Loveless film 2017

Films by Women Creators Coming To The Criterion Channel September 2020

2020.09.02 14:05 floy_floy Films by Women Creators Coming To The Criterion Channel September 2020

I made a list of the Films coming to Criterion Channel September 2020 by a Writer, Director, Editor or Cinematographer that is a Female Creator.
Let me know if I have mistakes or left anyone off, there were quite a few.
submitted by floy_floy to CriterionChannel [link] [comments]


2020.06.28 20:29 Thanos_Kun [Film/TV] Rewriting the DCEU; detailed plots for 46 original movies.

What's up everyone. I think most DC comic book fans can agree that the DCEU is divisive to say the least. Whether you love the movies, or hate them, I believe most people would agree that their worldbuilding was rushed and could have been better. Imo DC has a rich history that could have achieved the same amount of success as the MCU if they had a similar long term plan and continuity in leadership and vision. So about a year ago I set out to make my own DCU from scratch. This is NOT a rewrite of the existing DCEU; this is my own project. I would see other users doing similar things, but I would also see DC fans wishing for more detailed plots. So I did just that; every movie I made has anywhere from 2 paragraphs to 3 pages of plot details. For the sake of the length of this post, I shorted them to 1 paragraph for background and 1 paragraph of plot. If this blows up and people ask for the full movie versions, I will definitely do so. I plan to update this post to add a new movie every day until its finished. I'm about 85% finished writing plot outlines, so by releasing it at this pace I'll be able to complete my unfinished work in time.
I want to ask everyone to please be respectful. Like I mentioned I have spent a year working on this; my word document with the shorted plot summaries alone is 32 pages and almost 15,000 words. I am really proud of this and if you think it's trash that's completely ok, but please don't be unnecessarily disrespectful or rude. Also, while I am open to criticism, please make sure it makes sense. Yes, Nightwing deserves his own movie, but if I just posted Batman 1 and Dick Grayson was just introduced, maybe wait and see how I develop him before telling me what I should do with him. But I do want to know what you all think and I welcome your input. Also, I ask for you patience as this is my 2nd reddit post ever and I'm still getting used to the interface. That said, I'm really excited to share this with you all and I hope you have as much fun reading and discussing it as I did writing it.

