ‘Black Adam’ Will Feature Doctor Fate & Isis (2613 points, 256 comments)
    4. OTHER: Margot Robbie will be on Hot Ones this week promoting Birds of Prey (2429 points, 59 comments)
    5. OTHER: Guillermo del Toro says he “loved developing” Justice League Dark. Would you want him to return to make it? (2355 points, 184 comments)
    6. OTHER: One of the best Robert Pattinson Batman Concepts I’ve Seen (2326 points, 115 comments)
    7. OTHER: DC's Trinity reimagined as Grandmasters of hand to hand combat, by Nikola Cizmesija (1961 points, 65 comments)
    8. OTHER: Hildur Guđnadóttir wins best original score for "Joker" at the BAFTAs. (1926 points, 68 comments)
    9. Fan-made: Matt Reeves’ The Batman in the style of the 2004 The Batman animated show (artist: Nerdpeace) (1775 points, 55 comments)
    10. Fan-made: ‘The Batman’ Vector Illustration by Cristhian Hova (1633 points, 25 comments)
  9. 27174 points, 14 submissions: aduong
    1. Other: Happy Birthday To Christian Bale, The Batman of a Generation. (4494 points, 163 comments)
    2. OTHER: New WW84 Still (2735 points, 138 comments)
    3. News: Wonder Woman 1984 on the cover of Entertainment Weekly (2722 points, 110 comments)
    4. Social Media: WW84 cast celebrating Pedro Pascal’s birthday. (2265 points, 54 comments)
    5. Other: WW84 on the WB lot (2222 points, 54 comments)
    6. Appreciation: HAPPY BIRTHDAY to Gal Gadot, our very own Wonder Woman!!! (2055 points, 67 comments)
    7. Appreciation: Superman Turns 82 Today (1996 points, 129 comments)
    8. Appreciation: Regardless fo how it does let’s give credit where credit is due to the brains behind BOP for extending DC’s streak of critical win. (1929 points, 160 comments)
    9. Humor: Quarantine struggle (1570 points, 48 comments)
    10. Other: Freaking the hell out the whole BOP cast just randomly rolled up in Time Square, I’m here for work dinnemeeting and I wanna die. (1371 points, 41 comments)
  10. 26373 points, 8 submissions: Othmane_K
    1. HUMOR: Some humor in this difficult times (5824 points, 86 comments)
    2. OTHER: Different designs, same hype (4145 points, 390 comments)
    3. Humor: Batman knows (4116 points, 83 comments)
    4. OTHER: TDK’s trilogy ending was just perfect from Nolan 👌 (3552 points, 286 comments)
    5. OTHER: Master Wayne (2766 points, 304 comments)
    6. OTHER: 🦇 vigilante (2507 points, 173 comments)
    7. OTHER: Small interesting detail (Credit : dc_fans_kerala) (2483 points, 150 comments)
    8. OTHER: The Batman (980 points, 95 comments)

Top Commenters

  1. xenocide0909 (15102 points, 152 comments)
  2. Cottril (13454 points, 306 comments)
  3. DoctorBeatMaker (13029 points, 206 comments)
  4. JeremySchmidtAfton (11332 points, 1244 comments)
  5. SonOfOriginalMan (10903 points, 472 comments)
  6. DarkLordRyan (10347 points, 988 comments)
  7. beachsidevibe (9123 points, 280 comments)
  8. leos-rdt (9079 points, 111 comments)
  9. BatmanNewsChris (7726 points, 106 comments)
  10. FewWatermelonlesson0 (7523 points, 266 comments)

Top Submissions

  1. News: Zack Snyder Will Release the ‘Snyder Cut’ of ‘Justice League’ on HBO Max by chanma50 (15349 points, 2018 comments)
  2. News: Henry Cavill is in talks to reprise his role as Superman in the Warner Bros. DC Universe. by chanma50 (8152 points, 724 comments)
  3. NEWS: First look at Zack Snyder’s Justice League from Jason Momoa’s Instagram! by Bman1738 (7558 points, 807 comments)
  4. NEWS: First look at the new Batsuit!!! (Matt Reeves The Batman camera test) by BatmanNewsChris (7048 points, 1030 comments)
  5. OTHER: Zack just posted this. Yet another confirmation it exists 😍 by the_white_portuguese (6857 points, 1079 comments)
  6. Social Media: Joss Wheadon’s on-set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable. He was enabled, in many ways, by Geoff Johns and Jon Berg. Accountability>Entertainment by Doctor_Of_Fate (6284 points, 1221 comments)
  7. HUMOR: Some humor in this difficult times by Othmane_K (5824 points, 86 comments)
  8. Other: Filming of that iconic™ scene by AZAR0V (5299 points, 151 comments)
  9. APPRECIATION: I love it when DC movies have stuff like this. by donbosco2017 (5253 points, 171 comments)
  10. NEWS: WW84 new trailer by AldebaranTauro (5154 points, 791 comments)

Top Comments

  1. 1535 points: itsallajoke_'s comment in News: Zack Snyder Will Release the ‘Snyder Cut’ of ‘Justice League’ on HBO Max
  2. 1407 points: leos-rdt's comment in NEWS: First look at the new Batsuit!!! (Matt Reeves The Batman camera test)
  3. 1404 points: KingBrandoTheIgit's comment in NEWS: First look at Zack Snyder’s Justice League from Jason Momoa’s Instagram!
  4. 1385 points: btm29's comment in NEWS: Set Photo of Batman from Matt Reeves's The Batman
  5. 1370 points: deleted's comment in OTHER: CRISIS ON INFINITE EARTHS QWTF WTF WTF WTF WTF
  6. 1358 points: booojangles13's comment in Social Media: Joss Wheadon’s on-set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable. He was enabled, in many ways, by Geoff Johns and Jon Berg. Accountability>Entertainment
  7. 1258 points: xenocide0909's comment in NEWS: Dwayne Johnson’s ‘Black Adam’ Will Feature Doctor Fate & Isis
  8. 1231 points: alauzon's comment in OTHER: Leto’s Joker (with eyebrows and without the grills and tattoos)
  9. 1165 points: BobDylanFeverDream's comment in News: Zack Snyder Will Release the ‘Snyder Cut’ of ‘Justice League’ on HBO Max
  10. 1131 points: leeroyschicken77's comment in OTHER: Different designs, same hype
Generated with BBoe's Subreddit Stats
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2020.06.13 15:54 pax_penguina Pax_Penguina #44-53: The VelociPastor (2018), The Lighthouse (2019), Suspiria (2018), Friday the 13th (1980), Altered Carbon: Resleeved (2020), Child's Play (1988), It Comes At Night (2017), Candyman (1990), The Vault (2017), Bloodshot (2020)

