Robert Pattinson 2019 Pictures, Photos & Images - Zimbio
Robert Pattinson On Kristen Stewart’s Marriage Interview ...
Robert Pattinson Joins Girlfriend, Suki Waterhouse, For ...
Robert Pattinson Celebrates 33rd Birthday With ‘Twilight ...
Robert Pattinson Kept His 'The Devil All The Time' Accent ...
In January 2019, Pattinson and Waterhouse were seen again walking together in London. That same year, the “Remember Me” actor opened up on his decision to keep his personal life private. There is a long tradition of British actors doing American southern accents, both good, bad, and plain weird. From Daniel Craig‘s Benoit Blanc accent from “Knives Out” and Jude Law in, well, anything he does. The latest actor to join this list is Robert Pattinson in “The Devil All The Time,” who took not only audiences, but even the crew by surprise with his high-pitched accent. 8442 Robert Pattinson pictures from 2019. Check out the latest pictures, photos and images of Robert Pattinson from 2019. Updated: November 16, 2019 Robert Pattinson Celebrates 33rd Birthday With Former ‘Twilight’ Costars, Girlfriend Suki Waterhouse. By Alexandra D'Aluisio. May 17, 2019. Click to share on Facebook (Opens in new window) November 7, 2019 9:47AM EST. Robert Pattinson: How He Feels About Kristen Stewart Saying She Wanted To Marry Him. Joanne Davidson/Shutterstock. View Gallery. 6 Photos. ... 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 ...
I watch a horror movie every day, here's everything I watched in August
2020.09.18 13:52 nextzero182I 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.
2020.09.16 13:37 finnagainsAn interview with Michael Fitzgerald, producer of 'Waiting for the Barbarians'
Two weeks ago, we posted a review of Waiting for the Barbarians, ( https://redd.it/imdvcy ) the film directed by Ciro Guerra, from a screenplay by South African-born author J.M. Coetzee and based on the latter’s novel of the same title, published in 1980. The film, with important lead performances by Mark Rylance, Johnny Depp and Robert Pattinson, takes place on the borders of a 19th century “Empire.” The central figure is a Magistrate, a middling, lifetime civil servant, who becomes a witness, against his will, to increasingly savage repression by security police and government forces against the local, nomad population. Ultimately, he speaks out and acts in opposition to the violence, with severe consequences for himself. In our review, we suggested that Waiting for the Barbarianswas “a very strong film, painful at times to watch, and a thoughtful, devastating work of art, rare in our day.” We added that there was no way “to seriously interpret this film as anything but a searing indictment of imperialism, and American imperialism in particular. Indeed, it is hard to think of a more uncompromising indictment in recent decades.” I was recently able to speak with Michael Fitzgerald, one of the producers of Waiting for the Barbarians. As Fitzgerald explains in the conversation below, he has a history in movies extending back to the late 1970s. He first produced two films with John Huston, Wise Blood (1979) and Under the Volcano (1984), based on the 1947 novel by Malcolm Lowry, the latter of which was nominated for two Academy Awards. Fitzgerald subsequently produced The Penitent (Cliff Osmond, 1988), starring Raul Julia, Mister Johnson (1990) with Academy Award-winning director Bruce Beresford, and Blue Danube Waltz (1992) with well-known Hungarian filmmaker Miklós Jancsó. A partnership with actodirector Sean Penn resulted in their production of The Pledge (2001), with Jack Nicholson. In 2005 he completed both Colour Me Kubrick (Brian Cook), starring John Malkovich, about a conman who impersonates director Stanley Kubrick, and The Three Burials of Melquiades Estrada, directed by and starring Tommy Lee Jones. At the 2005 Cannes Film Festival, The Three Burials of Melquiades Estrada received the Acting Award for Jones and the Screenplay Award for Guillermo Arriaga. Fitzgerald also produced In the Electric Mist (Bertrand Tavernier, 2009). We spoke on the phone. Michael Fitzgerald: First of all, I wanted to thank you for your piece, because it was really well thought through and delicately written, and a lovely look at the whole thing. I was very grateful to see it, and so there you are. David Walsh: Thank you. Likewise, I’m deeply appreciative of the film and your efforts. Could you tell me something, if it’s not too daunting, about your life and background in film? MF: Summarizing very quickly, I grew up in Italy. My father [Robert Fitzgerald] was a poet—and translator—and he brought his family to Italy in the 1950s. All the children were sent to boarding schools to learn English, and I was sent off to a Benedictine Abbey in the west of Ireland called Glenstal Abbey. I went to University College Dublin for a year and then transferred to Harvard. By then my father was the Boylston Professor at Harvard and the family moved to Cambridge, Massachusetts, in the late 1960s. When I graduated in 1973, I went back to Italy to teach. I fell into screenplay writing and decided, along with my brother (who many years later wrote the screenplay for The Passion of The Christ), to strike out for Hollywood in 1975. That was a frustrating experience as you would imagine. So I decided that instead of sitting by the telephone waiting for someone to react to what we were writing—we didn’t know anyone when we went out there—I would try and pick something that I thought was extraordinary and go all the way through with it, just produce it, make it or get it made. I picked the first novel of Flannery O’Connor, Wise Blood . On the premise that I didn’t know anything and therefore I should go and work with the person who knew everything, I managed to get in touch with John Huston who by then had 40 movies behind him, and had been something of a legendary figure in Ireland when I was growing up. I somehow managed to find his number in Mexico, called him and he answered. I sent him the screenplay and he thought it was fabulous and asked me to come down to see him. I spent a week as his guest in Puerto Vallarta. Huston said he would stand behind me no matter what. And he did. It took me a couple of years to raise the money, frustrating years, but in the end I got the necessary amount to make the film, and he was there as he said he would be. Off we went. That started it all. DW: How old were you then? MF: When I first got to John Huston? 25. DW: Was that filmmaking experience an interesting and valuable one? MF: It was extraordinary. He was an extraordinary man. I decided then that I would never make a film with anyone else. If he had lived, I never would have. But he died [in 1987]. In the meantime, we had gone on to make Under the Volcano , a few years later. We were going to make a film called Mister Johnson, which I ultimately made with Bruce Beresford . It was something that John had wanted to do all his life, but for most of his lifetime making a film with a Nigerian lead would just have been impossible. DW: How did you develop the association with Tommy Lee Jones? MF: Oddly enough, Tommy Lee graduated from Harvard in 1969, the year I started there. He had done his senior thesis on Flannery O’Connor. I knew that when I went to cast Wise Blood, and he was one of the people I called upon to play the leading character. But then John and I preferred to go in another direction. I’ve known him since that time. We kept up with each other, and I had and have a great admiration for him as an actor and now as a director. I have produced two film which he starred in and directed, The Three Burials Of Melquiaeds Estrada and The Homesman . DW: You have a kind of family connection to Flannery O’Connor. MF: Yes, she lived with us in Connecticut while she was writing Wise Blood, oddly enough. She only went home when she had her first attack of lupus. She would have been about 21 years old at the time, and my parents eventually became her literary executors. DW: Can you speak about your association with John Coetzee? MF: It goes back a long time. Over the decades we became friends. I think he fully understands my devotion to his work, let’s put it that way. I adore his work, there’s no other way of putting it. It does something to me that very little, if anything else does. I identify profoundly with the human beings he has pulled out of thin air. He wrote a book called Life & Times of Michael K. That I would identify with Michael K, who is essentially a disturbed and even retarded black man wandering around Cape Town, South Africa, that I would identify with such a figure strikes me as rather bizarre, but it is, nevertheless, true. Ever since I read Waiting for the BarbariansI have wanted to make it into a movie. It’s been a north star in my life for almost 30 years. DW: Why that particular work? MF: At the heart of the story is an ordinary man. A Magistrate. I identify with him. He wants to steer away from trouble, he can see it coming, but doesn’t want any part of it. In the story, he rebels against the very empire he represents at great cost to himself. And I would wish for myself, as I would wish for most of us, that we too might have the courage to stand up, even at the cost of our lives, and say “I won’t do this anymore.” Someone said an interesting thing to me. He suggested that when the hammer comes up, and the Magistrate makes his quixotic move, that even the moment before he didn’t know he was going to do that. All the events in the film that precede this are a preparation for that act of rebellion, but the extraordinary thing is that even he doesn’t know what he’s about to do. Until that moment he rants and raves, he wants to clean everything up, he wants to get away from it all, all the things I imagine I would have wanted to do in his circumstances. DW: But it is unusual, and admirable, that the book portrays someone who does make that kind of decision. The vast majority of works today