Intro to My DCEU:
There are 9 phases in my rewrite, with 6 movies in phase 1 and 5 in each subsequent phase for a total of 46 movies. The movies are listed in chronological order as they occurred in the universe. Some movies take place over multiple years (especially origin stories) and the movie year listed refers to the year in which the movie ended. Ex: Batman 1's movie year will be 2024, though significant chunks of the movie will take place in 2020 - 2024. The timeline for the construction of this fictional universe was built around Bruce Wayne, who was born in 2000. Thus the timeline is set in the near future, with the story accounting for this. For example, it would make sense technologically for Oracle to be able to hack phones and speak to people using Siri. All movie titles are based on real comic titles, though that does not always mean the movie plot will mirror the comic plot (sometimes they just sounded cool.) Lore regarding deities, aliens, and magic systems have been tweaked to make a coherent story. Ex: Amazonians are descended from Greek gods and Atlantians are descended from Poseidon, the greek god of the sea. Some movies plots will very closely mirror existing movies and thus the length and detail will not be exhaustive. There are only a couple original characters.
Each movie will have multiple sections; it will list the protagonist(s) and their age(s), the antagonist, important characters, background lore and events relevant to the movie that the plot doesn't address directly, the movie plot itself, sequel tie-ins as post credit scenes, additional lore information, easter eggs, and author's notes. Storylines I drew inspiration from include but are not limited to the real DCEU, Teen Titans cartoon, Justice League cartoon, Young Justice, WB series, Batman Arkham series, Dark Knight trilogy, the MCU, and of course DC Comics, rebirth and new era both. Without further ado, let's jump right in.
PHASE 1 - ORIGINS
Phase 1 establishes the origin stories of the founding 6 members of the Justice League and sets the foundation for the cinematic universe of the DCU.
1944 - Wonder Woman: Paradise Lost
Protagonist – Diana Prince (Wonder Woman) (25 in human years)
Antagonist – Circe
Important Characters – Steve Trevor, Hippolyta, Ares
Background – In 2500 BC, Zeus moved the Old Gods from Mt. Olympus back to their original dimension and forbid that they interfere with humans. Ares defied him 3 times, in 400 BC when he endowed 300 Spartans with superhuman abilities, in 323 BC when he gave Alexander the Great superhuman powers, and in the early 1500s when he increased the bloodlust of western Europeans leading to colonization of the western hemisphere. Thus he was imprisoned in Tartaros, an alternate prison dimension bordering earth. In 744 AD, Queen Hippolyta gave birth to twin girls, Diana and Circe. She raised Diana as an only child while leaving Circe on Mt. Olympus to die on Zeus' order and against her own wishes, as a second twin was seen as a curse in Greek society. Circe was saved and raised in secret by Hecate, Goddess of Magic, and grew to hate her mother, her sister, and her father, Zeus. Ares, still imprisoned, contacted Circe to ask her to help him overthrow his father in exchange for his help in killing Hippolyta and Diana and installing her as queen.
Plot – Steve Trevor crashed on Themyscaria and meets Diana. He tells her of the 2nd World War and she is so moved she wants to help end it, despite never being able to return to Themyscaria if she leaves. She recognizes the power of Olympian magic and she and Steve infiltrate Nazi Germany, where they see Circe corrupting the Germans into Nazis. Diana defeats Circe, thus ending the spell, but Steve sacrifices himself in the process and Circe reveals she is Diana's sister. Traumatized by both of these events, Diana withdraws to Paris where she lives incognito.
Sequel Tie In - Circe tells Ares that she has failed, but he says she has done well. He tells her the energy he gained from WW2 has strengthened him considerably, and instructs her to find the Scythe of Chronos.
Lore – Amazons reproduce by mating once in their life with a lesser Greek god, but Amazonian Queens can mate with one of the 6 male Olympians; Zeus, Poseidon, Hades, Apollo, Hermes, or Hephaestus. In addition, Greek gods are not immortal, just long lived. For Greek gods 100 human years is the equivalent of 1 god year, and for demigods the ratio is 50/1.
Author's Note - I referenced the Greek gods as the Old Gods, and that was purposeful. The reasons why will be explained. Also, the 2nd twin was not actually seen as a curse in Greek history, but it helped push the story forward.
2024 - Aquaman: Throne of Atlantis
Protagonist – Orrin/Arthur Curry (Aquaman) (19)
Antagonist – King Orm (Ocean Master) (25)
Important Characters – Mera (19), Queen Atlanna, King Orvax, David Hyde, L’ucia, Jackson Hyde/Kaldur'am (cameo)
Background – Atlantian legend stated whoever retrieved the Trident of Poseidon was worthy of uniting the twin kingdoms of Xebel and Atlantis. In 1300 AD, King Kordax claimed to have retrieved the Trident and unified Atlantis and Xebel. In 1998, Princess Atlanna was forced into a loveless arranged marriage with now King Orvax. In 1999 she bore a son, Orm. Queen Atlanna accidently discovered the Trident is fake, and that dozens of Atlantian rulers have hidden that fact to legitimize their rule for centuries. When Orm was 4, Atlanna ran away for 3 years and had a son, Arthur Curry, by a fisherman. When she returned, Orm resented her for leaving him as his father blamed him for her disappearance, as well as guessing her whereabouts and nurturing a hatred for surface dwellers.
Plot – After King Orvax died mysteriously, Orm ascended to the throne and showed his cruelty by killing a Xebelian, L’ucia, for miscegenation with the human and declaring his plans to invade the surface world. Queen Atlanna sent her star waterbearing pupil, Mera, to find her youngest son. Together, Arthur and Mera brave the Trials of the Trench and defeat the Kraken to retrieve the real Trident of Poseidon. Arthur challenges Orm to single combat and wins, becoming King of Atlantis. He uses the Trident to strip his brother of his gills and live in the surface with their mother as penance and reconciliation.
Sequel tie-in – David Hyde looks at a picture of L’ucia and Jackson Hyde as his sadness turns to anger.
Lore – The twin cities of Xebel and Atlantis are the descendants of the demigod sons of Poseidon, making them cousins to the Amazons. Xebelius, the eldest, was the son of Poseidon by an African ocean deity, and possessed hydrokinetic powers. Some of his descendants possess a weaker version of this power as well. Atlan, the youngest, was Poseidon's son by a Norse ocean deity, and could control all marine life. Some of his descendants possess a weaker version of that power as well.
2024 - Batman: Year One
Protagonist – Bruce Wayne (24)
Antagonist – Carmine Falcone, Joker
Important Characters – Ra’s al Gul, Talia al Gul (23), Alfred Pennyworth, Lucius Fox, Jim Gordon, Selina Kyle (Catwoman) (23), Barbara Gordon (Batgirl) (18), Dick Grayson (cameo)
Background – In 2014, fourteen year old billionaire orphan Bruce Wayne arranged to attend a European boarding school, where he intended to commit suicide in his grief over the death of his parents. However, he realized he could not do it and instead ran away. For the next three years he traveled through Europe, Asia, and the Middle East, learning firsthand how to fight, steal, and avoid capture. He then learned of the League of Assassins, the descendants of the Hashashin, in the Middle East and traveled to their base in the Alborz mountains in Iran to learn from them. From 2017 - 2020 he trained alongside his best friend and fellow initiate, Talia. The night before the final initiation, Talia revealed her love to Bruce and they spent the night together, not knowing if they would survive the test. The following day after the initiation, Bruce was shocked to discover Ra's plans for world peace involved the culling of all those he deemed "corrupt". He also learned that Talia was Ra's daughter, and the past two years was her mission given to her by Ra's to see if Bruce could be his heir. Appalled at Ra's plan and hurt by Talia's deception, Bruce ran away.
Plot – In 2021 Bruce returns to Gotham to find that crime boss Carmine Falcone has filled the power vacuum in lieu of his parents and Gotham has become a cesspool of corruption and crime as a result. Over the next year, he retakes control of Wayne Enterprises, discretely requisitions the Applied Sciences Division with the help of Lucius Fox, and constructs the Batcave and his arsenal. In 2022 the Bat is born. For two years he wages war on Falcone, but he is inexperienced and his method of weakening Falcone's criminal empire allows a new anonymous crime boss to gain control and influence. In 2024, Falcone is indicted Bruce Wayne throws a celebration gala in honor of the victory against corruption. However, the Joker, the previously unknown crime boss who gained power as Falcone weakened, crashes the party and abducts Bruce Wayne. Before he can free himself, Bruce is saved by an young dual pistol wielding female vigilante, though Joker managed to escape. Bruce investigates her identity and discovers she is Gotham University freshman Barbara Gordon, daughter of police commissioner Jim Gordon. Upon confronting her as Batman, he learns she became a vigilante after the death of her college roommate in a turf war between the Joker and Falcone. Batman understands her plight and allows her to help him take down the Joker. They succeed, and Joker is sent to Arkham Asylum while Batman formally gives Batgirl a suit and takes her as his sidekick.
Sequel tie-in – Alfred suggests Bruce take a night off, and Bruce agrees and suggests they go to Haley’s Circus’s opening show in Gotham.
Lore – The final test involves inhaling the blue poppy’s vapors, which shows the users fragmented visions of their own future. Most are driven to madness by the visions. Ra's claimed the flowers only grew in that single cave, and that legends say that cave is where an ancient mystical helmet of Fate was forged, and its power permeates the flowers.
Author's Note - Bruce's vision upon inhaling the poppy was of himself as the ruler of the world. This greatly disturbed him, and convinced Ra's Bruce was a suitable heir. (Remember this vision, it comes full circle later.)
2027 - Superman: Last Son
Protagonist – Kal-El/Clark Kent (Superman) (23)
Antagonist – Lex Luthor (27), John Corben (Metallo)
Introduces – Martha Kent, Jonathan Kent, Jor-El, Lois Lane (25), Hal Jordan (cameo), Oliver Queen (cameo), Roy Harper (cameo)
Background – Clark Kent spent his first two years after high school taking classes at Smallville Community College before transferring to Metropolis University. He also got a paid internship at the Daily Planet that would become a full time journalist position upon graduation in 2026. Lois Lane was the youngest Washington Post chief White House Correspondent in history at 22, but after 2 years became bored and moved to the Daily Planet as an on-site reporter. Lex Luthor graduated from Metropolis University with 4 degrees and took over his father's company, Lexcorp in 2024. Lex immediately launched a new social media video sharing platform called Vine, and within 6 months it became a billion dollar company itself. However, due to lawsuits regarding data mining, breaches of privacy, and the collection of personal data without proper disclaimers, the app was shut down in a year. Lex distanced himself from the scandal and reinvested the profits, quadrupling Lexcorp's stock price and allowing him to expand into the consumer electronics, cybersecurity, and cyberwarfare fields.
Plot – After the initial culture shock of Metropolis and receiving advice from his parents and a holographic projection of Jor-El, Clark becomes Superman while juggling school and his internship in Metropolis in 2024. A few years later in 2026, Lois joins the Daily Planet and gets the first interview with the Superman when he saves her and her then boyfriend Lex Luthor from robbers while they are out at lunch. Her story sheds light on Metropolis' guardian, culminating in his being named Man of the Year and gaining Lex’s eternal jealousy. In 2027, Lex finds a chunk of Kryptonite, a chunk of radioactive material that emits enough radiation to power a city for a decade, without any toxic byproduct like fossil fuels or nuclear energy. His jealousy gets the better of him and he decides to use it to get rid of Superman. Lex convinces the family of Air Force pilot John Corben, who is in a vegetative state after being hit by a UFO, to donate his body for experimental cybernetic biotherapy. Corben is revived as a kryptonite powered cyborg Metallo. Luthor tells Metallo that Superman and himself worked together to save his life but Superman reneged on the deal saying his life wasn’t worth saving. He tells Metallo he needs to kill Superman to harvest his alien cells, and that's the only way to make him look human again. Distraught and not in the right state of mind, Metallo agrees. He draws Superman in with a typical hostage situation, but Superman manages to defeat him, barely. Before Superman can question him, Lex kills him before he can be implicated. Superman is now even more adored by the public for his actions.
Sequel tie-in – A Brainiac probe reports to Brainiac Prime and informs him that there is a Kryptonian on earth.
Easter Egg – Perry tells Clark to get on a story about the new trend of billionaires adopting orphans which Bruce Wayne and Oliver Queen started.
Easter Egg 2 - John Corben's coopilot, Hal Jordan, somehow escaped the plane crash without any major injuries, and managed to transport Corben 15 miles to the nearest hospital in minutes with no vehicle.
Lore - Kal-El wears a necklace with a crystal that came with him from Krypton. By plugging it into his ship, he can communicate with a projection of Jor-El.
Author's Note - An unexplored aspect of Clark's character in movies is his transition from Kansas to Metropolis. In this rewrite, Clark's first struggle is when he transfers to Metropolis University and goes to his first real college party with his roommate. He sees a guy trying to bring a drunk girl to his room and intervenes. He and the girl are kicked out of the party, and to his confusion and dismay, the girl cusses him out for getting her kicked out of the party and scorns his offer to wait with her for her Uber. Distraught, his concentration slips and he hears similar scenarios of violence and cruelty all throughout the city. He flies home to Kansas and tells his parents he can't handle how different things are in Metropolis, there's too much bad. After consulting his parents and Jor-El, they tell him that with his powers come a responsibility to protect others, and that he can never save the whole world, but even saving one person will mean the world to that person.
2027 - Green Lantern: Emerald Dawn
Protagonist – Hal Jordan (Green Lantern) (26)
Antagonist – Manhunters
Important Characters – Abin Sur, Carol Ferris, Sinestro, Tomar-Re, Kilawog, Katma Tui
Background – The Green Lantern Corps is the interstellar police force of the galaxy. Some years ago, the Guardians decided the Lantern Corps were spread to thin to be effective and created the Manhunters, a sentient robotic police force. The new method would allow the Manhunters to patrol sectors of space like beat cops while answering to a corpsman, thereby conspensating for the lack of Green Lanterns without sacrificing effectiveness in stopping crime. However, the Manhunters concluded that emotion is the source of all crime and their solution was to destroy all sentient beings. They destroyed all life in Sector 66 to test their theory. The Guardians of Oa ordered all Green Lanterns to return to Oa and authorized emergency enlistment for Green Lanterns, which removed the normally stringent mental, emotional, and physical requirements to become a Green Lantern in order to get the manpower to confront the threat.
Plot – In 2027, Hal Jordan and his copilot John Corben are flying a fighter jet when they are hit by Abin Sur’s crashing spaceship. After receiving Sur’s ring, Hal transports Corben to the hospital where he is (falsely) told his best friend is dead. He is then transported to Oa, where Hal trains hard with all the new recruits to combat the incoming threat. He initially struggles but eventually does well due to his human stubbornness and ability to think outside of the box to find solutions. Alongside his mentor and squad leader Sinestro, his immediate superior Kilawog, and his fellow recruits Tomar-Re and Katma Tui, Hal fights with the Green Lantern Corps and they manage to destroy all the Manhunters. Hal is assigned Earth’s sector as its new Green Lantern and finally has to confidence to ask Carol Ferris out, which Corben was previously pushing him to do in the beginning of the movie.
Sequel tie-in – Sinestro is shown meditating with some of the new recruits and their rings flash yellow.
Lore - As of now, the only power rings in existence are the Green Lantern rings.
Author's Note - The events of this movie do overlap chronologically with the events of Superman: Last Son. Hence while showing Metallo's origin in Last Son, we hint at Hal becoming Green Lantern, which is then confirmed in Emerald Dawn.
2027 - Flash: Ignition
Protagonist – Barry Allen (The Flash) (21)
Antagonist – Joseph Mannan (Reverse Flash) (24)
Introduces – Iris West, Wally West (10)
Background – The Speed Force is an aspect of physics that is made up of an energy field of all atoms in motion in the universe. It has a dual nature, a Positive Speed Force and a Negative Speed Force. Beings that are able to tap into the Speed Force's energy are avatars of the Speed Force, and due to its dual nature, if there is a Positive Speed Force Avatar there must be a negative and vice versa. When Barry Allen’s mom was killed in 2019 when Barry was 13, Barry was sent to live with his godparents, the Wests, and his godbrother and sister, Wally and Iris. Barry is studying at Central City University as a forensic criminologist to clear his father’s name, who was convicted of his mom's murder and is serving a 30 year prison sentence.
Plot – In 2027, Barry has his weekly visit with his father as always, and tells him of this cool new forensic process he is building which tracks electromagnetic footprints from crime scenes by measuring remnants of past electrical activity in an area from computers, televisions, even bio-electricity from people. His father, consumed by guilt, admits to Barry that he has been lying to him for 8 years and did in fact kill his mom. Barry is beyond distraught and destroys his lab in a rage just as a lightning bolt strikes. He becomes the Positive Speed Force avatar. Meanwhile, on the other side of the world in India, a cruel, wealthy trust fund recipient named Joseph Mannan is struck by a lightning bolt as well and becomes the Negative Speed Force avatar. His character is the opposite of Barry's, he murdered his father so he could obtain the family fortune quicker. He is a cunning individual and he terrorizes India discreetly as to not attract Superman's attention. However, the nature of the opposing Speed Force vectors means that their avatars are drawn to each other. Barry and Joseph meet, with Barry angry at the idea of a criminal speedster and Joseph threatened by the idea of someone with the same powers as him. Barry tells Joseph to stop what he is doing, and Joseph hatches a plan to get rid of Barry. Joseph, now known as the Reverse Flash, kidnaps Iris and Wally and Barry fights Joseph to rescue them. Eventually, after a fight across the world, Joseph and Barry both run so fast that they are absorbed by the Speed Force. However, due to Barry's stronger willpower he was able to escape. Barry reveals his identity to Iris and Wally and Wally, who loves Superman, says Barry should become a hero too and his name should be The Flash.
Sequel tie-in – The Negative Speed Force looks for a new avatar. Meanwhile, Wally West finds the blueprints for Barry’s electromagnetic footprints experiment and his weather app shows 80% of thunderstorms.
Author's Note – In my rewrite, there are 3 reasons why Reverse Flash is an OC. First, it allows the establishment of the dual nature of the positive and negative speed forces, which is important for the introduction of potential later speedsters. Second, time travel/multiverse jumping is something explored in later Flash films, and Thawn's origin is so tied into those concepts that I couldn't justify having him without including those plot points. Third, I'd rather not copy and paste the same storylines from the Flash tv show. With all that being said, I think this is my weakest movie plot and I'd especially appreciate input on how to make it better.
PHASE 2 - EXPANSION
Phase 2 shows the founding 6 as now experienced heroes tackling greater threats while organically introducing more heroes and creating more branching plotlines for the cinematic universe.
https://www.reddit.com/DCcomics/comments/hlmt57/rewriting_the_dceu_detailed_plots_for_46_original/
2029 - Superman II: Man of Steel
2030 - Green Lantern II: Blackest Night
2030 - Wonder Woman II: Paradise Lost
2031 - Teen Titans: Independence Day
2031 - Batman II: The Dark Knight