Hey folks, I'm back! I'm getting back into the movie grind, and I wanted to drop these reviews before I start watching a popular film trilogy later tonight. It's been a while since I've seen these films, probably almost a month since I saw VelociPastor, so my reviews aren't going to be as long or eloquent as I like to make them. Just a few sentences going over my opinion of each movie. I initially waited to write reviews for these films because I had so much to say about a bunch of them, but now that I've processed the films and talked about them to other actual human beings, I can sum up my thoughts nicely.
Reviews will be numbered by watch date. I don't remember the specific days I saw these films, but I know it was late May/early June, Basically the week before and the week after Memorial Day in the U.S. Alright, here goes nothing!
1) The VelociPastor (2018)
Wow, this was a fun movie. I can't remember the last time I watched an amateindie project like this, but it was a breath of fresh air from the studio-curated blockbusters and star vehicles I had been watching previously. It doesn't push any boundaries or ask any questions that stick in your brain for days on end, it's just pure fun and ridiculousness. You can tell the cast and crew had a good time making this film, and I hope filmmaker Brendan Steere gets to make more B-movie romps like this. 7/10
2) The Lighthouse (2019)
As soon as the credits started rolling, I could tell this was in my top twenty films of all time list. Gods, it's so weird and unnerving and uncomfortable at times, but that's what makes it a masterpiece. Robert Pattinson and Willem Dafoe will never hear criticism from me on their acting chops again, this film proves that they can absolutely control the screen and the audience's attention when given the right material. And that ending? smooches the air Magnificent. 9/10
3) Suspiria (2018)
I remember not being able to fall asleep a few weeks ago, and I was scrolling through Amazon Prime around 2 in the morning, and I settled on this film because I knew people were hotly anticipating it before its release. I haven't seen the original, but now I desperately want to, because Suspiria (2018) is an eclectic film for sure, but there's so much to enjoy about it. The atmosphere it gives off in the first two acts gives right proper chills, and the power play at the core of the plot was intriguing to watch, especially as they continued their activities. I would definitely watch this film again after seeing the original. Heck, you might see a review of the original Suspiria from me sometime soon now! 7.5/10
4) Friday the 13th (1980)
The worst part about this film, for me, was knowing the plot twist beforehand. I wish I could've watched this film with fresh-faced wonder, not knowing the truth behind the murders at Crystal Lake, both past and present, but I will say that I think knowing the twist robbed some of the impact for me. Aside from that though, the movie is an undeniable classic, and watching it for the first time was illuminating. Watching the film that's served as a blueprint/inspiration for so many horror projects that have come out since, it was almost rewarding to see how some of the horror genre's most popular and pervasive tropes showed up in this film. That's why I love watching older films, and while I'm not head-over-heels about the first Friday the 13th, maybe I'll enjoy the other movies with Jason Vorhees. 7.5/10
5) Altered Carbon: Resleeved (2020)
Just as The VelociPastor was a nice break from big-budget studio films, Altered Carbon: Resleeved (AC:R) was a nice break from live-action films. During my break I binge-watched a few tv shows, and Altered Carbon was my favorite new show I saw in that group. I'll hold my appreciation for the show, because if not then this would turn into a goddamn novel, but I will say that I enjoyed what AC:R brought to the table. I haven't read the books the show is based on, but the film was pretty decent, at least to me. I know a lot of Altered Carbon fans didn't like it because it was basically an extra-long and animated episode of the show, but that's kind of why I liked it so much. I didn't have to worry about being disappointed by any new information or reveals like I did with S2 (slight spoiler?). The dialogue is pretty shallow to be fair, and while I personally like the art style, it does look very much like it was lifted from a 2018 video game. But for all of the average-at-best qualities this film has, I'll take it. It gets me excited to see what else Netflix will do with Altered Carbon spinoffs. I see this first project as a dip in the water, not going for anything new or explosive, but rather presenting all of the memorable and exhilarating aspects of the show and packaging it into a ~70min animated romp, with slick-n-sweet action scenes and a tense mystery behind it all. 6.5/10
6) Child's Play (1988)
I've seen a bunch of the other Chucky films before, it was kind of a guilty secret of mine that I hadn't watched the original Child's Play. But now that I have, it definitely cements my appreciation for the cutest serial killer on the market. It's a great film, and while it's shorter than I thought it would be, it uses its runtime masterfully, never missing a beat. I especially like the moments before Chucky is shown to be alive, how the camerawork and the music are handled to make the audience get on the edge of their toes. I know I would've loved this film if I saw it in theaters. 8/10
7) It Comes At Night (2017)
Meh. That's how I felt after the end of this film. It's not a bad movie by any means, and from a certain perspective, I can see how people would really enjoy this film and give it so much praise. Maybe if I was a few years older, or if I had seen more movies, I could appreciate more realistic approach this film takes towards an apocalyptic virus (I think that's the problem the characters are afraid of, it's never made clear in the film). But I was hoping for something a little more tangible, something that would make me quiver on the spot. What I got instead was a peek at "the power of fear," idk I saw that phrase in a review for the film. I'm sure some people love this film, but I'm not one of them. 6/10
8) Candyman (1990)
I won't say much because, like with the Altered Carbon show, if I start now I won't stop for a long time. I love this film, it's so fascinating! I'm very excited for the remake now, might even watch the Candyman sequels too. I want to see more horror films that deal with charged political and social issues like this. Candyman might not be perfect in how it discusses race and gender, but it did it a lot better than some films and shows I've seen, and it did it back in the 90s! 8.5/10
9) The Vault (2017)
It's kind of funny how heavily advertised James Franco's role in the film is, considering he has maybe 10-15 minutes of screen time, and I'm being very generous there. But regardless of that somewhat funny bit, I enjoyed The Vault. It's nothing super special or inventive, but the notion of a haunted bank vault was so improbably ridiculous to me that I had to watch the film to find out what happens. All things considered, it could've been a lot worse, for sure. It's pretty cheesy at times, especially with one of the death scenes, but I liked the backstory that lead to the current action, and while the drama between the three main siblings might've been a bit ham-fisted, it did make me wish for one or more of them to get fucked up by the vault, and they all kind of deserved it by the end of the film. The last scene was almost as bad as the final post credits scene in Justice League, but it's noy nearly as long, so it's forgivable. 7/10
10) Bloodshot (2020)
I briefly fell asleep twice during this film and I still didn't miss anything important. The movie operates almost exactly how you would expect after watching the trailers. I can't even picture more than three or four scenes from the movie, and only one of them wasn't in the trailers. If this film did anything for me (other than putting a knot in my neck), it made me want to see Vin Diesel in a legitimate drama film. Dude has some acting chops. Some. 6/10
Those are my thoughts on, well, all of those films! I've been sitting on these for a while, I've had this tab opened on my laptop for over two weeks now. I just couldn't watch another new film in good faith without jotting down my thoughts on this batch.
That being said, now I have just 47 films to go before I complete this challenge for myself. I'm compiling a list of movies I want to watch before this current run ends, though I am leaving some room for random streaming picks (I gotta watch Spike Lee's new film Da 5 Bloods on Netflix soon, you'll def see a review from me on it). As per the rules of the sub, I will make sure to post a list ranking each film in my run from best to worst once I hit film 100. Hopefully I don't "fuck up the curve" with some of the movies I'm planning on watching, they're almost all classics that I just haven't gotten around to seeing yet. This weekend, for instance, I'm finally going to sit down and watch the trilogy almost everyone has seen but me. Seriously, I've had people curse me out for not watching these films before, so now I'm finally going to do it. See y'all on Monday!
Thank you for reading my reviews, it means a lot! If you've seen any of these films and want to share your thoughts, you're more than welcome to do so in the comments section. I hope everyone is having a good day, I hope everyone is staying safe during the pandemic, I hope everyone reading this supports Black Lives Matter and people of color across the globe, and I wish everyone the best of luck with their quest!
submitted by pax_penguina to 100movies365days [link] [comments]