tend to do the opposite. MF: It’s the only thing that makes it interesting. DW: In 1980, what was Coetzee responding to, directly or indirectly? What was the driving force behind Waiting for the Barbarians? MF: I think his is a wide-ranging mind and informed by many things. Neither the book nor the film, for example, have anything do with apartheid in South Africa in that immediate sense. However, the remarks that are made by the young soldier to the Magistrate about what happened to the old man who “attacks” his interrogators and then is killed are the verbatim comments from the police report on the death of the activist Steve Biko in 1977. The police reported that Biko hit his head against the wall while he attacked them, that sort of nonsense. So the book and film are informed by that experience, by the behavior of “empire,” by all the things that governments have been doing since the beginning of time. DW: You speak about a 30-year effort to make the film. Could you give some highlights? MF: Well, it ranged from being very close to making it with Ben Kingsley and Tommy Lee Jones in 1993, to going with Werner Herzog to the Tian Shan mountains in 2000 above the Taklamakan Desert in western China, where we would have hoped to make the film with Werner directing it, to spending a month with John Box, the production designer of David Lean, from whom I’ve learned a great deal, in Morocco looking for locations, many of which we would end up using 25 years later. DW: Waiting for the Barbarians had a powerful impact and significance in 1980 or so, when it was written or when it appeared. Does it have a greater impact and significance, or a different one, in 2020, some 40 years later? MF: I think it’s just gotten closer, basically. Of course, it had a resonance certainly in the more enlightened places in the West, a kind of an intellectual resonance perhaps. But now it seems to be in our backyard, or front yard, or basement, first floor, second floor…and attic. It seems to speak to our best and worst angels very closely. We refer to the “Other” as “barbarian,” and we fear what we do not know, and we use that fear to keep control over others. There is little or no nuance to it, it is raw loathing and power-mongering, empire. Many of us live like the Magistrate in a wary relationship to it that power. We have been living the sunny side to it, but the dark clouds are there, they’re frightening and they’re very close to us. I spent a year at University College Dublin studying the Second World War and studying the history of Germany in the 1930s—that would certainly give one pause today. DW: Coetzee made all the changes from the novel to the screenplay? They were all his ideas? MF: My first thought when I met John was that I would never do this unless it was his writing of it. That’s what I was interested in. He wrote the screenplay in 1993. We only tweaked it very recently, but very little. DW: That’s interesting. He was writing things in 1993 that spoke very strongly to what would play out over the next 25 years. Mark Rylance in Waiting for the Barbarians (2019) MF: The world has been too much with us for a very long time. DW: I grant you, but that the last 25 years have witnessed a particular eruption of American imperialist violence. MF: That’s right. But I think part of the point of the book is that it’s always there underneath, something to be wary of. DW: Do you have any sense of how Coetzee views the present world situation? MF: He’s an 80-year-old man, in very good condition, but he’s slightly over 80. … I think he lives in his own world, I don’t think he pays too much attention to the contemporary world. Various things appall him, of course. DW: How did the film attract the cast that it did? MF: The only answer I’ve really got for you, is that it attracted them because it’s good. DW: Fair enough, but not all good scripts attract good actors. MF: Sometimes that is a failure of imagination on the part of the producer. That’s one of the things John Huston taught me. If you think you’ve got it, go for the biggest stars. Why not? As often as not, people love to be offered something they can sink their teeth into. In fact, it’s also really the best way to get actors for very little money, offer them something substantial. As I say, this is something I’ve done for years, and much to the joy of many actors who got to do things they wouldn’t ordinarily do. Mark Rylance is an incredible actor. I saw him in [Steven Spielberg’s] Bridge of Spies, and I thought, this is the guy. He was mesmerizing, you couldn’t take your eyes off him. I thought, I cannot fail to make this film while this guy is around. I have to do it with him. I’ve been thinking of Johnny Depp in the part of Col. Joll for, it seems, 20 years. I’ve known him for 25 years. He is one of the finest actors around. There is something in the character of Joll as written in the novel that gives you the sense that the man is doing what he has to do, but he would much rather be at the opera, in a pair of soft slippers, in a dainty costume and not doing all this terrible stuff. I thought that Johnny had that sort of delicacy that would make the character even more horrifying. He will take on any challenge as an actor, if you offer it to him. He doesn’t always have it offered to him. For both Rylance and Depp, it was a sensational experience. Mark Rylance learned a great deal from Johnny Depp, and vice versa. That is the way it ought to be. DW: What about the generally cool or even unfriendly critical reception? MF: I was expecting it, you know. If you look at everything else that’s being done—everything is so distracted and distracting, there’s a cut every two seconds, you’re being constantly dazzled. That seems to be the objective. We made a very deliberate choice to forgo that, not because we didn’t know how to do it, but because we didn’t think it was appropriate. We wanted to follow this man, to follow his awakening, to follow him right up until the moment he makes an irreparable choice. We needed to get him there, we couldn’t do it with razzle-dazzle. We needed him to explore, we needed him to put his fingers where the torture had taken place, to question what was going on. That can’t be done in two-second scenes. DW: I understand, but I don’t think it was only the stylistic issues that made the critics unhappy. It was also the content, the film’s anger, its outrage. MF: Of course, this is very uncomfortable. That’s why I did it. Because the source material made me uncomfortable. I’m pleased that you thought highly of the film, and we shall see what happens.
2020.09.14 15:16 _o-_o-oo_---_-o--_DISCUSSION: From 2019 to 2022, we will see eight different live action versions of Bruce Wayne / Batman
From 2019 to 2022 we will get eight distinct versions of Bruce Wayne / Batman
David Mazouz as a young Bruce Wayne in Gotham. He takes on the role of Batman in the series finale.
Iain Glenn as an older Bruce Wayne in Titans season two. While we don't see Glenn suit up in season two, Batman did appear in the first season played by a stuntman.
Dante Pereira-Olson as a child Bruce Wayne in Joker.
An unnamed stuntman appeared as Batman in a flashback on Batwoman season one. Additionally, Warren Christie debuted as Hush, a man who has had plastic surgery that makes him look identical to Bruce Wayne.
Kevin Conroy as an older, retired and crippled Bruce Wayne who has hung up the cape and become a homicidal fascist.
Robert Pattinson as a Bruce Wayne / Batman who is in the second year of his war on crime. This film will be the launching point for a new Batman centric shared universe.
Michael Keaton will reprise his role as Bruce Wayne / Batman from the Tim Burton Batman films in the upcoming Flash movie. There are rumors that Warner Bros want Keaton to continue in the role past The Flash.
Ben Affleck will return to his role as the DCEU version of Bruce Wayne / Batman in the upcoming Flash movie. Also, a new cut of Justice League will be released featuring his Batman. There are rumors of Affleck getting his own HBO Max series.
And that's not including Batman adjacent projects like Pennyworth, Birds of Prey, etc. What do you think of all these Batmans? Are there too many? Are there not enough? Is it weird that half these Bruces are senior citizens? Is there another twist on Batman you'd like to see that they haven't done yet?
2020.09.12 17:45 NotMarileeRT Rundown September 5, 2020 - September 11, 2020
Last Week This post lists everything Rooster Teeth has released from September 5, 2020 to September 11, 2020. The organization of this post follows the order of the links on the sidebar on the website. FIRST exclusive content is surrounded in asterisks ( *EXAMPLE*) while content that is currently exclusive but will be available publicly later is followed by an asterisks and the date in which it will be free (EXAMPLE*Free September 19th.) This does not include content that will lose exclusivity on the day this post is made (September 12th.) REMINDER: RTX at Home starts on September 15th (Tuesday) and runs until September 25th! The convention will be on RTTV.Here is the current schedule.Here is who's hosting each day.The panels will be archived and uploaded at a later point in time. NEWS:
2020.09.09 14:01 _o-_o-oo_---_-o--_[Film + TV] From 2019 to 2022, we will see eight different live action versions of Batman
From 2019 to 2022 we will get eight distinct versions of Bruce Wayne / Batman
David Mazouz as a young Bruce Wayne in Gotham. He takes on the role of Batman in the series finale.
Iain Glenn as an older Bruce Wayne in Titans season two. While we don't see Glenn suit up in season two, Batman did appear in the first season played by a stuntman.
Dante Pereira-Olson as a child Bruce Wayne in Joker.
An unnamed stuntman appeared as Batman in a flashback on Batwoman season one. Additionally, Warren Christie debuted as Hush, a man who has had plastic surgery that makes him look identical to Bruce Wayne.