PHASE 3 - JUSTICE LEAGUE
Phase 3 shows the formation of the Justice League and the resulting effects of superheroes joining forces to protect against planetary threats instead of individual villains.
https://www.reddit.com/DCcomics/comments/hm7enp/rewriting_the_dcu_detailed_plots_for_46_original/
2032 - Justice League: Origin
2033 - Black Canary: Birds of Prey
2033 - Flash II: Terminal Velocity
2034 - Wonder Woman III: Gods and Mortals
2034 - Justice League II: Doomsday

PHASE 4 - A WORLD WITHOUT SUPERMAN
Phase 4 shows the consequences of Superman’s death on the world and superhero community and introduces multiple heirs to the mantle before the original makes his triumphant return.
https://www.reddit.com/DCcomics/comments/hpdeap/rewriting_the_dcu_detailed_plots_for_46_original/
2034 - Teen Titans II: Child's Play
2034 - Green Lantern III: Brother's Keeper
2035 - Titans: Graduation Day
2035 - Hawkgirl and Hawkman: Endless Flight
2036 - Superman III: Ascension

PHASE 5 - BRIDGE
Phase 5 is the exact middle of the DCU story and acts as the bridge between the two halves of the story; the first being the burgeoning superhero community and the second being the escalation of threats against the world and universe.
https://www.reddit.com/DCcomics/comments/hsdda0/rewriting_the_dcu_detailed_plots_for_46_original/
2036 - Titans II: Deathtrap
2036 - Batman III: Knightfall
2037 - Flash III: Flashpoint
2037 - Aquaman II: The Deluge
2037 - Nightwing: Black Mirror

PHASE 6 - COUNTDOWN TO APOCALYPSE
Phase 6 illustrates the events that precipitated and eventually culminated with Darkseid's arrival on Earth.
https://www.reddit.com/DCcomics/comments/hw5gvf/rewriting_the_dcu_detailed_plots_for_46_original/
2038 - Supergirl: Crucible
2038 - Shazam: First Thunder
2039 - Teen Titans III: Sins of Youth
2039 - Titans III: Prime of Life
2039 - Justice League III: Darkseid War

PHASE 7 - AGGRESSIVE EXPANSION
Phase 7 is about how the Darkseid War prompted the Justice League and the world as a whole to find all the heroes it can to combat potential future threats, leading to the formation of the Justice League Dark, Justice Society of America, and Suicide Squad.
https://www.reddit.com/DCcomics/comments/hz468i/rewriting_the_dcu_detailed_plots_for_46_original/
2040 - Aquaman III: Thicker Than Water
2040 - Justice League Dark: Witching Hour
2041 - Static Shock: Showtime
2041 - Justice Society: Whole New World
2042 - Suicide Squad vs. The Outlaws

PHASE 8 - A NEW ERA
PHASE 9 - DC UNLIMITED
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2020.06.15 17:00 LiteraryPandaman [TOMT][song] Soundtrack from a trailer from a Russian film that's absolutely amazing

Hey y'all!
Been desperately trying to find the song from this trailer of "Loveless", a 2017 Russian film. The song starts at :53 (linked here).
It kind of has a John Adams vibe or a Steve Reich vibe (minimalist classical) but I can't find the track and it's killing me. If anyone can help, I'd appreciate it!
submitted by LiteraryPandaman to tipofmytongue [link] [comments]


2020.05.04 22:50 thekrypton666 Loveless (2017) Online Subtitrat In Romana HD Filme Online

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2020.03.29 19:28 cn_cn Throwback Vogue US How Bollywood Star Deepika Padukone Conquered Cannes in 48 Hours