2020.05.29 20:34 JonnyBravo98 Flashpoint/Justice League Theory with Links and Sources

After the announcement of the Snyder Cut of Justice League, I began to think about the bigger picture concerning the DCEU. I think they’re taking the Snyder Cut of JL and using it to test out his original vision. A win-win for them: If they Snyder cut fails the blame will still fall on Zach and if it’s a success, they get partial credit and will still most likely move on from Snyder.
Wonder Woman, Aquaman, Shazam, and Batman’s films are already set in stone with only Ben Affleck being recast as Batman by Robert Pattinson.
What if they were to end Justice League with the introduction of the Flashpoint storyline. We see that Darkseid will make an appearance in Justice League. But seeing how the team can barely handle Stephenwolf I don’t see a way they could manage to push Darkseid back to Apokolips. What if instead, the team is pummeled by Darkseid and he begins to invade and terraform earth into Apokolips (Snyder recently posted this picture of Darkseid https://twitter.com/zacksnydestatus/1265631646159564800?s=21 ) Barry has no other option but to run back in time as a last second Hail Mary to the threat of Darkseid and his forces. There are two essential characters in the Flashpoint storyline: Thomas Wayne and Cyborg. I believe Ben Affleck could be cast as Thomas Wayne. Ray Fisher ,among others, has stated that cyborg would appear in a Flash movie multiple times.
Barry’s meddling with the time stream/line would bring unexpected changes to the world he thought he would be returning to such as his peers lives unknowingly being changed. The only events that would have occurred by this time Barry is returning to is Man of Steel (Chronologically WW 1, 2, then MOS). Other things would change such as Bruce Wayne & Alfred looking and (presumably) acting different as well. I know the idea sound iffy and I thought the same at first —
Then AT&T tweeted this in response to a fan asking will it be possible to see Ben Affleck as Batman in other future films: https://twitter.com/att/status/1263957772758126592?s=21 Notice they said “who” will answer the call, as if Pattinson hasn’t already been cast as Batman and started production.
With the announcement of JL premiering 2021 (I would assume Summer or early Fall with Batman most likely being pushed back to 2022) Zach Snyder also made a statement claiming the estimated budget would be around 30-40 million.
Maybe a week later Warner Media chairman & HBO Max boss Bob Greenblatt confirmed Snyder’s estimate was incorrect and it would exceed that, stating “It isn’t as easy as going into the vault and there’s a Snyder Cut sitting there to put out,” Greenblatt said. “Zack is actually building it and it’s complex, including – and I don’t wanna get into too much detail that we haven’t already talked about yet – but, new effects shots.”
Source: https://observer.com/2020/05/snyder-cut-budget-hbo-max-bob-greenblat-cost-justice-league/
https://www.indiewire.com/2020/05/hbo-max-boss-synder-cut-expensive-unfinished-1202233545/
I thought about what could be hiking up the price of the film because we were led to believe that the Snyder cut was at least partially done (Hence the uproar.)
Did the best research I could and found that Avengers Endgame VFX/production cost took up around 100 million of Endgames 356 million dollar budget. So how much the budget is, has yet to be released but it does say a lot that Snyder’s original number was so off that Greenblatt couldn’t possibly agree.
Even going as far back as 2014, the original Snyder-led DCEU slate showed us that following Justice League: Part 1 a Flash film would be next, then after a few movies lead up to Justice League: Part 2. And even back then I wondered why Flash’s first movie would be the Flashpoint story line, seeing as thought we wouldn’t even have had an proper film to look into Barry’s life (By the original time of the release would have been 2018, and the films before it being MOS, BVS, Suicide Squad, WW, and JL: Part 1).
Source: https://www.businesswire.com/news/home/20141015006276/en/Warner-Bros.-Details-Strategic-Content-Plans-Time#.VD6fRtTF9RG
I looked back at the movies following Justice League. Wonder Woman (1 & 2) take place in the past with her most recent appearance being 1984 so the events of JL hasn’t occurred yet. Aquaman’s only reference to JL is Mera stating “You took down Stephenwolf” nothing more. Shazam’s only reference is his souvenirs. One being a Batarang and the other being a magazine detailing the events of MOS. There being little to no reference of the events taking place after MOS.
Something like this seems likely to me as the cast has practically been lobbying alongside the fans and Snyder, which (in my opinion) prompts their involvement going forward. I know most fans believe Warner Bros. will keep the films separate but we know by now that the most important thing to studios is $ and they know that not only will a connected universe bring in money but it’s what the fans want to see.
submitted by JonnyBravo98 to comicbookmovies [link] [comments]