Kevin Conroy as an older, retired and crippled Bruce Wayne who has hung up the cape and become a homicidal fascist.
Robert Pattinson as a Bruce Wayne / Batman who is in the second year of his war on crime.
Michael Keaton will reprise his role as Bruce Wayne / Batman from the Tim Burton Batman films in the upcoming Flash movie.
Ben Affleck will return to his role as the DCEU version of Bruce Wayne / Batman in the upcoming Flash movie. Also, a new cut of Justice League will be released featuring his Batman.
And that's not including Batman adjacent projects like Pennyworth, Birds of Prey, etc. What do you think of all these Batmans? Are there too many? Are there not enough? Is it weird that half these Bruces are senior citizens?
2020.09.09 10:40 JAMESFAULKNERSSTop 10 Superhero Films of All Time
Everyone has their own lists, and everyone will have their own opinion. This list includes films that not only have a good story, staggering box office numbers, and mystifying visual effects but also a strong international appeal, even a global cult following, and most importantly, a strong villain. Here are our top ten superhero films of all time. 📷 Captain Marvel 2019 was a big year for Marvel. Not only were they able to garner over $3 billion at the box office, but they also introduced their first female superhero-Captain Marvel. The Brie Larson starrer was a film that preceded the Avengers: Endgame and sort of had a similar job that Black Panther had for Avengers Infinity War. No question about Larson’s acting prowess but there are very few who consider the film better than Wonder Woman. Even Marvel fans weren’t too excited about Larson, someone like Emily Blunt would have certainly made them appreciate the film more. Furthermore, Larson’s endeavor to connect the film with her activist movement didn’t help the film’s PR strategy. As a result of this, there isn’t much excitement about the sequel of Captain Marvel. Man of Steel Zack Snyder’s 2013 film was pitched as a film that will reinstate Superman as the most powerful superhero in pop culture and announce the arrival of the DCEU (DC Extended Universe), aka Justice League franchise, at the box office. The film was reasonably successful because of the visual spectacle, Henry Cavill’s persona, and Hans Zimmer’s deeply engaging soundtrack. However, lackluster villains, no proper planning, and abysmal editing in film’s sequels led to the eventual downfall of DCEU. DC is in the rebuilding phase after the shocker of the Justice League and is looking forward to bringing the franchise back on track. Thor: The Dark World The second film in the Thor franchise was the final film that Natalie Portman did with MCU before she parted ways citing creative differences. However, she will return as Jane Foster almost after a decade with the fourth installment of the Thor franchise (Thor: Love and Thunder) The film gives more insights on Asgard than the first film, and although it could be criticized for utilizing scientific annotation in a wrong way the cinematography, action, and the acting of the ensemble cast makes the film worth a watch. Wonder Woman 2017 blockbuster directed Patty Jenkins remains to this day arguably the best film of the DCEU franchise, and before that, there wasn’t anything really substantial in terms of fan appeasement. However, DCEU has been in the rebuilding phase, and with recent films like Shazam and Aquaman, there is so much to look forward to. The Gal Gadot starrer also has a sequel in line, which is gearing up for the October the 2nd release date. Avengers: Infinity War It broke the record of Avatar in a matter of days and remained the highest-grossing film of all time until, of course, its sequel was released. Avengers: Infinity War is famous for his powerhouse of stars, visual effects, and Josh Brolin’s dominance as Thanos. The climax of the film is very dark and arguable will remain the darkest moment in Marvel film history for a long time. I mean, how dark can Marvel get? It’s not DC. This should be the threshold. Infinity War is an insane film, and I mean the literal word-insane. Ten years before, if somebody had mentioned an idea like this, he or she would have been called nuts. The film should have been impossible to make, but it happened, and for it to happen, several blockbusters had to be made in order to set up the events in Infinity War. The sheer audacity and the strategy involved to create a franchise like this is nothing short of a work of genius. Doctor Strange It was the second film in phase 3 of the Marvel Cinematic Universe and starred Sherlock star Benedict Cumberbatch in the titular role. Doctor Strange possessed both magic and intelligence, and this origin film firmly established Cumberbatch’s prominence in Marvel’s plans for the future. He is arguably the frontrunner, along with Brie Larson, to take the place of Robert Downey Jr as the face of the franchise. Batman (1989) Tim Burton’s film was the first installment in the Batman franchise, which slowly but surely lost its way with its sequels. The film had Michael Keaton starring as Batman and Jack Nicholson as the Joker. The film explored Batman’s early days (which Matt Reeves is also planning to do) and his rivalry with the supervillain Joker. The film was critically approved and attained commercial affluence. Despite the likes of Christian Bale, Ben Affleck, and Robert Pattinson donning the caped crusader suit years after, Michael Keaton has remained one of the most beloved Batman actors. But as a fun fact, there were voices at that time that said nobody could surpass Jack Nicholson’s Joker. Not to doubt Nicholson’s virtuosity, but the voice turned out to be wrong…the point, which we will address with the first ranked film in our list. The Dark Knight Rises Although it is regarded as one of Christopher Nolan’s weakly written scripts, the soundtrack, cinematography, sequence, and the acting done in the film are top-notch. Nolan reluctantly agreed to do this film and finally bid adieu to the Batman franchise as a director. The film perfectly ended the story of Bruce Wayne and gave the possibility of continuation through Robin’s character, but the franchise hasn’t been touched upon ever since. It ranks on 12th position in the highest-grossing films of all time and is Christopher Nolan’s highest-grossing film ever. Nolan co-wrote the script of the film along with his brother Jonathan and David S. Goyer. Just like its prequel, the focus was mainly on the visuals and the story and less on the action. V for Vendetta It’s not so much of a superhero film, but it is one of the rare films ever made. V for Vendetta was a DC film based on the 1988 storyline of a limited series of the same name from DC Vertigo comics. The film starred Hugo Weaving and Natalie Portman in lead roles. The film is filled with symbolic significance, acting brilliance, and powerful dialogues. Portman won a Saturn Award for this film and it is one of her best performances. The Dark Knight The 2008 film directed by Christopher Nolan is arguably one of the best films ever made. The film is always held in juxtaposition with the vintage film Godfather but the most surprising thing is that it wasn’t even nominated in the best film category at 2009 Oscars. The film holds the pedigree of not being just the best superhero film ever made but also the best crime thriller ever made. The ensemble cast of Christian Bale, Michael Caine, Heath Ledger, Maggie Gyllenhaal, Gary Oldman, Morgan Freeman, and Aaron Eckhart delivered a performance that is unfathomably difficult to recreate if not impossible to surpass. Conclusion So, here were our top 10 picks for the best superhero films of all time. There can be few honorable mentions that you would argue should have been there in the list itself such as Avengers: Endgame, Logan, Wolverine, Deadpool, Superman Returns, etc. Source-Superhero Films of All Time
2020.09.01 23:28 RodbyFrench accents in the 15th Century
I recently rewatched the film The King (2019) on Netflix and really enjoyed it. However one small thing that irks me is the Dauphine's (Robert Pattinson) accent. In the film it is portrayed as a stereotypical modern French accent. However I was wondering if a French accent in the 15th century would be similar to the modern French accent? I know that old English did not sound at all like modern English, with different words and pronunciations, and so I assumed an old English accent would be different from a modern English accent. Is this true? And if it is, wouldn't old French accents be different from modern French accents? So my question is: Would the Dauphine in the 15th century speak English with a modern French accent? Or are older French accents different?