NOTE: This article is from Cannes 2017 appearance
As one of Bollywood’s most beloved stars, Deepika Padukone is known for her elegant personal style. But when it came time to head to the world’s biggest red carpet, she was ready to take things one step further. In 48 hours at Cannes this week, Padukone pulled out all the stops—turning heads in petal-pink vintage Balenciaga at a L’Oréal event, dazzling in jewel-toned Marchesa during the opening night ceremonies, and delivering a showstopping moment at the premiere of Loveless. According to her stylist, Elizabeth Saltzman, the goal was a confident look heavy on color. “It’s about having a good time and staying away from black,” said Saltzman on the phone from the festival. “We’re trying to bring out the best of who she is and all the different sides of her.”
As the woman behind the eclectic wardrobes of Gwyneth Paltrow and Uma Thurman, Saltzman knows a thing or two about dressing interesting women. For Padukone, her client since late last year, her strategy has been to switch things up. “When I first started working with her, I took all the jewelry off of her, because I felt like if anyone knows jewelry, really, it’s Deepika,” says Saltzman. “No one does jewelry better [than her], but I thought, ‘If you’re trying to have your name reach a different base, a different audience, maybe it’s best for them just to see you.’ ”
As for Cannes, “We knew that we wanted to push it a bit,” says Saltzman. Starting with a red floral Johanna Ortiz dress that channeled the vibrancy of Cannes’s beach culture, Padukone rolled out a series of unexpected daywear choices (floor-length gowns and bejeweled heels at lunchtime—why not?). “Polly Mellen once told me that it doesn't matter what time of day it is because no one is going to say this picture was taken at 7:00 a.m.,” Saltzman explains. “The dress, the pose, and the picture, that’s what people will remember.”
The transparent Marchesa offered a flash of skin—and a style choice outside Padukone’s comfort zone. “It was really about taking a slight risk, being that it was so body-visible, which is different for Deepika,” says Saltzman. “[We wanted] to find the right marriage of body-conscious with glamour and elegance. The colors were just exquisite, this sort of eggplant aubergine and these bright greens, pinks, and plums.” A vivid emerald Brandon Maxwell on the festival’s second night continued this theme; paired with matching smoky eyes by Val Garland and a pair of De Grisogono diamond earrings Padukone had originally planned on wearing to the Met Gala, the look was pure movie star.
The whirlwind trip was a global coming-out party of sorts for Padukone, cementing her status as a red carpet presence to watch. “She’s smart, passionate, and has all the qualities you want in a person,” says Saltzman. “When you have a beautiful, elegant person to work with who has good, strong opinions, it just comes together perfectly.”
LINK: https://www.vogue.com/article/deepkia-padukone-cannes-film-festival-2017-bollywood
NOTE: This article is from Cannes 2017 appearance
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2020.03.27 13:28 rikboeykens Blank Check Data Analysis - Director Age Edition

On the eve of the George Miller miniseries I thought I'd fire up the old notebook and update it with the films that have been confirmed and on the books. That means the films directed by George Miller including Twilight Zone: The Movie, Babe which will be a Patreon bonus, and the Toy Story franchise which will be commentaries. Since they did an episode on THX 1138 and American Graffiti they now covered all George Lucas films, so he's now considered a 'miniseries director'. Some background on the way I get these: I've got a base excel file with info on all the miniseries, films, and directors covered. I wrote a python web scraper that scrapes imdb to enrich this base data. There's not too many changes to the credits themselves. When considering all films covered by the pod Stan Lee is still at a comfortable lead with 25 films, followed by Samuel L Jackson with 20. If we just look at the films of the directors covered in a miniseries Demme regular Charles Napier is still at the top with 10 credits, alongside M Night Shyamalan who also has 10. When looking at actors across director miniseries Matt Damon joins the 5 timers club with his role as Bill the Krill, although that category is dominated by Greg Bronson, who appeared in (uncredited) roles across 6 different director miniseries.
I decided to specifically look at director's ages this time. How old are they now? What age were they when they made their films? Of all the directors covered, Paul Verhoeven is the oldest, having been born in 1938. Bradley Cooper is the youngest. 8 of the 21 covered directors were born in the 1940s.
Name Date of Birth
Paul Verhoeven 18 July 1938
James L. Brooks 09 May 1940
Hayao Miyazaki 05 January 1941
Michael Mann 05 February 1943
Jonathan Demme 22 February 1944
George Lucas 14 May 1944
George Miller 03 March 1945
Steven Spielberg 18 December 1946
Nancy Meyers 08 December 1949
Kathryn Bigelow 27 November 1951
James Cameron 16 August 1954
Ang Lee 23 October 1954
Cameron Crowe 13 July 1957
Brad Bird 24 September 1957
Tim Burton 25 August 1958
Lana Wachowski 21 June 1965
Lilly Wachowski 29 December 1967
Genndy Tartakovsky 17 January 1970
Christopher Nolan 30 July 1970
M. Night Shyamalan 06 August 1970
Bradley Cooper 05 January 1975
When looking at the youngest directors, Shyamalan leads by a long shot, having directed his student film Praying with Anger at 22. Note that this list doesn't include Steven Spielberg and Paul Verhoeven's earlier films since they weren't covered. Spielberg directed 'The Sugarland Express' at 28, Verhoeven directed 'Wat Zien Ik' at 33.
Age Director Film Year Film Title
22 M. Night Shyamalan 1992 Praying with Anger
27 Tim Burton 1985 Pee-wee's Big Adventure
27 George Lucas 1971 THX 1138
28 James Cameron 1982 Piranha II: The Spawning
28 Christopher Nolan 1998 Following
28 M. Night Shyamalan 1998 Wide Awake
29 M. Night Shyamalan 1999 The Sixth Sense
29 George Lucas 1973 American Graffiti
29 Lilly Wachowski 1996 Bound
30 M. Night Shyamalan 2000 Unbreakable
30 Tim Burton 1988 Beetlejuice
30 James Cameron 1984 The Terminator
30 Kathryn Bigelow 1981 The Loveless
30 Christopher Nolan 2000 Memento
30 Jonathan Demme 1974 Caged Heat
31 Tim Burton 1989 Batman
31 Lana Wachowski 1996 Bound
31 Jonathan Demme 1975 Crazy Mama
32 M. Night Shyamalan 2002 Signs
32 Lilly Wachowski 1999 The Matrix
32 Tim Burton 1990 Edward Scissorhands
32 James Cameron 1986 Aliens
32 Christopher Nolan 2002 Insomnia
32 Jonathan Demme 1976 Fighting Mad
32 Cameron Crowe 1989 Say Anything...
When looking at the oldest directors we can see Verhoeven making Elle at 78, followed by Michael Mann, Jonathan Demme, Hayao Miyazaki, and Steven Spielberg making films at 72.
Age Director Film Year Film Title
78 Paul Verhoeven 2016 Elle
72 Michael Mann 2015 Blackhat
72 Jonathan Demme 2016 Justin Timberlake + the Tennessee Kids
72 Hayao Miyazaki 2013 The Wind Rises
72 Steven Spielberg 2018 Ready Player One
71 Jonathan Demme 2015 Ricki and the Flash
71 Steven Spielberg 2017 The Post
70 James L. Brooks 2010 How Do You Know
70 George Miller 2015 Mad Max: Fury Road
70 Steven Spielberg 2016 The BFG
69 Steven Spielberg 2015 Bridge of Spies
69 Jonathan Demme 2013 A Master Builder
67 Hayao Miyazaki 2008 Ponyo
66 Steven Spielberg 2012 Lincoln
66 George Miller 2011 Happy Feet Two
66 Nancy Meyers 2015 The Intern
66 Michael Mann 2009 Public Enemies
66 Kathryn Bigelow 2017 Detroit
65 Steven Spielberg 2011 The Adventures of Tintin
65 Ang Lee 2019 Gemini Man
65 Steven Spielberg 2011 War Horse
64 James L. Brooks 2004 Spanglish
64 Jonathan Demme 2008 Rachel Getting Married
63 Hayao Miyazaki 2004 Howl's Moving Castle
63 Michael Mann 2006 Miami Vice
These are all miniseries directors ordered by the age they made their first film.
Age Director Film Year Film Title
22 M. Night Shyamalan 1992 Praying with Anger
27 Tim Burton 1985 Pee-wee's Big Adventure
27 George Lucas 1971 THX 1138
28 James Cameron 1982 Piranha II: The Spawning
28 Christopher Nolan 1998 Following
29 Lilly Wachowski 1996 Bound
30 Jonathan Demme 1974 Caged Heat
30 Kathryn Bigelow 1981 The Loveless
31 Lana Wachowski 1996 Bound
32 Cameron Crowe 1989 Say Anything...
34 George Miller 1979 Mad Max
36 Michael Mann 1979 The Jericho Mile
37 Ang Lee 1991 Pushing Hands
38 Hayao Miyazaki 1979 Lupin the 3rd: Castle of Cagliostro
42 Genndy Tartakovsky 2012 Hotel Transylvania
42 Brad Bird 1999 The Iron Giant
43 Bradley Cooper 2018 A Star Is Born
43 James L. Brooks 1983 Terms of Endearment
47 Paul Verhoeven 1985 Flesh+Blood
49 Nancy Meyers 1998 The Parent Trap
51 Steven Spielberg 1997 The Lost World: Jurassic Park
These are the ages the miniseries directors made their last film (so far) at:
Age Director Film Year Film Title
78 Paul Verhoeven 2016 Elle
72 Jonathan Demme 2016 Justin Timberlake + the Tennessee Kids
72 Hayao Miyazaki 2013 The Wind Rises
72 Steven Spielberg 2018 Ready Player One
72 Michael Mann 2015 Blackhat
70 George Miller 2015 Mad Max: Fury Road
70 James L. Brooks 2010 How Do You Know
66 Nancy Meyers 2015 The Intern
66 Kathryn Bigelow 2017 Detroit
65 Ang Lee 2019 Gemini Man
61 Brad Bird 2018 Incredibles 2
61 Tim Burton 2019 Dumbo
61 George Lucas 2005 Star Wars: Episode III - Revenge of the Sith
58 Cameron Crowe 2015 Aloha
55 James Cameron 2009 Avatar
50 Lana Wachowski 2015 Jupiter Ascending
49 M. Night Shyamalan 2019 Glass
48 Genndy Tartakovsky 2018 Hotel Transylvania 3: Summer Vacation
48 Lilly Wachowski 2015 Jupiter Ascending
47 Christopher Nolan 2017 Dunkirk
43 Bradley Cooper 2018 A Star Is Born
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2020.01.04 14:22 LoneReaper 40 films of 2010s that shaped my film taste