2020.05.29 18:45 JonnyBravo98 Discussion: Snyder Cut JL/Flashpoint Theory with Links and Sources

After the announcement of the Snyder Cut of Justice League, I began to think about the bigger picture concerning the DCEU.
Wonder Woman, Aquaman, Shazam, and Batman’s films are already set in stone with only Ben Affleck being recast as Batman by Robert Pattinson.
What if they were to end Justice League with the introduction of the Flashpoint storyline. We see that Darkseid will make an appearance in Justice League. But seeing how the team can barely handle Stephenwolf I don’t see a way they could manage to push Darkseid back to Apokolips. What if instead, the team is pummeled by Darkseid and he begins to invade and terraform earth into Apokolips (Snyder recently posted this picture of Darkseid https://twitter.com/zacksnydestatus/1265631646159564800?s=21 ) Barry has no other option but to run back in time as a last second Hail Mary to the threat of Darkseid and his forces. There are two essential characters in the Flashpoint storyline: Thomas Wayne and Cyborg. I believe Ben Affleck could be cast as Thomas Wayne. Ray Fisher ,among others, has stated that cyborg would appear in a Flash movie multiple times.
Barry’s meddling with the time stream/line would bring unexpected changes to the world he thought he would be returning to such as his peers lives unknowingly being changed. The only events that would have occurred by this time Barry is returning to is Man of Steel (Chronologically WW 1, 2, then MOS). Other things would change such as Bruce Wayne & Alfred looking and (presumably) acting different as well. I know the idea sound iffy and I thought the same at first —
Then AT&T tweeted this in response to a fan asking will it be possible to see Ben Affleck as Batman in other future films: https://twitter.com/att/status/1263957772758126592?s=21 Notice they said “who” will answer the call, as if Pattinson hasn’t already been cast as Batman and started production.
With the announcement of JL premiering 2021 (I would assume Summer or early Fall with Batman most likely being pushed back to 2022) Zach Snyder also made a statement claiming the estimated budget would be around 30-40 million.
Maybe a week later Warner Media chairman & HBO Max boss Bob Greenblatt confirmed Snyder’s estimate was incorrect and it would exceed that, stating “It isn’t as easy as going into the vault and there’s a Snyder Cut sitting there to put out,” Greenblatt said. “Zack is actually building it and it’s complex, including – and I don’t wanna get into too much detail that we haven’t already talked about yet – but, new effects shots.”
Source: https://observer.com/2020/05/snyder-cut-budget-hbo-max-bob-greenblat-cost-justice-league/
https://www.indiewire.com/2020/05/hbo-max-boss-synder-cut-expensive-unfinished-1202233545/
I thought about what could be hiking up the price of the film because we were led to believe that the Snyder cut was at least partially done (Hence the uproar.)
Did the best research I could and found that Avengers Endgame VFX/production cost took up around 100 million of Endgames 356 million dollar budget. So how much the budget is, has yet to be released but it does say a lot that Snyder’s original number was so off that Greenblatt couldn’t possibly agree.
Even going as far back as 2014, the original Snyder-led DCEU slate showed us that following Justice League: Part 1 a Flash film would be next, then after a few movies lead up to Justice League: Part 2. And even back then I wondered why Flash’s first movie would be the Flashpoint story line, seeing as thought we wouldn’t even have had an proper film to look into Barry’s life (By the original time of the release would have been 2018, and the films before it being MOS, BVS, Suicide Squad, WW, and JL: Part 1).
Source: https://www.businesswire.com/news/home/20141015006276/en/Warner-Bros.-Details-Strategic-Content-Plans-Time#.VD6fRtTF9RG
I looked back at the movies following Justice League. Wonder Woman (1 & 2) take place in the past with her most recent appearance being 1984 so the events of JL hasn’t occurred yet. Aquaman’s only reference to JL is Mera stating “You took down Stephenwolf” nothing more. Shazam’s only reference is his souvenirs. One being a Batarang and the other being a magazine detailing the events of MOS. There being little to no reference of the events taking place after MOS.
Something like this seems likely to me as the cast has practically been lobbying alongside the fans and Snyder, which (in my opinion) prompts their involvement going forward. I know most fans believe Warner Bros. will keep the films separate but we know by now that the most important thing to studios is $ and they know that not only will a connected universe bring in money but it’s what the fans want to see.
submitted by JonnyBravo98 to DC_Cinematic [link] [comments]