2020.09.01 13:55 RELFantasticMaize2My 18 year Generation Theory based on Cultural, Historical, and Technological Events
I decided to come back since this generation topic is just so interesting. Anyways, this is my generation theory. This will be my take on how I view each generation, based on 8 year pure cohorts and 10 year spectrums. Some of you may have seen a similar post like this in the past, as this is a repost, since I deleted the original post, with added notable people, and percentages of each generation. For those of you who have never seen the original post, in my opinion, I feel generations aren’t very clear cut and don’t evolve overnight. I don’t think people who are 15-17 years apart will share the exact same generation traits. I believe in 8 year solid cohorts, where the years that make up the quintessential part of the generation can be found. For Baby Boomers, it’s 1950-1957, for Gen X, its 1968-1975, for Millennials it’s 1986-1993, and for Gen Z, its 2004-2011. Everything else in between is a spectrum transitioning from one generation to the next. With these spectrums, every year, traits from the previous generation start to die off and new traits start to form, which would help lay the foundation for the next generation. With that out of the way, let’s begin: Soomer Spectrum 1940-1949Classes of 1958-1967 Last cohort to have any Silent traits, and the first to have any Boomer traits. They entered elementary school after World War II. They were all born after the introduction of the television. The first half were born during World War II and the last four years were born during the Baby Boom. They primarily spent most of their elementary school years and childhood during the post-war boom of the late 40s to mid 50s. The first half were born during World War II and the last four years were born during the Baby Boom. They are the 40s babies, were the pioneers of the Hippie Movement, and were the primary group drafted during the Vietnam War. They are the children of Greatests and Greatest Losts. Famous people*: John Lennon, Bruce Lee, Nancy Pelosi, Chuck Norris, Al Pacino, John Lewis, Bernie Sanders, Bob Dylan, Jesse Jackson, Kim Jong-Il, Muhammad Ali, Joe Biden, Stephen Hawking, Paul McCartney, Aretha Franklin, Robert De Niro, Mick Jagger, Danny DeVito, Jerry Springer, Herman Cain, Vince McMahon, Bob Marley, Donald Trump, Dolly Parton, Freddy Mercury, Sylvester Stallone, George W. Bush, Bill Clinton, Cher, David Bowie, Hilary Clinton, Arnold Schwarznegger, Elton John, Samuel L. Jackson, Prince Charles, Ozzy Osbourne, Meryl Streep, Billy Joel, Lionel Richie, Ric Flair, etc.\* Pure Boomers 1950-1957 Classes of 1968-1975 Only cohort to have full Boomer traits. They entered elementary school after the Vietnam War began, primarily grew up during the rise of standard television, and entered high school after the Kennedy Assassination. The oldest year came of age in the year 1968, one of the most polarizing years in US history. The first half played a role in the Hippie Movement, as there was still a draft age, while the last couple of years came of age afterwards, but primarily spent most of their high school years and adolescence before the Disco era began. They are the children of Greatest Silents and Greatests. Famous people: Dr. Phil, Bill Murray, Stevie Wonder, Robin Williams, Ben Carson, Phil Collins, Kurt Russell, Vladimir Putin, Patrick Swayze, David Hasselhoff, Hulk Hogan, Tim Allen, Cyndi Lauper, Oprah Winfrey, Jackie Chan, Denzel Washington, John Travolta, Roddy Piper, Walter Payton, Jerry Seinfeld, Howard Stern, Bill Gates, Kris Jenner, Steve Jobs, Bill Nye, Tom Hanks, Bryan Cranston, Bob Saget, Larry Bird, Mel Gibson, Caroline Kennedy, Bret Hart, Bernie Mac, Steve Harvey, etc. Jones Spectrum 1958-1967Classes of 1976-1985 Last cohort to have any Boomer traits, and the first to have any X traits. They entered elementary school after MLK’s I have a dream speach, which ended segregation, and were the first to grow up with Saturday morning cartoons, and during the rise of color television. They graduated high school after the release of the Apple I, but before the Challenger Disaster. The first half played a big role in the 1980 election. The first seven years were primary demographic during the Disco/Punk Era, as most of the cohort spent their adolescence during that time, with the last three years spending most of their adolescence during the MTV Era. They are the children of Greatest Silents and Silents. Famous people*: Michael Jackson, Madonna, Ellen DeGeneres Simon Cowell, Magic Johnson, Weird Al Yankovic, Ultimate Warrior, Sting, Charlie Murphy, Dave Coulier, Mike Pence, RuPaul, Jane Lynch, Damon Wayans, Kathy Griffin, Tim Cook, Jean-Claude Van Damme, Sean Penn, John F. Kennedy Jr., Barack Obama, Princess Diana, Billy Ray Cyrus, George Clooney, Eddie Murphy, George Lopez, Ralph Macchio, Stephen Hillenburg, Michael J. Fox, Tom Cruise, Jim Carrey, Steve Carell, Steve Irwin, Michael Jordan, Johnny Depp, Brad Pitt, Whitney Houston, John Stamos, Lisa Kudrow, Kevin Chamberlain, Michelle Obama, Courteney Cox, Eazy E, Keanu Reaves, Stone Cold Steve Austin, Jeff Bezos, Robert Robert\ Downey, Jr., The Undertaker, J.K. Rowling, Dr. Dre, William Zabka, Chris Rock, Martin Lawrence, Charlie Sheen, Shawn Michaels, Ben Stiller, Scottie Pippen, Mike Tyson, Adam Sandler, Gordon Ramsay, David Schwimmer, Halle Berry, Janet Jackson, Rick Astley, Vin Diesel, Matt LeBlanc, Kurt Cobain, Will Farell, Julia Roberts, Jamie Foxx, Jimmy Kimmel, Mark Ruffalo, Eddie Guerrero, Chris Benoit, LaVar Ball, , etc.* Pure X 1968-1975 Classes of 1986-1993 give or take late 1967 to mid 1975 Only cohort to have full X traits. They entered elementary school after Nixon’s second term election, which lead to his resignation. They were the first years to grow up with the first blockbusters such as Jaws, the first major gaming consoles such as the Atari 2600, and the first movie franchises such as Star Wars. They graduated high school after the Challenger Disaster, but before the launch of the World Wide Web, and primarily spent their adolescence before the USSR Collapse. They spent most of their high school years and adolescence in the MTV era and were the primary demographic. They are the children of Soomers and Silents. Famous people: Will Smith, Hugh Jackman, Celine Dion, Tony Hawk, Kurt Angle, Terry Crews, Owen Wilson, LL Cool J, Tracy Morgan, Gary Coleman, Phil Lewis, Molly Ringwald, Jennifer Lopez, Ice Cube, Jay Z, Jennifer Aniston, Triple H, Paul Rudd, P Diddy, Matthew Perry, Mariah Carey, Melania Trump, Queen Latifah, Taraji P. Henson, Shane McMahon, Chris Jericho, Ted Cruz, DMX, Shawn Wayans, Tupac Shakur, Snoop Dogg, Elon Musk, Mark Walhberg, Winona Ryder, Dwayne "The Rock" Johnson, Notorious B.I.G., Eminem, Shaquille O'Neal, Sofia Vergara, Big Show, Ben Affleck, Marlon Wayans, Gabrielle Union, Paul Walker, Edge, Pharrell, Tyra Banks, Neil Patrick Harris, Seth McFarlane, Jim Parsons, Leonardo DiCaprio, Jimmy Fallon, Rey Mysterio Jr., Lil Kim, Derek Jeter, Nelly, Ryan Seacrest, Christian Bale, Boogie2988, Angelina Jolie, David Beckham, 50 Cent, Fergie, will.i.am, Drew Barrymore, Tiger Woods, Tobey Maguire, etc. Xennial Spectrum 1976-1985Classes of 1994-2003 give or take late 1975 to mid 1985 Last cohort to have any X traits, and the first to have any Millennial traits. They entered elementary school after Reagan was elected, which made our society more right leaning, they primarily grew up with gaming post-1983 with consoles such as the NES and SEGA Master System. The first half spent most of high school during the Grunge Era, and the second half during the Y2K era. They all graduated high school after the release of the World Wide Web, but spent at least most of it before 9/11. The first half of this cohort were hit by the Dot-Com Bubble, while the second half was hit by the Great Recession. They were the first years to serve in the Afghanistan and Iraq Wars. They are the children of Soomers and Baby Boomers. Famous People:Sia, DJ Khaled, Tiger Woods, Chadwick Boseman (RIP), Will Friedle, Fred Savage, Ryan Reynolds, Candace Cameron-Bure, Reese Witherspoon, Peyton Manning, Rick Ross, Chester Bennington, Blake Shelton, John