Hi bois. At the end of the year I made a list of 40 films of last decade that influenced my film taste mostly. I could just choose top films that I gave 10s and 9s, but found it boring and too predictable. Also even not all 10s I consider as a film that defined that decade and me personally. Of course there are much more influetial stuff, but I decided to take a number and shape the list around it.
I consider myself a film buff since 2011 and last three years I watch a film each day in average. From that decade I currently saw 1270 films. The list contains mostly 10s and 9s, but also several 8s and even one film I gave a 7, and I find it pretty interesting and diverse in terms of genres, countries and how it reflects what that decade meant to me. It has something for everyone.
Initially I wrote an article about 10 main themes of the decade for me and arranged the list between them. The themes were:
"The recognition of South Korean cinema",
"The poetry of modern European cinema",
"Cinematic Near East",
"Russian cinema is still merciless and I love it",
"The new face of sci-fi",
"The art-mainstream geniuses",
"Three Amigos take the Oscars",
"PTA, the keeper of traditions of The Hollywood Renaissance",
"Microbudget film celebration",
and the most personal part "Underrated directors I adore".
But here I think is better to just leave the list. Also I made a collage of all 40 posters.
  1. Burning (2018)
  2. Her (2013)
  3. Winter Sleep / Kis Uykusu (2014)
  4. Incendies (2010)
  5. Upstream Color (2013)
  6. Birdman or (The Unexpected Virtue of Ignorance) (2014)
  7. Hard to Be a God / Трудно быть богом (2014)
  8. Phantom Thread (2017)
  9. Magical Girl (2014)
  10. Son of Saul / Saul fia (2015)
  11. The Handmaiden / Agasshi (2016)
  12. Inception (2010)
  13. Sieranevada (2016)
  14. The Master (2012)
  15. Gone Girl (2014)
  16. Roma (2018)
  17. Amour (2012)
  18. Loveless / Нелюбовь (2017)
  19. Black Swan (2010)
  20. The Hunt / Jagten (2012)
  21. Who Will Sing to You / Quién te cantará (2018)
  22. The Kid with a Bike / Le Gamin au vélo (2011)
  23. Parasite / Gisaengchung (2019)
  24. Certified Copy / Copie conforme (2010)
  25. Thunder Road (2018)
  26. Arrival (2016)
  27. Foxtrot (2017)
  28. Chronic (2015)
  29. The Shape of Water (2017)
  30. Paradise / Рай (2016)
  31. The Graduation / Bacalaureat (2016)
  32. The Lobster (2015)
  33. Under the Skin (2014)
  34. A Separation / Jodaeiye Nader az Simin (2011)
  35. The Turin Horse / A torinói ló (2010)
  36. The Man Who Surprised Everyone / Человек, который удивил всех (2018)
  37. Who Killed Captain Alex? (2010)
  38. Operation Avalanche (2016)
  39. Krisha (2015)
  40. Inherent Vice (2014)
Why? I think everyone shall watch all of these films. Also I just like to make lists. And I think this sub is a perfect place to share my taste and make a duscussion about something serious. You guys rock very hard. Happy holydays and watch good films, my friends!
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2019.12.28 01:21 TC1827 Suicide Note

