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This movie is like 30 Years old and I swear that was Steve Carrell lol *Twilight Zone Theme*

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User Image blacknform Posted: Nov 18, 2017 10:05 PM (UTC)
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My disdain for Marvel's assembly line mediocrity should be well known by now. And despite the glowing reviews I ( though more hopeful than previous installments due to director Waititi's involvement) fully expected that I might end up feeling just as "Meh" as I had watching almost every other Marvel film. It was not to be.. I thoroughly enjoyed "THOR: RAGNAROK" and finally found a Marvel film that may stick with me for more than five minutes after I've seen it. To be sure Marvel is still Marvel, their villains are still painfully lacking, happy to be motivated by generic bloodlust, and mostly there to move the plot forward. But if any actor got close to creating a character out of nothing it was Cate Blanchett. She and Tessa Thompson for me were by far my favorite characters in the film. Sashaying lights through the tired fog of their character objectives, lifting themselves out of the quicksand of their dodgy motivations with histrionics, confident choices,and fevered allure. Chris Hemsworth as an actor improves with each film and this was his best iteration of Thor. Mastering the Norse God's stubborn arrogance, and child like charm. But it was director Taika Waititi who made the movie for me. The aesthetic, the score, the costuming, the framing, all made Thor stand out amongst its peers. For once a Marvel film appeared to feature the signature and distinct style of its helmer. The scene above a flashback battle between the Valkyries and Hela is one of the most stylistically audacious things I've seen on screen -outside of the "mirrors"scene in Winding-Refn's Neon Demon- this year. Thor featured a lot of Marvel's faults, banal plots, grossly underserved characters, and very little conflict of interest, but the actors, director, costuming, score and overall tone all felt like something I hadn't seen before, making it a delightful appetizer for Marvel's Black Panther which feels already like it's taking the next step in Marvel productions.
#directors #actors #writers #cinematography #score #filmgeek
User Image blacknform Posted: Nov 15, 2017 10:09 PM (UTC)
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I must say that I find little to nothing wrong with "GET OUT" being placed in the category of comedy in the Golden Globes. And the outrage at its placement points to a long history of comedy being treated like the red headed step child of filmmaking. Along with Sci-Fi (Inception) fantasy (Lord of the Rings) and Action Adventure (Raiders of the Lost Ark) . Comedy is no less fit to tackle the weighty subjects that compress and compromise our society than any other genre of cinema. Comedy has had a tradition dating back to ancient Rome of meaning to do just that. And in American cinema it has had a great tradition from more light hearted political satire like The Producers to darker work like Dr Strangelove. And Get Out runs the gambit between them all. Stephen Root's Obama loving mad scientist is obviously satire, as is the entire scene constructed around LaKeith Stanfields discovery at the house. It's a cinematic double entendre meant to be both political commentary on white fetishism of black bodies, as well as an almost farcical moment of levity poking fun at black men who code switch in white communities. Never mind every laugh out loud moment featuring comedian Lil Rell (Like at the Police station.) Get Out is in fact a Comedy in my opinion, and there is NOTHING wrong with that, nor does it make it any less an important and iconic film. Saying so only supports an attitude towards one the most important artistic endeavors available to humankind that needs to well... GET OUT.
#actors #directors #comedy #writers #horror #goldenglobes #hollywood #filmgeek
User Image blacknform Posted: Nov 15, 2017 12:38 AM (UTC)
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"A MONSTER CALLS" is a beautiful moving commentary on facing our own monsters and demons. The challenges of grief even before the process actually begins and the repercussions of ignoring them. In a lesser way it illuminates the ways in which young boys - sociologically conditioned to repress valuable emotions - violently act out rather than confront the issues that torment them, while on a much more visible level delivering a very important message (through the "Monster's" Fables) about the fallible and dichotomous nature of humanity. The philosopher John Bradshaw once said "Good and evil are really one, but we have broken them up in our consciousness, we have polarized them". A repeated theme of the movie is the idea of punishment as a cure all for aberrant behavior. The line " what good would that do" In response to a question of punishment is repeated more than once I believe to demonstrate that understanding and fixing can be as conducive an error mitigation as punishment... Especially for children. Director J. A. Bayona is proving to be a skilled director worthy of much more praise than he has received in his young stateside career. He understands the concepts most vital to storytelling whether horror or fantasy, while valuing both the emotional and technical intelligence of his audience. He rarely condescends thus far in his journey, and he has a patience and tenderness behind the camera akin to the man who introduced us to him Guillermo del Toro. It should serve him well in his future works as he learns to balance that singular patience with pacing (maybe my one issue with this movie and his previous effort "The Orphanage"). A Monster Calls is a great and frankly underrated fantasy film that will restore your faith in modern filmmakers ability to tell moving stories without cinematic platitudes, Liam Neeson, and well... Humanity.