Cena, Kanye West, Shakira, Tom Brady, Psy, Floyd Mayweather Jr., Brock Lesnar, Donald Trump Jr., AJ Styles, Jason Earles, Jerry Trainor, Jeff Hardy, Steve Aoki, John Green, Kobe Bryant, Ashton Kutcher, James Corden, Kenan Thompson, Usher, John Legend, James Franco, Rachel McAdams, Tia Mowry, Tamera Mowry, Zoe Saldana, CM Punk, Sheamus, Anthony Mackie, Manny Pacquiao, Kel Mitchell, Charlamagne Tha God, Tyrese Gibson, Kevin Hart, Adam Levine, Chris Pratt, Kourtney Kardashian, Pink, Aaliyah, Cooper Barnes, Heath Ledger, John Krasinski, Flo Rida, Rider Strong, Kim Kardashian, Channing Tatum, Ben Savage, Randy Orton, Macaulay Culkin, Gucci Mane, Ryan Gosling, TI, Christina Aguilera, Jake Gyllenhaal, Dolph Ziggler, The Miz, Swoozie, Beyonce, Britney Spears, Justin Timberlake, Chris Evans, Pitbull, Meghan Markle, Ivanka Trump, Danielle Fishel, Alicia Keys, Nicki Minaj, Lil Wayne, Dwyane Wade, Tati Westbrook, Jodie Sweetin, Keemstar, Anne Hathaway, Kelly Clarkson, Kate Middleton, Prince William, Roman Atwood, Chris Hemsworth, Nicki Bella, Carrie Underwood, Future, Mila Kunis, Scott Disick, Brie Bella,Khloe Kardashian, Eric Trump, Lebron James, Katy Perry, Scarlett Johansson, Avril Lavigne, Prince Harry, Ben Shapiro, Aubrey Plaza, T-Pain, Carmelo Anthony, Mark Zuckerberg, Lauren London, Christiano Ronaldo, Ashley Tisdale, Roman Reigns, Nipsey Hussle, J Cole, Lana Del Rey, Dean Ambrose, Anna Kendrick,etc. Pure Millennials 1986-1993 Classes of 2004-2011 give or take late 1985 to mid 1993 Only cohort to have full Millennial traits. They all entered elementary school after the launch of the first Nickelodeon cartoons, which lead to the rise of cable kids programming, and grew up during the Disney Renaissance. They primarily spent their childhoods after the launch of the World Wide Web, and spent at least most of their adolescence and high school years in a post-9/11 world. They were the cohort hit the most by the Great Recession. They began high school after Y2K, and graduated after the release of MySpace and Facebook. They are the children of Baby Boomers and Generation Jones. Famous people: Drake, Lady Gaga, Jenna Marbles, Raven-Symoné, Jeffree Star, Bruno Mars, Josh Peck, Drake Bell, Robert Pattinson, Ashley Olson, Mary-Kate Olson, Seth Rollins, Megan Fox, Lindsay Lohan, Lea Michele, Usain Bolt, Shia LaBeouf, Zac Efron, Lionel Messi, Blake Lively, Shay Mitchell, Michael B. Jordan, Naya Rivera, Anthony Padilla, Kendrick Lamar, Meek Mill, Kevin Jonas, Shane Dawson, Rihanna, Stephen Curry, Lilly Singh, Adele, Kevin Durant, Russel Westbrook, King Bach, Vanessa Hudgens, Blac Chyna, Lizzo, Pewdiepie, Taylor Swift, Chris Brown, Nina Dobrev, Daniel Radcliffe, Jason Derulo, Markiplier, Joe Jonas, Elizabeth Olson, James Harden, Carlos PenaVega, Logan Henderson, Corbin Bleu, Jennifer Lawrence, The Weeknd, Ryan Higa, Iggy Azalea, Machine Gun Kelly, Margot Robbie, Cash Nasty, Soulja Boy, Catherine Paiz, Sarah Hyland, Klay Thompson, James Maslow, Kendall Schmidt, Ninja, Ed Sheeran, Charlie Puth, Joey Graceffa, Amanda Cerny, Gabbie Hanna, Azzyland, Tyler the Creator, Fetty Wap, DaBaby, Quavo, Tyler Posey, Shailene Woodley, Jamie Lynn Spears, Emma Roberts, Selena Gomez, Cardi B, Cole Sprouse, Miley Cyrus, Austin McBroom, SSSniperWolf, Demi Lovato, Nick Jonas, Travis Scott, Dylan Sprouse, Mac Miller, Taylor Lautner, Ariana Grande, KSI, Zayn Malik, Niall Horan, Debby Ryan, Victoria Justice, Sofia Carson, Miranda Cosgrove, Lucas Cruikshank, etc. Zillennial Spectrum 1994-2003Classes of 2012-2021 give or take late 1993 to mid 2003 Last cohort to have any Millennial traits, and the first to have any Z traits. They entered elementary school after Columbine, which lead to kids becoming more sheltered. They primarily spent their childhoods in a post-9/11 world, witnessing our world becoming more mobilized. The first half were able to vote in the 2016 elections. They all spent most of their teens in the 2010s, which was half Millennial and half Gen Z culturally. They all graduated high school after smartphones surpassed flip phones in sales, but spent at least most of it before COVID-19. They are the cohort being hit the most by the COVID-19 Recession. They are the children of Generation Jones and Generation X. Famous people*: Justin Bieber, Harry Styles, Lil Uzi Vert, Camila Mendes, Meghan Trainor, Halsey, Caspar Lee, Madelaine Petsch, Lil Baby, Logan Paul, Kendall Jenner, Ross Lynch, Timothée Chalamet, Post Malone, Gigi Hadid, Queen Naija, Dua Lipa, Megan Thee Stallion, David Dobrik, Tom Holland, RiceGum, Lele Pons, Zendaya, Liza Koshy, Dove Cameron, Alissa Violet, 6IX9INE, Lili Reinhart, Noah Centineo, Kylie Jenner, Jake Paul, Lonzo Ball, Camila Cabello, Nash Grier, Bella Thorne, KJ Apa, Becky G, Jacob Elordi, DDG, Infinite, Kodak Black, Lil Yachty, Olivia Holt, Kira Kosarin, Simone Biles, Blueface, Shawn Mendez, XXXTentacion, Brent Rivera, Tana Mongeau, Juice WRLD, Peyton List, Mr Beast, Jaden Smith, Tfue, Liangelo Ball, China Anne McClain, Peyton Meyer, Bradley Steven Perry, Khalid, James Charles, Madison Beer, Karan Brar, Grayson Dolan, Ethan Dolan, Sabrina Carpenter, Cameron Boyce, NBA Youngboy, Lil Nas X, Joey King, Addison Rae, Baby Ariel, Lil Pump, Jace Norman, Woah Vicky, Joshua Bassett, Kiera Bridget, Noah Cyrus, Willow Smith, Haley Pham, Meg Donnelly, Griffin Gluck, Dixie D'Amelio, Billie Eilish, Noah Beck, Emma Chamberlain, Morgz, Chloe Lukasiak, Nia Sioux, Rowan Blanchard, Isabela Merced, Hannah Meloche, Caleb McLaughlin, Lamelo Ball, Jacob Sartorious, Chase Hudson, Loren Gray, Maddie Ziegler, Asher Angel, Finn Wolfhard, Gaten Matarazzo, Skai Jackson, Jenna Ortega, Malu Travejo, NLE CHOPPA, Lil Tecca, Cash Baker, Matty B, Johnny Orlando, Sophia Grace Brownlee, Lizzy Greene, BhadBhabie, Olivia Rodrigo,etc.\* Pure Z 2004-2011 Classes of 2022-2029 give or take late 2003 to mid 2011 Only cohort to have full Z traits. They all entered elementary school after Obama was elected, which made our society more left leaning, and after the Great Recession ended, but before Trump was elected. They spent at least most of their childhood and elementary school years after smartphones surpassed flip phones in sales, but before COVID-19, and they will be spending at least most of their high school years and adolescence in the COVID-19 and post-COVID-19 world of the 2020s, and will all likely graduate high school after the COVID-19 pandemic ends. They are the children of Generation X and Xennials. Famous people: Aidan Gallagher, Charli D'Amelio, Annie LeBlanc, Mackenzie Ziegler, Millie Bobby Brown, Noah Schnapp, Lauren Orlando, Grace VanderWaal, Ellie Zeiler, Lebron James Jr., Sky Katz, Casey Simpson, Francesca Capaldi, Sofia Wylie, Addison Riecke, Mace Coronel, EvanTubeHD, Honey Boo Boo, Ella Anderson, Isaac Ryan Brown, Gianna Bryant, Rosie McClelland, Ruby Rube, Barron Trump, McKenna Grace, Ava Kolker, Adelia Rose, Mason Ramsey, Trinitee Stokes, Ariana Greenblatt, August Maturo, Elias Harger, Malachi Barton, Jason Maybaum, Hayley LeBlanc, Mia Talerico, JillianTubeHD, Gavin Thomas, Christiano Ronaldo Jr., etc, Zalpha Spectrum 2012-2021Classes of 2030-2039 give or take late 2011 to mid 2021 Last cohort to have any Z traits and the first to have Alpha traits. They entered elementary school after Trump was elected and will primarily spend their childhoods in a post-COVID-19 world. They will graduate high school in the 2030s. They are the children of Xennials and Millennials. Famous people*: Ryan’s Toy Reviews, Riley Curry, Blue Ivy Carter, North West, etc.\* There is also a 18 year patterns between Soomers, Jones, Xennials, and Zillennials. These spectrums first come of age during a tech boom, then an election, then a crisis, then a culture shift, then a major historic crisis. The first three years tend to come of age after, or spend most of their adolescence after a technology boom. 1940: graduated high school after the first digital phone line is developed. 1958: graduated high school after the release of the Apple I. 1976: graduated high school after the launch of the World Wide Web. 1994: graduated high school after smartphones surpassed feature phones in sales. 1941: graduated high school after the first automatic camera is released. 