Why would I end this? Afterall, aren’t I doing well. I mean I am doing well financially, have a strong resume, and am a JD student at [top 3 law school in Canada]?
The truth is, that is just a veneer. In reality, I am dying. I am already dead. There is no purpose or no cause of living. Of course people do not really care enough about me for me to get the real help I need. Not that there is a solution.
A lot of it is that life is just not worth living. It hasn’t been for me for a long time. I have always suffered. I never really had friends going up. Went through a lot of bullying. Was subject to a lot of nonsense. My parents did a lot for me, but at some level it felt like nothing I did was enough to please them. This was incredibly magnified in my faith. I was raised a Twelver Shia Muslim. Islam is an extremely harsh religion with a God who is never satisfied and just keeps demanding more. The more you do, the more he demands and the more he ruins your life. Like Christianity, in Islam evil is caused by suffering. But it is also in Islam caused because this life is said to be a test. The Islamic conception of God, as part of his cruelty, sets up tests so that he can set us up to fail. I always suffered and had issues but I blindly held to faith, rationalizing and ignoring troubling aspect. One could never get answers to questions and was always given the run around.
In December 2015, I had enough. I could no longer accept certain things and started feeling depressed. That depression continued to worsen. I started becoming misotheistic. I felt that God was this evil being that just wanted us to follow his commands and is looking for ways to send us to hell. The Islamic God is very much like that. What caused me to leave the faith was in Summer 2016. Someone I met asked me some questions about Aisha’s age at marriage. I gave the standard apologetics answer but I could not justify it. That and the harshness of the faith, having to thank a God who was ruining my life, made me feel worse. So I slowly phased out and left that cruel faith. Well kind of. The thing is, I still at some level identity as a Muslim, culturally anyway. Even though theologically I abhor it.
A few months before that, I discovered the film Frozen and the song Let it Go. It is because of that, in Spring 2016, that I was able to get some solace. If it were not for that, I would have ended my life by now.
Late Fall 2016, I ran into and started making friends with some people who ended up being toxic and ended up turning friends against me. A toxicity that stayed in throughout my 4th year (2017-2018) of undergrad. My so-called friend, a pure psychopath, turned on me in Summer 2017 and starting tuning those who were my friends against me. Pain of which lasted through Spring 2018.
Fall 2017, I got a diagnosis for depression. Unlike when I first told my parents, this time I was taken seriously. I also met Noella (not her real name), the girl of my dreams. She was everything I ever wanted in a partner. I would have had a literal fairy tale ending had I managed to be with her. Being with her would have solved my problems, the problems that make me want to end it all.
Noella, was intelligent, ambitious, kind, caring, successful, hard working, and good with kids (and had an affinity for them). As a bonus, she was also financially well-off (went to a private school) and physically attractive. She and I got along well. Unfortunately, for reasons unknown, she rejected me. The fact that she is evasive about it indicates that there is something improper going on. Of course, no one is trying to convince her to change her mind, despite hating on me for having standards. I want a fair deal, a partner who puts in what I do. Why should I have to accept a woman who isn’t a virgin or isn’t as successful. I am asking what I put in – not a penny more. Noella and I get along well and yet she wouldn’t go down two steps to be with me. I mean she is slightly more successful and has more earning potential, but a lot of it has to do with her privileges. She had rich parents, went to a private school, was raised in a nice religion and broadly speaking in a Western culture. Being a rich white girl, she was the epitome of privilege. She somehow could not go down and look beyond that to be with me.
Of course, because of my gender, no one really showed sympathy for me. This was a life partner, not a fling who turned me down. Because I am a man, and women of course are angels who can do no wrong (/s), people started stating ways it was my fault. That it was my fault that I “didn’t ask her out properly” or whatever. And like I’ve said, if a woman is that petty about these kinds of things, she is not worth dating. I am looking for a fair deal and women need to stop thinking that their gender entitles them to special treatment. Equality goes both ways. Being a western woman is easy, relatively speaking. Their lives are worth living. I saw myself in Noella, I saw that I could be her if only I had her privilege. I could live her life. She was in a position to bring me up but she left me hanging. I worked hard to be able to sit at the same college table as her, to go to school with those form private school backgrounds. Being with her would have secured my position. Instead, I got pushed all the way back down.
And I do mean all the way back down. No body seemed to care how much I accomplished or that I would have brought to the table when finding love. Like Noella, I am intelligent, successful, caring, ambitious, have good habits, and good with kids and have an affinity for them. Yet did anyone care, no. People try to go and get me to be with those who did not bring in remotely enough. And then tell me it is a ‘fair deal’ cause they are ‘good people’ which either means that they think I am a bad person or that they do not know how to balance a scale. Telling me to marry down, after all I have accomplished, despite not having privileges that Noella did. Noella would not go down to be with me, despite her privileges, while I am expected to go down despite being less privileged. And she won’t go down 2 steps while I am expected to be willing to go down 20.
My other option of course would be a traditional South Asian Muslim marriage. A marriage which is loveless. The concept of love doesn’t exist there. Well it doesn’t exist in broader society either. People would rather just fling around over commit to a life partner, a problem that disproportionately leaves young men loveless. And of course, to do that I most likely will have to marry down and import someone from the 3rd world. If Noella loved me, all of this could be avoided but of course it isn’t.
Noella though is important in another aspect. She is a devout Catholic. I decided to read about the faith, and it spoke to me. I also was able to get a new idea about the conception of God and suffering. The difference between God wanting you to suffer and God allowing to happen in order to protect free will. How the Christian God is a God of Love, a God that doesn’t demand nonsensical commands but rather emphasis on morality and being a better person. How God truly cares for us and will right all wrongs in the future. I do not believe it is true per se, but I do see it as an appealing faith. If Noella and I got together, then I would have been 100% certain of its veracity – how God called me there. Instead, God waved the solution to everything in front of me and took it away due to his cruelty. Or to protect Noella’s free will which she of course evaded criticism about. If men are expected to take all the risks and initiate, the least women could do is answer and explain why they reject men. Must be nice being a woman, getting offer for love, getting validation and self-esteem boosts, having closer friendships, and getting more sympathy / empathy – all the while claiming that you are somehow oppressed despite having it super easy. I’d love to see the day when start sacrificing for men at the same rate. When men can start marrying up, getting custody and spousal support, and when the military death rate is equal for both. I think the pain from an occasional pregnancy is more than made up for. The male suicide rate is 3-times higher for a reason.
Anyways, no one of course told Noella to give me her love and solve all my problems. Leaving me alone. No one will love me unconditionally for who I am. My parents will not accept me for who I am who due to my faith. What about God? Well the Islamic God is not like that and I in good conscience cannot accept Muhammed as my Prophet. What about Catholicism? I tried a lot to become part of the faith. But I can’t. I do not have that way in. That family to take me in. Noella’s love would have given me that. If God wanted me in there, he would have given me love to get in. But he has not and has put in barriers not open doors.
Will I ever find love? I doubt it. Undergrad was that time. My parents would soon of course be pressuring me into that sort of marriage. And the concept of love is vanishing in modern western society due to the lack of socially enforced monogamy. My family of course doesn’t accept me, depriving me of familial love, the strongest and purest kind. My depression due to this has gotten worse to the point where I can no longer focus on my studies because I know there is no hope. If people had hope for me, they would not be pushing me so much to marry down, weather in success or morals. One can keep hanging on to various threads or fragments of various imagined options. But truth be told I have 0 leads despite all my efforts and I just do not see myself having romantic love, meaning that I do not see myself having the wife and kids that I want.
Beyond that, the future just looks bleak. Compared to the 1950s, we are working longer and harder for less. In the 1950s, out of high school one person could work 40 hours and support a spouse, kids, and retire with a full pension. High top tax rates ensured that governments had money to fund public services and invest in infrastructure. Life was affordable. If one went to university, one had it made. Now even professionals are struggling. We are producing more wealth than ever before, but our quality of life is on the decline. We need two incomes to support a family and both parents are now expected to work 60-80 hours a week. The corporate elite don’t pay taxes leading to an increased tax burden on everyone else and reduction in public investment. Housing is unaffordable and pensions are non-existent. Life in the modern era is horrible. Factory workers of the 1950s had it better than professionals do now. The worst part is that people are being willfully blind. You can throw all the evidence, but people still fail to see that life is getting worse. Denial may be a coping mechanism but from my experience it is only temporary. And I cannot be in denial any longer. My life will not get better. I will receive none of which I have hoped. I will not have love and the future will just suck as corporate exploitation continues to worsen. I have no reason to keep on living and have been praying for death. Heaven is where it is where all we be solved. Where justice will be done. Where I can have my happily ever after. But I want to go ahead and end it myself. They say that doing so is a sin but it God really is as loving as all the faiths like to claim he is then surely I would be forgiven for wanting to press the game over button. I mean what’s the point. I want to end it and I have not simply because I care too much about those who I would hurt, especially my little cousins. But shouldn’t one care for themselves. The only way I will have hope is that if I could die. Cause societal problems are unsolvable and I doubt Noella will suddenly just love me. I have been wronged in too many ways – perhaps being a bit selfish is in order. I can give myself false hope and hang on by various strings – until they collapse and nothing changes. Or I can hit “game over” and come to heaven. Would God hate me so much to make me want to suffer longer? If that is the case then what is the hope I would have heaven anyway? Or is God perhaps all loving and will take me in when I choose to end it. My wish would be that I would die a natural death before being 24, but perhaps suicide is in order.
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2019.10.12 23:52 XenophormSystem The Forest of Love (2019) [Crime / Drama]