#directors #actors #writers #cinematography #faith #grief #filmgeek
User Image blacknform Posted: Nov 13, 2017 7:06 AM (UTC)
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Congo is one of those movies that shouldn't work (and maybe doesn't to plenty of people) but does. Most of the reason being a stellar cast in a mostly mediocre film. Ernie Hudson, Tim Curry, Laura Linney, and Joe Pantaliano all make worthwhile, funny to vibrant appearances in this incongruous action sci fi adventure. But it's DelRoy Lindo who for a few minutes steals the show with one of my favorite lines ever as a greedy corrupt official. The cadence, the not quite right accent, the commitment puts the entire scene including all of Curry's reactions firmly in at least the vicinity of realm of camp. Its pure ham and I love it, just in time for Thanksgiving. Watch Congo and try to have as much fun as the actors seems to have.
#actors #directors #quotes #hilarious #filmgeek
User Image blacknform Posted: Nov 11, 2017 4:35 PM (UTC)
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Happy #VeteransDayWeekend2017 to all my fellow veterans out there. Be well, live long, and try to your damndest to end suffering not add to it.
#Veterans #thanks #love
User Image blacknform Posted: Nov 11, 2017 2:50 AM (UTC)
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I mostly liked Stranger Things season 2. But one part that got under my skin as I explained on twitter was Winston Zeddmore being slandered by his traitorous own Godson Lucas lol When righteously questioning why he had to be pigeonholed as Winston (For obvious racist reasons) for Halloween when he wanted to be Peter Vankman.. Lucas goes on a damn near libelous tangent about Winston being lame, instead of sticking to the part about how you know racist it was. HOW.. DARE.. YOU, you ungrateful, half moon halffro rockin little bill looking gym sock kisser! Winston Zeddmore is dope AF I always wanted to be him. He had arguably the best line in movie, stood on his own ground, liked "Jesus's style" and was profoundly black and unapologetically Ernie Hudson in a part written for Eddie Murphy in which he couldve easily tried to be some lame clone. I tolerate NO Winston slander round these parts so in the words of the great philosopher detective Mike Lowry "Fuck you, Fuck them (Stranger Things writers) and fuck errrrrrybody who got a problem with Winston Zeddmore!! #actors #writers #erniehudson #ghostbusters #blackheroes #strangerthings #filmgeek
User Image blacknform Posted: Nov 9, 2017 4:29 PM (UTC)
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While obviously the right choice I'm not about to praise the producers or Ridley. These rumors existed when you casted Spacey, and point of fact you kind of had to exorcise Spacey from the film or face almost certain failure both commercially and come awards time. Word is Christopher Plummer who is now replacing Spacey was Scott's original choice, but the producers wanted a bigger name. Maybe it was a losing battle, but between this and his "Mohammed such and such" gaffe for a director of Scotts clout he doesn't seem to be able to take much of a stand for anything.