1959: graduated high school after the release of the PET. 1977: graduated high school the year Windows 95 was released. 1995: graduated high school the year tablets surpassed PCs in sales. 1942: graduated high school after the first laser is built. 1960: graduated high school after the world‘s first cellular network. 1978: graduated high school after the release of the Motorola StarTac. 1996: graduated high school after the release of the Samsung Gear. The fourth, fifth, sixth, and seventh years tend to come of age before an election, during a major crisis, or before the next generation’s culture is in full swing. 1943: graduated high school after Kennedy was elected. 1961: graduated high school before the Iran Hostage Crisis. 1979: graduated high school before Clinton’s Impeachment. 1997: graduated high school after the rise of ISIS and before gay marriage was federally legalized. 1944: graduated high school before the Cuban Missile Crisis. 1962: graduated high school before Reagan was elected. 1980: graduated high school before the debut of TRL and Columbine. 1998: graduated high school before Trump was elected. 1945: graduated high school before MLK’s I Have a Dream Speech and the Kennedy Assassination. 1963: graduated high school before the debut of MTV. 1981: graduated high school before Y2K. 1999: graduated high school before the US-China Trade War began and Parkland. 1946: graduated high school after the Beetles arrived in America. 1964: graduated high school after AIDS started. 1982: graduated high school before Bush was elected. 2000: graduated high school before the release of TikTok. The last three years tend to either spend most of their adolescence after a new president is elected, during another election, before a crisis, or come of age before or after a major crisis. 1947: graduated high school after the first American combat troops arrive in Vietnam. 1965: spent most of high school after Reagan was elected. 1983: graduated high school before 9/11. 2001: spent most of high school after Trump was elected, and graduated before COVID-19. 1948: spent most of high school after the Kennedy Assassination. 1966: graduated high school after the NCI announced they found the cause of AIDS. 1984: graduated high school after 9/11 happened. 2002: graduated high school after COVID-19 started, and after Trump’s impeachment. 1949: graduated high school before the MLK Assassination. 1967: graduated high school before the Challenger Disaster, but after the 1984 election. 1985: spent most of high school after Bush was elected, but before 9/11, graduated after the Iraq Invasion. 2003: spent most of high school before COVID-19, will graduate after the upcoming 2020 election, and could possibly be the last to graduate before the pandemic ends. How Baby Boomer, Gen X, Millennial, and Gen Z each year is: Late Silents1940 (Class of 1958): 10% BB, 90% S1941 (Class of 1959): 20% BB, 80% S1942 (Class of 1960): 30% BB, 70% S Prime Soomers1943 (Class of 1961): 40% BB, 60% S1944 (Class of 1962): 45% BB, 55% S1945 (Class of 1963): 55% BB, 45% S1946 (Class of 1964): 60% BB, 40% S Early Boomers1947 (Class of 1965): 70% BB, 30% S1948 (Class of 1966): 80% BB, 20% S1949 (Class of 1967): 90% BB, 10% S Core Boomers 1950 (Class of 1968): 100% BB 1951 (Class of 1969): 100% BB 1952 (Class of 1970): 100% BB 1953 (Class of 1971): 100% BB 1954 (Class of 1972): 100% BB 1955 (Class of 1973): 100% BB 1956 (Class of 1974): 100% BB 1957 (Class of 1975): 100% BB Late Boomers1958 (Class of 1976): 10% X, 90% BB1959 (Class of 1977): 20% X, 80% BB1960 (Class of 1978): 30% X, 70% BB Prime Jones1961 (Class of 1979): 40% X, 60% BB1962 (Class of 1980): 45% X, 55% BB1963 (Class of 1981): 55% X, 45% BB1964 (Class of 1982): 60% X, 40% BB Early X1965 (Class of 1983): 70% X, 30% BB1966 (Class of 1984): 80% X, 20% BB1967 (Class of 1985): 90% X, 10% BB Core X 1968 (Class of 1986/give or take late 1967-mid 1968): 100% X 1969 (Class of 1987/give or take late 1968-mid 1969): 100% X 1970 (Class of 1988/give or take late 1969-mid 1970): 100% X 1971 (Class of 1989/give or take late 1970-mid 1971): 100% X 1972 (Class of 1990/give or take late 1971-mid 1972): 100% X 1973 (Class of 1991/give or take late 1972-mid 1973): 100% X 1974 (Class of 1992/give or take late 1973-mid 1974): 100% X 1975 (Class of 1993/give or take late 1974-mid 1975): 100% X Late X1976 (Class of 1994/give or take late 1975-mid 1976): 10% Y, 90% X1977 (Class of 1995/give or take late 1976-mid 1977): 20% Y, 80% X1978 (Class of 1996/give or take late 1977-mid 1978): 30% Y, 70% X Prime Xennials1979 (Class of 1997/give or take late 1978-mid 1979): 40% Y, 60% X1980 (Class of 1998/give or take late 1979-mid 1980): 45% Y, 55% X1981 (Class of 1999/give or take late 1980-mid 1981): 55% Y, 45% X1982 (Class of 2000/give or take late 1981-mid 1982): 60% Y, 40% X Early Millennials1983 (Class of 2001/give or take late 1982-mid 1983): 70% Y, 30% X1984 (Class of 2002/give or take late 1983-mid 1984): 80% Y, 20% X1985 (Class of 2003/give or take late 1984-mid 1985): 90% Y, 10% X Core Millennials 1986 (Class of 2004/give or take late 1985-mid 1986): 100% Y 1987 (Class of 2005/give or take late 1986-mid 1987): 100% Y 1988 (Class of 2006/give or take late 1987-mid 1988): 100% Y 1989 (Class of 2007/give or take late 1988-mid 1989): 100% Y 1990 (Class of 2008/give or take late 1989-mid 1990): 100% Y 1991 (Class of 2009/give or take late 1990-mid 1991): 100% Y 1992 (Class of 2010/give or take late 1991-mid 1992): 100% Y 1993 (Class of 2011/give or take late 1992-mid 1993): 100% Y Late Millennials1994 (Class of 2012/give or take late 1993-mid 1994): 10% Z, 90% Y1995 (Class of 2013/give or take late 1994-mid 1995): 20% Z, 80% Y1996 (Class of 2014/give or take late 1995-mid 1996): 30% Z, 70% Y Prime Zillennials1997 (Class of 2015/give or take late 1996-mid 1997): 40% Z, 60% Y1998 (Class of 2016/give or take late 1997-mid 1998): 45% Z, 55% Y1999 (Class of 2017/give or take late 1998-mid 1999): 55% Z, 45% Y2000 (Class of 2018/give or take late 1999-mid 2000): 60% Z, 40% Y Early Z2001 (Class of 2019/ give or take late 2000-mid 2001): 70% Z, 30% Y2002 (Class of 2020/give or take late 2001-mid 2002): 80% Z, 20% Y2003 (Class of 2021/give or take late 2002-mid 2003): 90% Z, 10% Y Core Z 2004 (Class of 2022/give or take late 2003-mid 2004): 100% Z 2005 (Class of 2023/give or take late 2004-mid 2005): 100% Z 2006 (Class of 2024/give or take late 2005-mid 2006): 100% Z 2007 (Class of 2025/give or take late 2006-mid 2007): 100% Z 2008 (Class of 2026/give or take late 2007-mid 2008): 100% Z 2009 (Class of 2027/give or take late 2008-mid 2009): 100% Z 2010 (Class of 2028/give or take late 2009-mid 2010): 100% Z 2011 (Class of 2029/give or take late 2010-mid 2011): 100% Z Late Z2012 (Class of 2030/give or take late 2011-mid 2012): 90% Z, 10% A2013 (Class of 2031/give or take late 2012-mid 2013): 80% Z, 20% A2014 (Class of 2032/give or take late 2013-mid 2014): 70% Z, 30% A Prime Zalphas2015 (Class of 2033/give or take late 2014-mid 2015): 60% Z, 40% A2016 (Class of 2034/give or take late 2015-mid 2016): 55% Z, 45% A2017 (Class of 2035/give or take late 2016-mid 2017): 45% Z, 55% A2018 (Class of 2036/give or take late 2017-mid 2018): 40% Z, 60% A Early Alpha2019 (Class of 2037/give or take late 2018-mid 2019): 30% Z, 70% A2020 (Class of 2038/give or take late 2019-mid 2020): 20% Z, 80% A2021 (Class of 2039/give or take late 2020-mid 2021): 10% Z, 90% A And finally, here’s how this theory would work well with the early, core, and late model: Soomer Spectrum 1940-1949 (Classes of 1958-1967) Baby Boomers: 1945-1962 (Classes of 1963-1980) Early Boomers: 1945-1949 (Classes of 1963-1967) Core Boomers: 1950-1957 (Classes of 1968-1975) Late Boomers: 1958-1962 (Classes of 1976-1980) Jones Spectrum: 1958-1967 (Classes of 1976-1985 give or take to mid 1967) Generation X: 1963-1980 (Classes of 1981-1998 give or take to mid 1980) Early X: 1963-1967 (Classes of 1981-1985 give or take to mid 1967) Core X: 1968-1975 (Classes of 1986-1993 give or take late 1967-mid 1975) Late X: 1976-1980 (Classes of 1994-1998 give or take late 1975-mid 1980) Xennial Spectrum: 1976-1985 (Classes of 1994-2003 give or take late 1975-mid 1985) Millennials: 1981-1998 (Classes of 1999-2016 give or take late 1980-mid 1998) Early Millennials: 1981-1985 (Classes of 1999-2003 give or take late 1980-mid 1985) Core Millennials: 1986-1993 (Classes of 2004-2011 give or take late 1985-mid 1993) Late Millennials: 1994-1998 (Classes of 2012-2016 give or take late 1993-mid 1998) Zillennial Spectrum: 1994-2003 (Classes of 2012-2021 give or take late 1993-mid 2003) Generation Z: 1999-2016 (Classes of 2017-2034 give or take late 98-mid 16) Early Z: 1999-2003 (Classes of 2017-2021 give or take late 1998-mid 2003) Core Z: 2004-2011 (Classes of 2022-2029 give or take late 2003-mid 2011) Late Z: 2012-2016 (Classes of 2030-2034 give or take late 2011-mid 2016) Zalpha Spectrum: 2012-2021 (Classes of 2030-2039 give or take late 2011-mid 2021)