2020.05.29 01:34 JonnyBravo98 Flashpoint/Justice League Theory with Links and References

After the announcement of the Snyder Cut of Justice League, I began to think about the bigger picture concerning the DCEU.
Wonder Woman, Aquaman, Shazam, and Batman’s films are already set in stone with only Ben Affleck being recast as Batman by Robert Pattinson.
What if they were to end Justice League with the introduction of the Flashpoint storyline. We see that Darkseid will make an appearance in Justice League. But seeing how the team can barely handle Stephenwolf I don’t see a way they could manage to push Darkseid back to Apokolips. What if instead, the team is pummeled by Darkseid and he begins to invade and terraform earth into Apokolips (Snyder recently posted this picture of Darkseid https://twitter.com/zacksnydestatus/1265631646159564800?s=21 ) Barry has no other option but to run back in time as a last second Hail Mary to the threat of Darkseid and his forces. There are two essential characters in the Flashpoint storyline: Thomas Wayne and Cyborg. I believe Ben Affleck could be cast as Thomas Wayne. Ray Fisher ,among others, has stated that cyborg would appear in a Flash movie multiple times.
Barry’s meddling with the time stream/line would bring unexpected changes to the world he thought he would be returning to such as his peers lives unknowingly being changed. The only events that would have occurred by this time Barry is returning to is Man of Steel (Chronologically WW 1, 2, then MOS). Other things would change such as Bruce Wayne & Alfred looking and (presumably) acting different as well. I know the idea sound iffy and I thought the same at first —
Then AT&T tweeted this in response to a fan asking will it be possible to see Ben Affleck as Batman in other future films: https://twitter.com/att/status/1263957772758126592?s=21 Notice they said “who” will answer the call, as if Pattinson hasn’t already been cast as Batman and started production.
With the announcement of JL premiering 2021 (I would assume Summer or early Fall with Batman most likely being pushed back to 2022) Zach Snyder also made a statement claiming the estimated budget would be around 30-40 million.
Maybe a week later Warner Media chairman & HBO Max boss Bob Greenblatt confirmed Snyder’s estimate was incorrect and it would exceed that, stating “It isn’t as easy as going into the vault and there’s a Snyder Cut sitting there to put out,” Greenblatt said. “Zack is actually building it and it’s complex, including – and I don’t wanna get into too much detail that we haven’t already talked about yet – but, new effects shots.”
Source: https://observer.com/2020/05/snyder-cut-budget-hbo-max-bob-greenblat-cost-justice-league/
https://www.indiewire.com/2020/05/hbo-max-boss-synder-cut-expensive-unfinished-1202233545/
I thought about what could be hiking up the price of the film because we were led to believe that the Snyder cut was at least partially done (Hence the uproar.)
Did the best research I could and found that Avengers Endgame VFX/production cost took up around 100 million of Endgames 356 million dollar budget. So how much the budget is, has yet to be released but it does say a lot that Snyder’s original number was so off that Greenblatt couldn’t possibly agree.
Even going as far back as 2014, the original Snyder-led DCEU slate showed us that following Justice League: Part 1 a Flash film would be next, then after a few movies lead up to Justice League: Part 2. And even back then I wondered why Flash’s first movie would be the Flashpoint story line, seeing as thought we wouldn’t even have had an proper film to look into Barry’s life (By the original time of the release would have been 2018, and the films before it being MOS, BVS, Suicide Squad, WW, and JL: Part 1).
Source: https://www.businesswire.com/news/home/20141015006276/en/Warner-Bros.-Details-Strategic-Content-Plans-Time#.VD6fRtTF9RG
I looked back at the movies following Justice League. Wonder Woman (1 & 2) take place in the past with her most recent appearance being 1984 so the events of JL hasn’t occurred yet. Aquaman’s only reference to JL is Mera stating “You took down Stephenwolf” nothing more. Shazam’s only reference is his souvenirs. One being a Batarang and the other being a magazine detailing the events of MOS. There being little to no reference of the events taking place after MOS.
Something like this seems likely to me as the cast has practically been lobbying alongside the fans and Snyder, which (in my opinion) prompts their involvement going forward. I know most fans believe Warner Bros. will keep the films separate but we know by now that the most important thing to studios is $ and they know that not only will a connected universe bring in money but it’s what the fans want to see.
submitted by JonnyBravo98 to DCcomics [link] [comments]


2020.05.23 09:46 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/oaockqkqyg051.jpg?width=800&format=pjpg&auto=webp&s=480195a900e40479ccfb5c656dd013aa99284915
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/rf78nmuryg051.png?width=800&format=png&auto=webp&s=e57d3b057cd85df683856c45deaa91ffe5a51b4e
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
https://preview.redd.it/474cb81pyg051.jpg?width=3264&format=pjpg&auto=webp&s=e9137fee87e105dda2526694bafac9fa00cc41f2
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to underratedmovies [link] [comments]


2020.05.23 09:44 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

High Life (2018): An eerie odyssey into oblivion...
Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/0ji4g19dyg051.jpg?width=800&format=pjpg&auto=webp&s=1a4fa6a3f1dd36e10e03ed61f7875311dece4edc
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/707tnkreyg051.png?width=800&format=png&auto=webp&s=24ccd3ddb6bf245f58c2461a05161c983027238d
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
https://preview.redd.it/jlvkmktbyg051.jpg?width=3264&format=pjpg&auto=webp&s=9e95d48f021df55167da2667384679665d77bdef
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to TrueFilm [link] [comments]


2020.05.23 09:39 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

High Life (2018): An eerie odyssey into oblivion...
Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/xf8y8l8nxg051.jpg?width=800&format=pjpg&auto=webp&s=6354495b5b535b1d208898414f30ab6b7c452427
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/wckky4joxg051.png?width=800&format=png&auto=webp&s=91bdf5b1b54e153a5838f936a10c389e1f3d8c51
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.