#directors #hollywood #abuse #actors #filmgeek
User Image blacknform Posted: Nov 7, 2017 3:43 PM (UTC)
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User Image blacknform Posted: Nov 6, 2017 4:39 PM (UTC)
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Of all the things I miss most in film today, "A sense of wonder" may be the most sentimental to me. As a child the movies I watched and loved made the world seem so big to me, so full of mysteries, and it's own brand of magic. Movies took me to worlds I couldn't imagine, and explored them with the same sense of awe and discovery that made me believe in the magic of this one. Before realism amd cynicism became the soup du jour, movies from Raiders of the lost Ark, to Labyrinth, the Never ending story, to The Goonies, and of course Star Wars indulged my imagination, and gifted me with an intense to desire not so much to solve mysteries as much as find new ones for the sake of finding them. In other words to never lose the sense that one is always learning. So I'm always overjoyed when for any amount of time I'm allowed to feel that again through film. I had not heard of "APRIL AND THE EXTRAORDINARY WORLD" at all before it was "Recommended" for me by Netflix and Im pretty disappointed that I didnt, what a pleasant surprise it turned out to be. A modern steam punk-ish, science fiction tale with a woman on a quest at its center, is successful on many narrative fronts but none as important to me as its ability to make the world seem both big and small, to in equal measure applaud and condemn science, while restoring the narrative power of the "quest". Beautifully animated it's as if someone merged Carmen San Diego and Raiders of the Lost ark with a dash of Sky Captain and the World of tomorrow. The voice work is top notch, the world building is sensational, and the story is spellbindingly imaginative. A map sprawling, science loving, family oriented adventure, that made me feel for a couple fleeting hours like we haven't figured it all out, like the world is still only as big as we can imagine it, and like something other than sequels and comic books can still function as a mode of delivery for fiction and storytelling a MUST SEE now on Netflix.
#wonder #magic #directors #actors #writers #animation #netflix #women #filmgeek
User Image blacknform Posted: Nov 5, 2017 4:05 PM (UTC)
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Okay so loving this Vogue Australia photo shoot with Cate and Chris. 🔥🔥🔥
#actors #vogue #photography #blackandwhite #thorragnarok #love #filmgeek
User Image blacknform Posted: Nov 2, 2017 4:10 AM (UTC)
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Atomic Blonde cements the Letich brothers single or together as being in possession of an uncanny talent for world building in my opinion. Using light, shadow, costume, and music to set a mood, tone and establish an experience. These up and coming storytellers have managed to create films that bring something new to a very old formula. In Atomic Blonde David Letich takes on the spy film and out of it spins a Neon, punk, Le'Carre film with style to spare. An outstanding soundtrack (maybe my favorite of the year ) featuring Bowie remixes, 80's new wave, and punk acts provides the baseline for a cool retro drive through various tropes of the labyrinthine world of espionage. And like those Bowie tunes the spy world to gets a punk pop culture remix. Nary a bow tie, or clean suit to be found in this film. It is the underground where espionage is undergoing the same culture revolution as is Berlin. And the Anti establishment sentiment meets at a crossroad of various thugs, hackers, spies, police, and artist. It's a colorful, damp, dirty, sexual revolution complete with a badass bi-sexual woman at the center of all the knotted drama and action. Acted with forceful restraint by Theron and backed up by an outstanding supporting cast who approach their roles with equal relish. It was one of the absolute best experiences I had watching a film this year from the visuals, to McAvoys repugnant charm, to the brutal and grisly choreography and stunts. One I feel stands equal to John Wick while being a wholly different film. I highly recommend.
#directors #storytellers #writers #actors #cinematography #choreography #music #80s #filmgeek
User Image blacknform Posted: Nov 1, 2017 10:41 PM (UTC)
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No One ever really dies. 🔥🔥🔥🔥🔥🔥🔥
#Nerd #Rihanna #Queen #fire #music #beats
User Image blacknform Posted: Nov 1, 2017 2:45 AM (UTC)
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Stanger things occupies an interesting place in my mind. It's not a very heady show, but its one that knows itself it's tone and heart. It masterfully manipulates our sentimentality for a decade in which a lot of us were children, using music, and aesthetic to drown us in nostalgia right down to the very tropes of that era of film and television. For better or worse, this represents both its strength and weaknesses. I would argue that a lot of the shows best moments are not part of any true emotional catharsis but in our sentiment for that era, and for a time we can no longer have back whether we lived it or not.....our childhoods. So I in some ways understand the backlash against the one off episode that in the smallest of ways upset that modus operandi. "The Lost Sister" follows Eleven & is one the few episodes I found to be about the emotional catharsis of the character not the audience. It was directed by a woman (Rebecca Thomas) and I think you can tell in how she finds a way to tease out the essence of sisterhood from the script that may not fully understand it. It's about what eleven a character needed to continue her journey and face a foe she might not have been ready for otherwise, not our insatiable desire for the story to ramp up. It's not about her getting new powers, it was about family, and eleven's continued journey into discovering that family is both everything we are told, and many things we are not. It's about knowing you're not not alone in this world and finding your same even if they are in fact very different. It was the one episode in stranger things I felt the most genuinely touched, and least manipulated, (though still within the context of stranger things) and I loved it. Linnea Bethelson was amazing I found her throughly interesting even though (Like a lot of characters in stranger things) her introduction was rather tropish. She made it hers. It reminded me of the "Thanksgiving" episode in "Master of none" maybe not in quality or execution, but in sensibility, and heart of what it was saying about each character and family, and in that for me it was a welcome break in energy.