2020.08.31 11:38 skillshot181Tenet Will Not ‘Save’ Cinema or: How to Talk About the End of Cinema Without Reactionary Positing
After reading the reviews for Tenet, I wrote a critique for my website. I wonder what ya'll think. The full text is as follows: Most of the reviews for Christopher Nolan’s new film, Tenet, argue that its supposed to be the savior of cinema because its the first blockbuster release post-lockdowns. While they largely cite Nolan’s Washington Post op-ed from March, which correctly argues that cinemas are socially vital and need our help in hard times, the reviews naively suggest that a single film can combat a seventy-plus year decline in moviegoing attendance in the United States. After peaking in the late 1940s, American audiences have been attending the cinema less and less. The only way to combat this decline over the years was through the introduction of new technology that enhanced the uniqueness of cinema’s big screens and large auditoriums (CinemaScope, 3-D, Imax, etc.). Ever since cinemas closed following the COVID-19 pandemic, Tenet was almost guaranteed to lose a substantial amount of box office revenue whether good or bad. Most cinemas will be re-opening at less than half capacity with mandatory face masks, which sounds worse after seeing that Tenet runs at 150 minutes. But in reality, the recent switch to DTC streaming by the major film companies were the real harbingers of death for cinemas, especially with the announcement that Mulan will be released as a PVOD on Disney+. The lockdowns merely accelerated the transition, which is clear from the astronomical amount of subscriptions, the release of multiple new streaming apps, and the online-first release of several new films (Trolls World Tour, The King of Staten Island, etc.) in the last six months. In the end, cinema will survive. The difference now is that theatrical runs won’t be the initial move for a film’s release. As the separation between cinema and audiovisual entertainment deepens, so will the function of cinemas, which will increasingly become the home of Disney’s mega-blockbusters and the more niche genre films or celluloid productions that attract loyal audiences (e.g., Blumhouse horrors, auteur-directors including Nolan and Tarantino). [Full disclosure: I am a celluloid fanboy.] Those mid-budget comedies and dramas will find greater revenues from a PVOD/DTC release, which has already been happening for several years when Amazon Studios and Netflix began to corner the film festival market.
Positive v. Negative Reviews
Stepping back now to discuss Tenet, rather than discussing the particularities of why its good or bad, it would be more worthwhile to examine its reviews from the major media sites. The positive reviews are irritating for a number of reasons: lambasting the loss of cinema with Tenet as the gigantically gigantic metaphysical action thriller (yes this is actually from a review) messianic savior, using a line of dialogue from the first act as the way in which to watch the film (when Clémence Poésy’s character tells the Protagonist, “Don’t try to understand it, feel it”), utilizing the same thesaurus in which to describe it (head-scratching, dizzying, breathtaking etc., which are mostly likely the side-effects the reviewers felt from wearing a face mask for 2.5 hours), praising it for being ambitiously original in the franchise film era as if that alone makes a film good (see the initial reception of Heaven’s Gate), and finally, failing to using sarcasm when appropriately needed (see the Guardian review linked above). Not trying to understand a film is a great argument in favor of the schlocky franchise films of Marvel and Star Wars, which is exactly what most of these Messiah-complex reviews, failing to see past the ideology of ambitiously original productions, argue against. And they do so without a hint of sarcasm. Imagine the reaction from the late Roger Ebert after reading a review that ends: “It shouldn’t make sense. It doesn’t make sense. What it makes is amazing cinema. Wow.” Whether you agreed or disagreed with them, Ebert, Kael, and the greats had a strength in explaining a film’s deeper meaning. They championed the best part of experiencing a film, which is through the filmmaker’s (in Scorsese’s words) aesthetic, emotional and spiritual revelation. But instead, these positive reviews want you to turn off your brain and be wow’d: ‘Isn’t this time inversion thing pretty wow?’ ‘What about the story?’ ‘What story?’ These reviewers either sincerely believe that Tenet is on par with Memento, The Dark Knight, and Inception, or that providing a good review will ensure a steady flow of box office revenue for the industry they are inextricably linked to both personally and professionally. Either way, they simply fail at writing with any kind of truth. For all its technical joys, Tenet is not one of Nolan’s finest films for a number of reasons. The dialogue was dizzying (this new cold war being “ice cold”), the sound mixing/editing was head-scratching (why is the soundtrack playing over important dialogue, especially when the characters are wearing face masks and difficult to understand?), the acting is (in the words of my friend) straight from first semester film class (Pattinson was going for a Christopher Hitchens impersonation because, why?), the production design and shooting locations were literally all over the map without a coherent reason, and the story wasn’t engaging because it was unnecessarily difficult trying to understand the dynamics of time inversion. Without any characters providing the emotional edge to hinge on to, and no, Elizabeth Debicki’s character and her child that was on screen for 17 frames hardly counts, the traditional cinema of attraction turned into watching how much money a film production could spend without relying on much VFX (the answer: over $200 million). In short, if you take any of the positive reviews and read them as negative, there’s hardly a difference between the two: “It shouldn’t make sense, it doesn’t make sense,” indeed. Although many of the negative reviews of Tenet are more accurate (i.e., unsarcastic) in their descriptions, they too play the mad-libs game of thesaurus-sharing. The basic pattern is calling it a technical marvel but a narrative dud, which, again, follows the pattern of the positive reviews. The difference is that the former don’t find the technical achievements, for which there are plenty, good enough to outweigh its narrative dudness. I mostly agree with the negative reviews not because I find them more accurate in their criticisms of the narrative, acting, production, etc. (after all, films are subject to individual interpretations and feelings), I agree with them because they don’t lay claim to seeing Tenet/Nolan as the savior of cinema and still respect substance over style. They importantly argue that Nolan has potentially reached a creative inversion point, meaning his innovate cinematic career of fusing science-fiction with narrative theory is beginning to unravel:
Filmmakers should want to mystify. They should want to break your heart, leave you speechless or have you desperate to discuss what just unfolded in the pub down the street. They shouldn’t want to convince you of how smart and daring they are. Tenet is a bit like the myth whereby NASA spent millions of dollars on a pen that could work in zero gravity when the Soviets just used a pencil. Nolan should re-learn how to use a pencil. - Tom Duggins, CineVue.