https://preview.redd.it/p6uczu3kxg051.jpg?width=3264&format=pjpg&auto=webp&s=47beffd4fd7bbe6013df1202d709c9e99ac4a072
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to topfilms [link] [comments]


2020.05.23 09:37 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

High Life (2018): An eerie odyssey into oblivion...
Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/682wpgg2xg051.jpg?width=800&format=pjpg&auto=webp&s=4eee1c59bcb82059f69ee140ae93dafccf3cec65
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/09vmidk3xg051.png?width=800&format=png&auto=webp&s=74439d211051034b38e31399c16565789a74241d
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
https://preview.redd.it/far535j0xg051.jpg?width=3264&format=pjpg&auto=webp&s=d09086b970d38adc0e4e6c450099538d8eb82a97
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to scifi [link] [comments]


2020.05.23 09:17 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

High Life (2018): An eerie odyssey into oblivion...
Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/l5xbqsizog051.jpg?width=800&format=pjpg&auto=webp&s=7a887274ba848e8a004be4760330a041d295a121
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/8cou48i1tg051.png?width=800&format=png&auto=webp&s=023dd7a9586dacc21b68de39495aeb3bf0f5b4b1
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
https://preview.redd.it/v24z0mfuog051.jpg?width=3264&format=pjpg&auto=webp&s=0c147438a7cdb913ef7ad3e48e08a10416f8bf46
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to movies [link] [comments]


2020.05.23 08:48 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/n1ctsjvqng051.jpg?width=800&format=pjpg&auto=webp&s=a609ada6efc7c15d15500c1d8dd90c19bada93ac
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/ebkhatmwng051.png?width=800&format=png&auto=webp&s=a142758c6a2710a29c8a07f56a617b0c2c613f37
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
https://preview.redd.it/31l521y5og051.jpg?width=3264&format=pjpg&auto=webp&s=8ebc0038ebf4b2dc00f61d41f6da70c6bc8107a8
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to moviereviews [link] [comments]


2020.05.23 08:37 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

High Life (2018): An eerie odyssey into oblivion...
Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/eryx6p41mg051.jpg?width=800&format=pjpg&auto=webp&s=1fa612b90ac5b2d02bd08ae87a81b0ee21c05776
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/1m75mm84mg051.png?width=800&format=png&auto=webp&s=47699a1317afae0859d78a6d1923960f79ba9fe5
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
https://preview.redd.it/e0sqyvt5mg051.jpg?width=3264&format=pjpg&auto=webp&s=a3ffebb6862c05a0335f943027b3596952f5abe0
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to moviecritic [link] [comments]


2020.05.23 08:24 _WittyWoman IJW: High Life (2018): An eerie odyssey into oblivion...

Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to Ijustwatched [link] [comments]


2020.05.23 08:23 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to flicks [link] [comments]


2020.05.23 08:21 _WittyWoman High Life (2018): An eerie odyssey into oblivion...

High Life (2018): An eerie odyssey into oblivion...
Movie: High Life / Director: Claire Denis / Language: English / Genre: Sci-fi, mystery, thriller, drama
“Cruelty? What do you know about Cruelty?”
'High Life' is a “taboo” in the mainstream sci-fi space genre. If the earth is heaven, and the black hole is hell, here some people are drifting in cosmic chaos leading by sin. The film takes us to the eerie odyssey of a criminal-turned-astronaut (Robert Pattinson) into the infinite where time tests his and our patience. Believe me, there are no wars of stars or no one guards any galaxy, instead, here, characters are getting away from humanity and heading toward the bizarre black hole of immorality, sexploitation, existential crisis, loneliness, hollowness, and some fluid, some box, etc.!!
https://preview.redd.it/h0qaqnyeig051.jpg?width=800&format=pjpg&auto=webp&s=3f9d7a951a16e43f21a87c639482f52c30c6b2c5
The movie begins in a distant future where Monte (Robert) and an infant are all alone in a matchbox type spacecraft, where he is trying to take care of the child and controlling losing his mind. The story moves in a backward-forward manner, and we see a few other characters entirely driven by their basic instincts. The only authority they have is of white devilish doctor Dibs (Juliette Binoche), who does her gruesome sexual experiments. Interestingly, she is a doctor who has killed her children, now supervising breeding in the spaceship for the future generation, in her morbid way. Only Monte has not surrendered himself to such passion, maybe that’s why he has nicknamed as ‘monk’ on the ship, and among his crew members, he only survives to last.
https://preview.redd.it/ergf7k6mig051.png?width=800&format=png&auto=webp&s=9ab502010cd8d248c177903c1652ddf1b8c8829b
This suicide squad of criminals is on a science mission to explore a new world. Facing the death penalty and life imprisonment, these young adult prisoners have accepted the suicidal journey where they have sent to harvest the energy of the nearest black hole for the earth and to come back. It’s like a substitute sentence. There is nothing heroic here. Like some waste, they are thrown out of the earth in a rubbish container looking spaceship. Since they are offenders serving their punishments in jails, and nobody will concern about them on the planet, they become the liable choice for this long term deadly mission.
The talented French filmmaker Claire Davis has created this whole metaphor where these people left out unconcerned by the entire cosmos, packed in a jailed-shaped-spaceship without parole and even cannot escape. It may seem sci-fi space movie, but it feels like a psychological drama where Clair experiments with the mind of the helpless people putting them in a situation from where they cannot run away, literally and metaphorically. There is so much emptiness is here. In a vessel like space, a vessel like a spaceship, with vessel-like humans, moving toward ultimate vessel black hole.
https://preview.redd.it/whgb7ht2jg051.jpg?width=3264&format=pjpg&auto=webp&s=0d629ed73872acb4212e2a659088ca7c7d3bbdb0
The movie asks so many questions. For how long can we control our desires? What is our pressure point? What if there is nowhere to escape? If there is no way back? The movie makes us realize that our life is already a suicidal journey since we are born because it will inevitably end at death. It is floating in the chaos of a world full of people yet empty. We all will be in the black hole of oblivion. We all are on the same journey in the same direction. But some of us follow animalist desires, breakdown quickly, surrender without a fight and die early and painfully. But some fight them, with strength, with hope and give meaning to the existence. Life is a journey in which where we are going is not important, but how we are going. It reminds a few lines of a beautiful Gujarati gazal:
જુદી જિંદગી છે મિજાજે – મિજાજે; જુદી બંદગી છે નમાજે – નમાજે.
છે એક જ સમંદર, થયું એટલે શું? જુદા છે મુસાફર જહાજે – જહાજે.
જીવન જેમ જુદાં છે કાયામાં જુદી, છે મૃત્યુય જુદાં જનાજે – જનાજે.
In the end, let’s avoid a void between us, give each other strength and support to ease the pain of the end.
“Shall we?”
submitted by _WittyWoman to Cinema [link] [comments]