#directors #women #writers #actors #netflix #tv
User Image blacknform Posted: Oct 30, 2017 12:31 PM (UTC)
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Soooo "Ingrid Goes West" is definitively in my top ten this year. And between this & her performance on FX's Legion Aubrey Plaza will soon follow. Ingrid goes West is a sly, intriguing , funny, and emotional (thanks to Plaza's stripped down, broken, thoroughly convincing performance). Director Matt Spicer's film communicates the peaks and valleys of social media interaction without being too on the nose about it. On an even more subtle level through its emotional center, and by connecting us to our antogonist rather than a protagonist ( which almost automatically wires us to infer villain and hero themes) it can make the audience aware of the harmful stigma of "crazy" and other over simplifications of struggling with mental illness. I look at the moment when Ingrid gives a heartfelt confession as to who "She really is" as a powerful moment in film where a character archetype so long maligned in movie history - from Fatal Attraction to Obsessed, and of course Single White Female- became something more... an actual human being. lngrid goes West accurately, honestly, and at times rather bitingly swipes, and affirms the open, energetic, supportive, but flimsy, superficial, insecure nature of millenial (Mostly) white hipster culture as it exist in LA. The speed in which we arrive at the honeymoon phase, the materialism constantly under disguise as something deeper, the continued social hierarchy in LA that looms ovsr every party, hashtag, follow count, and threatens all of our mental health in varying degrees. Ultimately Matt Spicer's movie is a must see film housing a must see performance (One of my favorites of the year) . Providing us- through a tight hour and a half plus change of charismatic performances- with the possibility to ask ourselves who "we" really are as every generation has before us- but now within the vacuum of the self in the ever evolving space of social media.
#directors #actors #writers #cinematography #filmgeek
User Image blacknform Posted: Oct 24, 2017 2:21 AM (UTC)
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Harvey Weinstein took his week long outpatient program "VERY SERIOUSLY...Hands to God!" Dr. Giggles was quoted as saying.....Gtfoh 😑😑😑
#Horror #reallife #harveyweinstein #women #men #power #change #gross
User Image blacknform Posted: Oct 22, 2017 9:29 PM (UTC)
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Me fighting my addiction to speaking without thinking ...."It be calling me Scotty!"
#newjackcity #thinkfirst #mindfulness #chrisrock #funny #truth
User Image blacknform Posted: Oct 20, 2017 7:23 PM (UTC)
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User Image blacknform Posted: Oct 19, 2017 9:49 PM (UTC)
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Mindhunter pt 2.
Mindhunter's other great quality is that it functions as an outstanding exposé on toxic masculinity. Whether implicitly, or explicitly, exposition, or inference the shows stance on masculinity runs parallel to that of its philosophical position on the "self" ...namely that it is a performance. Featuring "fuckboi's" like Holden, and strong silent types like Bill Tench, and the women who either navigate around their callous hubris, or suffer quietly under their boundless insecurity, or push back. The fragility of that performance and the ways in which it can be broken under scrutiny and duress often leading to the violence perpetrated by men onto more oft than not women. Mindhunter is not just a sound and agile referendum on masculinity though, it is also impeccably directed, and edited, the precise and vibrant cutting helping to stand in for the energy that might be provided by extended chase scenes,  gore, and gun battles. It is also written, and scored in a way that implies Fincher took notes during his collaboration with Aaron Sorkin in "The Social Network" (Another movie somewhat enamored with alienation and isolation in a society) . The show has a lot of the same discourse driven energy as the aforementioned. And Jason Hills score is like a chopped and screwed version of the kinetic ambient pacing of Trent Reznor, and Atticus Ross's score from the social network. The acting talent on display is as intellectual and nuanced as the series. Cameron Britton, (Ed Kemper) Jack Erdie (Richard Speck) and  Jonathan Groff (Holden Ford) are obvious standouts. But upon further review one will notice the subtle genius of  Anna Torv, and Holt McCallany, as Dr. Wendy Carr, and Bill Tench. These skilled players, and the talent behind them collaborate to create a compelling discourse on Identity and subsequently masculinity. The metta Performers of a performance draped in the soft dark hues of both the cinematography and the mind.