In his appropriately terse review, Duggins argues that Tenet is Nolan’s “apotheosis of style over substance.” Unfortunately, this places the film squarely alongside the franchise films that the cinema originalists consistently disparage using Nolan as an example. To conclude, I generally sympathize with the cinema originalists and their quest of designating cinema as a special part of society, which is why I think its important to sharpen the critiques made in favor of films like Tenet (i.e., shooting on film, relying on directors/writers instead of producers, etc.). Film industry trends consistently ebb and flow without a standard through-line, so claiming a single film will save cinema is ridiculous unless that film/filmmaker flows from an industry-disrupting movement akin to the New Hollywood auteurs. Otherwise the critiques fall into religious, faith-based arguments, which is unfortunately more common than not. Although its easy to see the argument that Tenet could possibly be the Heaven’s Gate of today, Tenet won’t bankrupt a studio and Nolan’s reputation won’t be ruined. Where the comparison becomes relevant is that the film industry is experiencing an inversion point (sorry I had to), where films are increasingly becoming another form of content among many for both multimedia conglomerates and Big Tech. Heaven’s Gate/Tenet are instead symbols of change rather than its cause. Therefore, if we want cinema to retain a privileged position in society, we have to be honest in our critiques and understand the realities of industry-wide change, however grim they appear, without resorting to hero-worship.
2020.08.29 00:18 wreckedrhombusrhinoBooks similar to The Lighthouse movie
This is a black and white movie from 2019 with Robert Pattinson and Willem Defoe. It's a Gothic horror movie with fantasy elements, deals with madness (one of my favorite themes). It has some dark humor and a fucked up ending. If you haven't seen i suggest it but wanting something similar Edit: forgot to mention I've read quite a bit of Lovecraft so not him lol
2020.08.23 05:21 paran0idBoiRobert Pattinson is probably having the best redemption arc of any actor besides maybe Robert Downey jr, let's be real. How the fuck do you bounce back from Twilight and have one of the best performances of 2019 and become one of the coolest looking versions of batman
2020.08.20 01:32 MrJamerson2112The scene in 'The Lighthouse' (2019) where Willem Dafoe's character gives the sea curse to Robert Pattinson's character because he doesn't like his cooked lobster was shot in one single take. According to director Robert Eggers, Dafoe didn't blink for over 2 minutes🙏
2020.08.19 21:29 a-patrickIn The Lighthouse (2019) Willem Dafoe's sea witch curse on Robert Pattinson was filmed in one take. Dafoe didn't blink for 2 whole minutes. That's because he has no eyelids and wets his eyeballs with his tongue like a lizard. 🙏
2020.08.19 19:51 Marzipan_WhispersThe scene in 'The Lighthouse' (2019) where Willem Dafoe's character gives the sea curse to Robert Pattinson's character because he doesn't like his cooked lobster was shot in one single take. According to director Robert Eggers, Dafoe didn't blink for over 2 minutes🙏
2020.08.19 08:37 TanzimFaridThe scene in 'The Lighthouse' (2019) where Willem Dafoe's character gives the sea curse to Robert Pattinson's character because he doesn't like his cooked lobster was shot in one single take. According to director Robert Eggers, Dafoe didn't blink for over 2 minutes🙏
2020.08.14 22:13 RebornDarkLordWhat are your thoughts so far on race-swapping in The Batman? Do you think that it could change the movie/plot in any way?
I'm curious as to know how big of a deal making Catwoman and Commissioner Gordon black really is. I mean, will that have an effect on the actual movie/plot itself? Here are my thoughts on what Matt Reeves could potentially be doing: It seems like there is a political plot that will be present in this film, so is it possible that Matt Reeves will incorporate real-world (modern-day) scenarios into his film to add a layer of unique intricacy? Concerning the political issue, it looks like a "'mayoral candidate'" named Bella Reál will be played by a black actress named Jayme Lawson. Now, as far as I know, there doesn't seem to be many Batman stories that touch on the issue of racism in Gotham City - but, surely, it exists, right? As a person of color, Bella Reál knows what it's like to be a black woman, and that may shape her to have the issue of racism as the highlight of her campaign. It's also possible that she could be Barbara Gordon, Commissioner Gordon's daughter, and use Bella Reál as an alias. Maybe Commissioner Gordon is also struggling to get up to the level of commissioner due to his skin color? It seems like Warner Brothers is working on a TV show centering around the GCPD set in that Universe, so that (and the issue of racism) could be explored there. Also, maybe Zoë Kravitz's Selina Kyle is facing oppression as a minority group, similar to how Michelle Pfeiffer's Catwoman was facing oppression and being belittled/used due to her status as a "woman," and that shapes her to become Catwoman? It's rumored that Warner Brothers is working on a TV show centering around Catwoman set in that Universe, so that (and the issue of racism) could be explored there. If I really am correct about all this, then I wonder how "forced" that will feel; whether it feels unnecessary (and doesn't add much to the plot) or natural (and adds noticeably/significantly to the plot). As of the moment, I don't really like these decisions. For one, I wished it had been Bryan Cranston as Commissioner Gordon. He's a pretty popular fan-cast and I think he could nail an Arkham-esque/Telltale-esque Commissioner Gordon. He's also voiced Commissioner Gordon in the animated movie Batman: Year One, and so he already has some experience. I heard that he was offered the role in Justice League and turned it down (and probably would if offered again), but I think they could still have tried somebody else like Tom Selleck). I also wished they hadn't race-swapped Catwoman. My first pick would have been Kristen Stewart (I think her acting abilities have improved since Twilight) if it wasn't for the fact that she cheated on Robert Pattinson, but since that happened, I would have picked somebody else. However, as I said, I will keep an open mind and, perhaps, eventually come to terms with it. In essence, maybe while those choices were deliberate/intentional, they may not have been for "diversity," but rather to contribute to the storyline in an impactful and meaningful and profound way.
Hope you enjoy! Chapter One Man of Steel (2016) Director: Zack Snyder, Villain: General Zod, Hero: Henry Cavill as Clark Kent / Syperman Wonder Woman (2017) Director: Patty Jenkins, Villain: Ares, Hero: Gal Gadot as Diana Prince / Wonder Woman The Flash (2017) Director: Rick Famuyiwa, Villain: Mirror Master, Hero: Ezra Miller as Barry Allen / The Flash Aquaman (2018) Director: James Wan, Villain: Ocean Master, Hero: Jason Momoa as Arthur Curry / Aquaman Green Lantern Corps. (2018) Director: David Ayer, Villain: Atrocitus, Hero: Ray Fisher as John Stewart / Green Lantern The Batman (2019) Director: Matt Reeves, Villain: Riddler, Hero: Robert Pattinson as Bruce Wayne / Batman Justice League (2020) Director: Zack Snyder, Villain: Steppenwolf, Hero: The Justice League (SM, BM, WW, AM, GL, F) Chapter Two Wonder Woman 1984 (2020) Director: Patty Jenkins, Villain: Cheetah, Hero: Gal Gadot as Diana Prince / Wonder Woman The Suicide Squad (2021) Director: James Gunn, Villain: Deathstroke, Hero: Margot Robbie as Harley Quinn, Will Smith as Deadshot, Idris Elba as Bronze Tiger, Jai Courtney as Boomerang Fear the Batman (2021) Director: Matt Reeves, Villain: Scarecrow, Hero: Robert Pattinson as Bruce Wayne / Batman The Flash 2 (2022) Director: Rick Famuyiwa, Villain: Reverse Flash, Hero: Ezra Miller as Barry Allen / The Flash Shazam! (2022) Director: David F. Sandberg, Villain: Black Adam, Hero: Asher Angel & Zachary Levi as Billy Batson / Shazam! Aquaman: The Trench (2022) Director: James Wan, Villain: Black Manta, Hero: Jason Momoa as Arthur Curry / Aquaman Superman: Son of Krypton (2023) Director: Zack Snyder, Villain: Lex Luthor, Hero: Henry Cavill as Clark Kent / Syperman Gotham City Sirens (2023) Director: Cathy Yan, Villain: Black Mask, Hero: Margot Robbie as Harley Quinn, Zoe Kravitz as Catwoman, Ana De Armas as Poison Ivy Green Lantern Corps: Journey Into Fear (2023) Director: Andy Muschietti, Villain: Sinestro, Hero: Ray Fisher as John Stewart / Green Lantern New Gods (2024) Director: Ava DuVernay, Villain: Darkseid, Hero: The New Gods Justice League Part II Director: Zack Snyder, Villain: Darkseid, Hero: The Justice League (SM, BM, WW, AM, GL, F, S!)
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