2020.05.19 18:12 morrisseycarroll Film Analysis for Dune 2020: Wild Speculation

Time on my hands? You betcha. Amended an already obsessive film habit to look at Denis Villenueve films and a couple of others to try to find parallels and visual cues that may crop up in Dune 2020.
Films watched: (Villenueve directed) Arrival, Sicario, Blade Runner 2049, (other) Annihilation, The Wild Bunch, The King

The debate on this sub about how far the film will go into the book (planned split of 1st Dune book into 2 films v. 3 Act story structure) is VERY undecided. I'll stick with my first assumption of film 1 going up to Paul's first sandworm solo ride (which is quite far into the book) although there is a lot to say for other theories including that the film will end right after the fight with Jamis (deleted from the 1984 film) or a straight halving of the book so the film ends with Jessica & Paul escaping into the desert after the fall of the house of Atraides.
Regardless of how much of Dune is in the 1st film, I want to look at how the story will be structured to fit into the canon 3 act story structure that big-budget films adhere to down to the minute (hat tip Joseph Campbell Hero's Journey). Watch an Avengers film with a notebook to measure end of 1st Act (1/4 into film), midpoint (1/2), darkest moment (5/8), & start of 3rd act (3/4) and you'll see what I mean. Not only do screenwriters and directors know that this is a proven way to tug audience emotions but studio execs demand that films fit these conventions and they watch it like a hawk with big budget films.

Visuals: You can say that Villenueve is influenced by David Lynch (not Dune but his other more conceptual films) and you'd be right. The long tracking shots in Arrival, Sicario & Blade Runner (as well as the droning, heavy music) can find antecedents in Lynch films. But I would argue that Villenueve uses these moments differently, letting these long tracking shots build tension and introducing (or reinforcing) the environment as a character.
West Texas scrubland in Sicario is fawned over, and I find the film to be a particular template for how Dune 2020 will be shot. Arrival has moments of green hills punctured by the alien craft. Blade Runner is influenced by the original film for sure, but the Las Vegas intro scenes are of the director, and use the yellow haze of the landscape similarly.
Not directed by Villenueve, The Wild Bunch (Texas desert) & Annihilation (metastasizing jungle) also reinforce their landscapes as characters, the former as harsh and unforgiving (like the characters & their choices), the latter as mysterious yet releasing (ditto). Annihilation is a wonder to behold, the set designers really went overboard with visual metaphor and painstaking detail (but I digress).
Character scenes in Villenueve films fall into 2 categories, conversations that that are tight shots and groups that are confusing and tension-filled. In relation to Dune I believe that there will be expanded moments of Paul with Gurney, Duncan Idaho (shortchanged in the book, but he may draw upon later books for content), Shadout Mapes, Jessica, the Duke Atraides & Keyes. They will be played for metaphor & close reading, making small lines appear ominous and foreboding for young Paul. The production shots of the brutalist architecture of the Arrakeen palace will be used for their sharp horizontal lines to put movement into static scenes.
I would argue that most of these will be shown as flashbacks, Arrival & Blade Runner make extensive use of flashbacks to rearrange the story into a 3 Act structure that reveals more as it moves forward, instead of Dune which sets the stage for a good amount of time before action ever starts. A Hollywood film can't wait that long to get into action, as the failure of the 1984 film attests (the gom jabbar and hunter-seeker scenes are really too small of action for Hollywood).
Group shots of tension-filled waiting for action are a favorite of Villenueve; the border scene in Sicario or the alien introduction in Arrival or the opening scene of Blade Runner 2049. In Dune these will be the political dinner at Arrakeen (eliminated from 1984 film) and the sand crawler rescue/escape, as well as back-ending the betrayal of Yueh and invasion by the Harkonnens so there is more waiting to find out what is about to happen than step-by-step moments of the fall of the house of Atraides.
How Annihilation fits in: the film is much too metaphorical to have a direct correlation to Dune 2020, but the hallucinatory scene at the end should have some relation to Paul's revelation in the desert that he is the Kwisatz Haderach and eventually to his drinking of the water of life (Jessica's revelation too). Villenueve cannot ignore the influence of Joderowsky on the public perception of Dune, nor Herbert's intention, to "awaken" the moviegoing public with visuals that exemplify Paul's precognition. I would expect nothing less than a full on mind-bending CGI scene and intense, molar-rattling bass, droning film score in these revelatory scenes. If you haven't seen Annihilation (a film buried by the studio upon release in 2018) I highly recommend it for the good film that it is and the utterly insane mind-fuck of an ending (and Oscar Issac).