Stop everything, derail the October schedule, cancel any planned movies, Sono just dropped his newest film without any fanfare like it was nothing. I was not prepared for this movie. It's quite a monster to behold. It's also the first movie that ever gave me a true to heart serious anxiety attack. This review might be a bit weirder than my usual as I'm writing this as soon as I finished it and I'm still trying to recover from this experience so apologies in advance. I suppose I should issue a fair warning that this review/analysis/critique might become quite lengthy and I anticipate that I will return to it for the next week to add even more as I rewatch this movie at a later date. But you're used to lengthy posts from me by now. Unless you're a new reader, if so, I'm sorry.
The Forest of Love (愛なき森で叫べ / Ai naki mori de sakebe - literally - "Shouting in a loveless forest") is the newest release from my favorite director Shion Sono whom I've covered at length in this subreddit from some of his earliest work like Keiko Desu Kedo to his newest including a love-letter special filmography analysis. And this is what this movie is pretty much. A love letter to himself. When I did my filmography analysis I noted how every few years (around a decade usually) Sono will make a magnum opus huge release that will combine everything he's done and learnt in that batch of movies. Well this movie takes it beyond that and combines the themes, visuals, atmosphere and more of everything he's done up until this point in his entire career as a director, writer, visionary and poet.
It covers so many themes features so much social commentary and symbolism it's incredibly daunting to keep track and notice everything unless you've seen his entire filmography given how many references, call backs and scene recreations of his previous works appear in this movie. It covers aspects of suicide and idol culture (Suicide Circle), coming of age, individuality and societal roles (Noriko's Dinner Table), childhood abuse and identity (Strange Circus), youth love and corruption (Love Exposure), mortality (Be Sure To Share), abuse and dependency (Cold Fish), feminism, anti-feminism and desperation (Guilty of Romance), depression and loyalty (Himizu), family and relationships (The Land of Hope), hollywood, dreams and entertainment (Why Don't You Play In Hell?), culture shifts and friendships (Tokyo Tribe), sexuality and promiscuity (Antiporno) as well as new ones such as abusive relationships, manipulation, modern Japanese society as well as western influence and hidden agendas.
Massive warnings ensure as this movie contains extremely graphic and realistic depictions of violence, sex, abusive relationships, gore and blackmail. If you've been through trauma similar to this I wouldn't recommend watching this movie. The movie also seems to make multiple references to other famous directors similar to Sono such as Miike with some Visitor Q references as well as Kiyoshi Kurosawa's Cure and Creepy. So in all this movie also comes across as a love letter to this new generation of Japanese cinema of shock and dark visions of society and morality.
The plot is complex and follows multiple main characters all of which take part in different subplots and all of which also have to deal with their own internal turmoil and trauma that has to be resolved or explored by the end of the film. As a result the movie is almost 3 hours long yet I can't see a way to shorten it as the plots intertwine like an overly complex Jenga game and you cannot remove anything without breaking the whole storyline or cutting short certain themes or aspects it tries to explore.
To make a complex story short, the basic idea of the plot follows a con artist as he creeps into the life of a pure-of-heart girl with a traumatic past while her ex classmate tries to prevent her from having her life and her family's life ruined by the man. All of this in the background of a trio of friends that attempt to document all of this and recreate it into a film to win awards at a foreign cinema festival. As their stories intertwine, things start to get out of control and they're caught into a life of debauchery, murder, sex and theft.
The massive love-letter to his previous works is also reflected in the cinematography. On one side the camerawork is textbook. Every technique and idea under the sun has been thoroughly utilized in this. From panoramas, wide shots, nature shots, slanted shorts, dutch angles, first person POVs, close-ups, panning shots, revolving shots, found footage scenes. It also utilizes numerous transition effects, title cards and fade ins and outs which is all brought to completion and sealed by the amazing utilization of color in various symbolic ways, especially focusing on red and blue which are constantly brought up through ingenious lighting techniques and well placed shadows. Certain scenes try to recreate the feeling and visuals of his previous movies and I can only admire the lengths to which he went to give this movie the depth it has right now.
Atmosphere wise the movie is all over the place exploring horror, comedy, drama, crime, action while maintaining a tight grip on all of them and only utilizing them when necessary. It never feels like it's directionless or bloated. I find it very similar to Korea's Parasite which also utilized a wide variety of genera. The main player atmosphere wise is of course fear. The movie plays heavily into the abusive relationship and blackmail aspect as well as the corruption of youth. It's an uncomfortable, perverted, violent and complex ride from start to finish. It doesn't have any particular twists or shocking moments, especially if you're familiar with all the previous Sono movies and you pick up on all the hints and recreations. It's a bleak, feel-bad movie from start to finish with a plethora of subjects and criticisms to bring forward to the viewer.
Let's go into the acting and actors for example. Sono is quite famous (or infamous depending on your opinion) for utilizing the same actors throughout his projects because of their experience and understanding of Sono's works. So I was rather shocked and maybe a bit unsure when I found out that most of the cast is new, especially in terms of lead actors. But when I saw their performance and determination as well as some of the degrading scenes they were willing to sit through I understood fully why Sono decided to work with them instead of the usual cast and I for one welcome with an open heart this ragtag team of mostly unknown actors into the beautiful, complex and shocking world of Sono's cinema.
The movie also utilizes quite a bit of narration from various characters. Not as much as in Noriko's Dinner Table but it is noticeable so if you cannot stomach that, be aware. The acting can be a bit melodramatic and over the top in a few instances but it doesn't stick out in a bad way and given the amount of physical and mental torture these characters have to endure it actually feels quite organic and deserved as far as reactions go. The writing itself might be a bit too self referential for some people. The movie is also extremely aware of what it tries to be and the daunting task it has ahead so it can be a bit jarring to see the execution, especially early on when the movie has to set up all the themes, characters, outside plots and mental plots that will get explored during the run-time.
The soundtrack is as you would expect from Sono. His love for classical music as well as more obscure genera such as prog and math are yet again present in this, combined with a few more parodic scenes of the idol music scenes and comedy movies. One thing that's different however is how present or actually I should say absent the soundtrack feels at times. A lot of the movie doesn't feature the heavy-grand-in-your-face soundtrack we're accustomed to from previous movies such as Love Exposure. The movie feels silent a lot of the time and this allows the viewer to actually take in all the brutality and shocking nature of each scene and gives him room to ponder the effects, themes and meanings of everything happening on screen.
The sound-work is disturbingly accurate, recreating to a chilling degree effects of burns, spits, broken bones, guts, blood flowing, stabs, electro-shocks and more. Just in general the amount of detail put into all the murders and beatings and abuse is quite chilling and at time questionable. If people have been hating on Joker for taking things a bit too far and real I wouldn't want to see those same critics take a shot at this. This is another level, even for Sono. I have a feeling all this care, detail and desire to make a magnum opus of magnum opus' put together might come as a result of the heart attack Shion Sono suffered early one while filming this new batch of movies. Events like these can be quite traumatic and usually give you a more introspective look into your life. I wonder if Sono used this new vision to create a rollback and at times even critique of his former work.
When it comes to effects, as I've mentioned in the previous paragraph, there was no expense spared. Intrusive and excessive amounts of detailed mutilation and abuse are showcased in the movie to concerning degrees of complexity. The effects are all practical and quite expensive and high quality too. A gain a warning is in effect for excessive amounts of gore, nudity, bodily liquids of every nature and mental and physical abuse. The movie doesn't even try to hide away from its gore either. It's all in full disgusting display.
Spoilers for the plot and finale in the next five paragraphs
The movie is structured in chapters just like Love Exposure. Each chapter feels like it has its own flow and approach bundled together with its own climax and deescalation. Given how complex and all over the place this movie can be, I was quite looking forward and scared at the same time of how it would tie all of this together. Well the actual climax of the whole plot is quite tense and does tie up the left stories. It feels a bit sudden, I might need to let it rest for a bit as it goes for quite a sudden deescalation and resolve. It mirrors a lot the ending of Antiporno and it even feels like a self referential criticism at times. I think some people will have hangups in regards to this climax and I completely understand however I feel like it worked for what the movie was building up until now and kept true to the themes and idea of the movie. The suicide scene also feels like a call back to Suicide Circle but that's one of the more obvious references in the movie.
Each chapter feels like it changes the focus to a different protagonist, the beginning focusing more on Shin and Takeo and their inner conflicts, then switching up to Mitsuko (also note how Sono loves to incorporate a character named Mitsuko in every movie he's done, I've still not found out why this is the case, probably a personal reason or he just really likes the name Mitsuko). Some chapters also focus on Jay and his inner conflict as an aspiring filmmaker who has lost his way and control of the project and lastly we also have a focus on Joe Murata, the con-artist himself.
On the other hand the ending is quite tranquil and left to interpretation in regards to the fate of the characters. It goes quite over the top in terms of symbolism and breaks away finally the line between reality and imagination. We're also let known that the movie was based on a real series of murders which took place in 2002. In a way mirroring the events of the movie as Sono is making a movie about a real murder and in said movie you have a group of friends making a movie about a series of murders and abuses that happen in the world of the movie. This also opens up quite a big world of interpretations and self criticisms from Sono through the eyes of the group of friends recording the movie which I'll have to look back upon a rewatch and see if I notice anything.
Post-edit : I've noticed the difference in the titles from the English version and the Japanese version which are pretty much reversed. The English title being obviously The Forest of Love while the Japanese one being Shouting into a Loveless Forest. When you look at it more literally, both make sense in the context of the climax and finale depending on how you interpret the idea of love. You could make an argument it is love or obsession that brought the remaining characters into the forest at the end of the movie and that Mitsuko did love Joe Murata a "tiny bit" as she confesses on her death bed after revealing her true intentions as welll as Joe loving her a tiny bit back. Love could also mean self love in the case of Shin and Joe's personalities. Or the love Mitsuko was holding for Romeo throughout her life.
However one could also make the case for the loveless Japanese version as Mitsuko's and Joe's words could be taken as lies and we know this isn't exactly true love that happened between any of the characters, more like Stockholm syndrome, blackmail and obsession. Also it is hatred and self loathing that guided Mitsuko throughout this journey as she confesses in her essay at the end to the con-man and the murderer. Combined with the lack of love and coldness of Shin and the selfish attitude of Joe, it is easy to see why there's absolutely no love going on here. Again forest could be interpreted as more symbolic but I'm not ready to expand on the title beyond a more obvious vision.
No more spoilers
Normally I would maybe breakdown a few scenes and analyze some of the themes and callbacks this movie makes in a more elongated spoiler section like I've done for many of his previous works especially Noriko's Dinner Table however given the depth and complexity of this movie I do not feel 100% confident in my ability to do so until I've maybe re-watched this movie once or twice. Once I've done that I might return and re-edit this review to add in those scenes breakdowns into a more complex spoiler section and I'll make sure to signal this once it happens if anyone would like to return and read it or maybe compare visions and understandings of certain themes and meanings.
Overall, this movie might be his most bloated (but in a good way) work so far. This movie could easily be summed up as "Sono - the movie" and this is where I struggle most when it comes to recommendations. The movie is solid and stands on its own amazingly well and can be consumed by any viewer as long as they can stomach its contents however the amount of fun and enjoyment a long time Sono fan will get out of this through all the call-backs, recreations and critiques is beyond explaining. So I would recommend watching it, but if you've yet to see all of Sono's work or you plan to, you might want to either wait or return with a rewatch after that to see on all the little things you've probably missed in your first viewing without that knowledge. It's obvious that this movie is great, I've got to sit it rest for a bit but no doubt it's on a more cold, objective POV one of his top 5s or even higher. Personally I might still keep Noriko's Dinner Table at a number one spot mainly due to the lasting effect it had on my life as a whole and my views on society and myself. But beyond that, I feel like I could rank this movie anywhere right now. A rewatch is surely queued up to see if I've missed any small callback or detail but I might need to wait a bit as this movie is quite hard to digest at times, at least for me. It's not a feel good movie and it can quite break you at times. I know it did to me.
I've got to say this was quite an unexpected surprise and one I cherished through and through despite the times it gave me an anxiety attack or it made me cry or just left me cold and broken. For this is what I expect from Sono after all. A bit of a deviation from the Spooktober schedule I was working on but I think its quite a welcome one. I imagine people are far more interested in a relevant director of the current wave of Japanese art-house and horror cinema who is also looking to break into the international market compared to an old hard to find Japanese folkloric horror. So all-in-all The Forest of Love is not just another hit from Sono but one of his best works to date if not actually his best. Despite the quiet Netflix release it got, I hope it will have a physical release as soon as possible as I will not rest until I have this in my shelf. Also, I think this might be my second longest review (after Love Exposure), above even my Noriko's Dinner Table analysis. Honestly I'm amazed I managed to transpose the explosion that this movie left in my head into words so soon. Go watch this movie.
Post edit For new readers, I know it can be a bit weird to navigate the reddit search function so here's a list and link of all my previous Sono reviews if you're interested:
Keiko Desu Kedo - 1997 Suicide Circle - 2001 Noriko's Dinner Table - 2005 Strange Circus - 2005 EXTE - 2007 Love Exposure - 2008 Cold Fish - 2010 Guilty of Romance - 2011 Himizu - 2011 Why Don't You Play In Hell? - 2013 TAG - 2015 Antiporno - 2016 Tokyo Vampire Hotel - 2017 Shion Sono Filmography Review/Analysis
submitted by XenophormSystem to HorrorReviewed [link] [comments]