#Mindhunter #directors #actors #writers #cinematography #score #tv #filmgeek
User Image blacknform Posted: Oct 19, 2017 9:13 PM (UTC)
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Mindhunter pt 1.
David Fincher's Mindhunter is the spiritual kinfolk of both his earlier film Seven, and HBO's True Detective. Philosophical meditations driven by dialogue, procedure, character, and dread. But where I consider Seven a meditation on the urban decay, and True Detective, on procedure, Mindhunter is a meditation on exactly that ...the mind. More specifically the lines we need or feel compelled to draw between self, and the presentation of self. A Catcher in the Rye-esque contemplation on compartmentalization, and isolation complete with its very own "Holden Caufield" in the form of Holden Ford. The "feet tickler" subplot the metaphorical manifestation of the "The Catcher in the Rye"  Ford as the protector of innocence. Ford his cohorts, and in fact America is depicted as at odds with itself as a cultural shift in American values and identity leads to a frenzied  re-examination of the lines we draw between deviant behaviors and what is supoosedly normal. How we police these lines is a central concern of this show that deftly, organically, and most importantly successfully  interrogates it's audience as much as its subject matter to reflect upon the ways in which we protect ourselves from the ills and challenges of the act of identity in the ebb and flow of a constantly evolving  society. It is a nuanced, and weighted narrative that both seduces and repels us due to the fact that it forces us - much like the avatars we follow on this journey - to empathize with that which seems so far from removed from humanity and in that reflection notice the fragility of such indetifiers as good and evil, man and woman, and maybe the realization that the "self" is merely a "wizard" behind the curtains.
#netflix #mindhunter #philosophy #film #tv #self #seven #truedetective
User Image blacknform Posted: Oct 16, 2017 9:53 PM (UTC)
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One of the ways in which the horror genre has revitalized itself over the past few years is to again use the genre as a platform to confront , meditate, and comment on social issues or the human condition in general. This is not necessarily new , "Rosemary's Baby, They Live, Night of the Living dead, to name a few are widely considered the "woke" horror films of their time. But the frequency of this kind of subgenre is worth noting. From grief in The Babadook, to Racism in "Get Out", or the post apocalyptic paranoia in "It comes at night" this latest surge connects our superstitions and fears to our ability to harm and terrorize ourselves others in the stead of boogeymen, and demons. Ben Young's fantastic "The Hounds of love" does exactly this in a supremely confident, gripping debut. Focusing on the the murderous exploits of a Micky and Mallory of sorts in Australia, Young's debut film touches in some small way or another on Male fragility, the psychology of pedophilic abusers, the disposability of women's bodies through objectification, and posession. It is still mostly a well directed, well acted, thriller, but it's the subtle commentary that gives the film it's weight, it's magnetic power. That commentary and it's ability to be communicated is accomplished in no small part by the performances of the actors playing the tragically degenerate and desperate couple at the heart of the film. Especially Emma Booth as "Evelyn". In a role that requires a great deal of complex and dueling emotions she nails every single reaction, gesture, and gaze. Filling every frame she's in with a vivid and gut wrenching portrait of the ways in which women violently find freedom from the constraints of male desire. A victim of a predator, and contributor to her own self destruction and discovery. It was astonishing to watch, and backed by Young's directorial flourishes and her Co-stars , it made Hounds of love a harrowing, affecting, gritty, women-centric, tour de force of terror, and one of my best of the year so far.
#Hulu #directors #actors #writers #score #cinematography #women #filmgeek