Storytelling: This is going to make a lot of Dune fans howl, but I believe that Dune 2020 will play with the structure and plot of the book a LOT. As above, I imagine that Villenueve will use a non-climax climax, elevating a part of the book to climactic finery that will make hardcore fans go "That's not even important!"
I also believe that most of the first 1/3 of the book will be broken up and used as flashback, so that the film starts with Paul on Arrakis (possibly already after the fall of Atraides) and goes through scenes of his learning to be a Fremen as it flashes back to formative moments with his family and house vassals.
Remember! This is supposed to appeal to the larger audience of ppl who don't know what the hell Dune is, and a lot of ppl will be watching the film for Timothee Chalamet, Jason Momoa, Oscar Issac etc, having never read or even heard of the book. Sorry, not sorry. It will be a visual marvel anyway.
I can see Paul in the desert, having conversations w Jessica, meeting Stilgar & Chani for the first time, interspersed with his old life. He will be waterfat in the flashbacks, look longingly on time with the Duke, and see how he could have seen the the betrayal coming if only he noticed the signs at the time. Much gnashing of teeth and coming to terms with his newly acquired prescience.
Watch The King to see Timothee Chalamet gnash his teeth at having to take on a mantle he is not prepared for, and stand up to overwhelming odds, and if you'd like to see how Robert Pattinson could've been a great Feyd-Rautha.

Characters: There is not a lot of the Duke, Gurney, Idaho, Keyes, and Jessica together in the book, but there are some parts and I believe this will be played up as ensemble scenes similar to the archetypes in The Wild Bunch. If you've never seen The Wild Bunch (1968) it's $1.99 rental on prime, and is one of the films that built our modern visual language. director Sam Peckinpah does great things and I believe I can see the influence of him on Villenueve as much as I can see it in Scorsese or Spielberg.
Look for these ensemble scenes to play out like similar ones in Sicario, with hidden objectives and deep meaning to every word spoken. Despite Paul being the main character, I think that Villenueve will have moments of deep focus on the heroic, tragic character of the Duke similar to the aging outlaw with a heart of gold (Pike Bishop) in The Wild Bunch.
The Wild Bunch ends in a riotous, tragic, violent battle, one of the most iconic scenes in film history. The fall of House Atraides may very well end up being a fight to the death that bears similarities.
The relationship between the protagonists in The Wild Bunch and their many enemies, the corrupt Mexican warlord Mapache (Harkonnen), small Mexican town Agua Verde they try to help (Fremen), the US Army (Spacing Guild), and vigilante group on their heels (Emperor) will not be direct correlations to Dune 2020 and it's many factions, but the interplay of the protagonists and their shifting relationships with the various groups does remind me of Dune's complicated plot.

Revelation: All three Villenueve films I watched depend on a very late revelation upending the plot. I feel that this was a directorial decision, otherwise he chose screenplays that specifically do that, in which case my point is the same. There will be a last second revelation to this film. It may be a flashback, and it won't be a surprise to anyone familiar with the book, but it will be pushed out of it's usual place in the story line to fit the director's vision of a way to throw the audience into tumult. The flip in Sicario I never saw coming. The one in Arrival made the whole film into a circle instead of a linear timeline. The revelation in Blade Runner 2049 laid bare what had been in front of the audience the whole time, and stripped away the stereotypical Hero's Journey.
Whatever it is, the folks from dune will scoff and holler DUH! and everyone else in the audience will be completely surprised.

Second film: If Dune 2020 does well, and there are a hell of a lot of factors that say that it won't, then we'll get a second Dune film to finish the tale of Muad Dib's conquest of the universe. If theaters aren't open due to a second Rona wave, if the appetite for sci-fi fi blockbusters has waned, if it just isn't good, then we will never get the second half of Dune. That will suck. Does Villenueve know this? Does he think he has to leave it on a cliffhanger, or that he wants to make a satisfying stand alone of the first half of the book?
Think about the Lord of the Rings; those plots were twisted, scenes added and the whole thing played to make big bucks. Peter Jackson (hat tip u/VeryFrenchNut for correction from Del Toro) for sure had studio execs breathing down his neck to make it palatable to everyone... and his own desire to universalize the story. Did it work? Mostly. Did he twist around the story into knots? Absolutely. And the hardcore fans (mostly) still loved it because they got to see their fav characters doing their things and amazing visuals.
Dune 2020 is going to be a stand alone. I don't think Villenueve would do anything as terrible as Mortal Engines or Alita: Battle Angel in terms of dropping hard hints that another film was coming (and because the films tanked it won't). I believe that he will wrap the film into a cohesive whole and tell more than half of the film with the implication being that the rise to take over Arrakis is imminent. That sounds like a satisfying ending. To end with the fight with Jamis feels too small of a climax, and to end with Paul and Jessica escaping to the desert feels too much like if Empire Strikes Back was the first film of the Star Wars og trilogy. Dune is not getting a second chance, so I wouldn't expect it to end on a down note. Only sequels get to do that (specifically #2 out of 3).
The second half of Dune (if it is greenlit) can be a whole epic of the battle for Arrakis. It can have added scenes of the deepening of Chani & Jessica's relationships with Paul. Paul remeeting Gurney can be stretched out. Paul & Stilgar jockeying can become a whole political subplot. It can have hallucinatory moments (hell it can even knock out Paul for the whole middle of the film after he drinks the water of life and only revive him for the end) that can bring up scenes from Dune Messiah or even later books or Brian's backstory elements from the Butlerian Jihad.
I think Dune 2020 will be awesome. I want to see it in the theater, on opening day and then again later. But will we get the chance? Will Rona spoil Christmas? I hope that they release it streaming then, because a ton of films are already being pushed back and we may not get to see Dune 2020 until it is Dune 2022. That would suck. And the chances of a second film happening diminish if the release is pushed back, both because the studio won't make money yet on this film, and because the studio will continue to bleed money as theaters are shuttered.

tl;dr - watch the films mentioned above to get a grasp on what Dune 2020 might be like. Only theories here, I have no insider info.
submitted by morrisseycarroll to dune [link] [comments]


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