2019.07.01 11:24 silverlakebob Our Beloved Contributor Who's Still Trapped

The power of Call Me By Your Name is not to be discounted. This film means serious business. And this subreddit has seen with its own eyes the sheer force of the film’s profound hold over us. It has seen just how transformative it has been for so many of us. And it has seen how it even prompted one of our original contributors to actually try to turn his life around— if only for an instant.
It’s been a year since our beloved DR deleted his Reddit account and disappeared from our lives. But he held such sway over us and had such a soul-stirring impact on us that it was hard to let him go. He had joined the subreddit at the end of 2017 or the beginning of 2018, when it had instantly become a remarkable therapy group for the many of us who were struggling with our reactions to the film. People really opened up and shared the most intimate things about themselves, and we generally comprised two groups: those of us not in relationships and hurting about that, and those of us stuck in loveless/sexless relationships and hurting about that. DR was clearly in the second category. He told us he was bisexual and married to a woman, and that his life had been completely upended after seeing the film. He would just blow you away with his impassioned, articulate description of just how much he regrets not having loved and touched a man over the years. He was struggling quite excruciatingly with his sexuality. Some of us tried to encourage him to come out to his wife, whom, he insisted, he genuinely loved and had never cheated on (having limited his gay urges to obsessively watching gay porn). Some of us suggested that his wife probably already knew about his queer inclinations and would no doubt appreciate his finally coming out and revealing his true self to her, that she would be so very grateful for the sacrifices he made for their marriage and their children, and that perhaps, just perhaps, she would be open to allowing him to explore his sexuality because she loved him. But DR resisted and resisted. While some tried to gently nudge him to come out, others sought to comfort and reassure him that his sacrifice was worth the pain and anguish he was in. But nothing we said worked. He was in true agony.
DR was so resistant to coming out to his wife despite his intense suffering that I finally guessed the reason: He’s a devout Christian. He admitted to me in a PM that that is in fact the case.
A year ago he finally confided to me that he actually isn’t bisexual at all but is in truth a gay man, and he did so because he had made a determined decision to finally tell his wife and his now adult daughter. A few hours later he deleted his Reddit account and informed me that he had decided to see an “ex-gay” counselor for “pray the gay away” therapy. After making concrete steps of finally freeing himself and beginning a new life, he pulled back at the last minute and submitted completely to his church.
I often wonder how he's doing— without our support, without a word of encouragement, without anyone to talk to about his same-sex desires. And I was reminded yet again of him when reading a review of The Lie by William Dameron, who writes of his own closeted deception of his family regarding his true sexuality. Towards the end of the book, Dameron offers the following as a kind of prayer: “We are not the first generation of queer people who have found ourselves trapped in a straight marriage, but please God, let us be the last.”
Yes, please God, let DR be the last. And, if by chance you’re out there, my friend, just know that we love you and are here for you any time you need us.
submitted by silverlakebob to callmebyyourname [link] [comments]


2018.12.30 14:43 BunyipPouch I saw 162 movies in theaters in 2018. Here is my full ranking.

I saw 162 movies in theaters in 2018, so about 3-4 visits per week. That's up from 140 movies in 2017 & 9 movies in 2016. I like to keep track/score/ticket stubs/etc for all of them. I rarely ever go for re-watches (only 3 times this year). I don't have MoviePass/A-List/Sinemia/etc. I use Regal Points quite a lot though. I regularly go to about 6-7 different local theaters depending on what they're showing. Here is my full year-end ranking from favorite to least favorite, including a few small reviews/thoughts/etc for some of them.
The Favourite - 10/10 : One of 3 masterpieces this year IMO (along with Roma & Shoplifters). This was the funniest movie of the year and the best ensemble performance. Stone & Colman could both easily win/deserve the Oscar in their categories. The script is amazing. There's a unique shot/camera movement every 5 minutes. Lanthimos is pretty much my favorite active director and can do no wrong at this point with 5 hits in a row. So many memorable lines, and even a great, surprising performance from Nicholas Hoult. Awesome dry humor & surreal moments, in classic Lanthimos fashion. I don't think I've ever laughed more in a theater than during this movie. The only criticism I can think of is that the last 25% of the film definitely loses a bit of the momentum that was built up, but this is still easily my favorite film of the year.
Mid90s - 10/10
Shoplifters - 10/10 : A masterclass in humanism. Every single character is fleshed out to the point where it feels like you've known them for years. The perfect mix of ambiguity & realism. Kore-eda's best film, and that's obviously saying a lot. I could've watched 5 more hours of Shoplifters.
First Reformed - 9/10
The Death Of Stalin - 9/10
Summer 1993 - 9/10
Black Klansman - 9/10
They Shall Not Grow Old - 9/10
Damsel - 9/10 : My 'Hidden Gem' suggestion of the year. I went in completely blind for this movie and was blown away. Really goes into directions you don't expect, nice twists. Looks great. Mia Wasikowska is a total badass & Robert Pattinson plays an endearing doofus perfectly. You really feel for the guy. Surprisingly dark comedy. Really caps off a great year for Westerns. Easily stuck in my Top 10 throughout the entire year.
First Man - 9/10
Wildlife - 9/10 : Carey Mulligan & Jake Gyllenhaal both deserve awards attention for this movie. Just a perfect snapshot of rural 1960s America that you don't see often in movies. Feels more like a documentary than a movie at times. We were really spoiled with directorial debuts this year but Paul Dano had the most impactful one. I really want to watch this again without a shitty audience. Also, Bill Camp plays a creepy rich guy in a way only he can.
Loveless - 8/10
Leave No Trace - 8/10
Custody - 8/10 - The tension in this movie is pretty much indescribable. Didn't want to move from my seat after it ended. It reminded me a lot of Leviathan or Graduation. European 'real-life' cinema at its finest. Depressing in all the right ways, I guess.
Eighth Grade - 8/10
Blindspotting - 8/10
Thoroughbreds - 8/10
A Star Is Born - 8/10 : Great directing debut by Cooper. Awards-worthy performances by all 3 leads. Solid all around. Not much to say except it did everything well. I could definitely see this becoming a movie that reddit hates/calls overrated after it wins Best Picture though. It just fits that mold perfectly.
Disobedience - 8/10
Isle Of Dogs - 8/10
Lean On Pete - 8/10
Mission Impossible: Fallout - 8/10
The Sisters Brothers - 8/10 : This movie could've used more scenes with Riz Ahmed and Jake Gyllenhaal but that's my only nitpick. Really good Western.
The Miseducation of Cameron Post - 8/10
Beast - 8/10
Beautiful Boy - 8/10 : Insanely good performance by Timothee Chalamet, my pick for the Best Supporting Actor Oscar. Really believable, deep look into dependence & addiction. Amazon fucked up the release (because of course it did), so it won't get the credit it deserved. Steve Carell was pretty distracting in this though, he's had a pretty rough year.
Spider Man: Into the Spiderverse - 8/10 : Best comic book movie of year, for sure. Really unique, funny, well-written, relevant. Had a smile on my face the whole time. Sony's got a real winner here and I wouldn't mind 3-4 more of these. Less Emoji Movie, more Spiderverse. Rooting for this or Isle of Dogs to win the Oscar. I'd be happy with either. Both are a big step above Incredibles 2.
A Private War - 8/10
American Animals - 8/10
Won't You Be My Neighbor? - 8/10
Journey's End - 8/10
Green Book - 8/10 : It's weird seeing how much backlash this movie has gotten in the past couple months. Seems like there's a new controversy surrounding it every few weeks. Mortensen & Ali put in great performances and the story is solid. Pulls at your heart strings but never feels too manipulative. Yeah it feels obviously too clean & polished at times, but it's a solid movie.
A Quiet Place - 8/10
Free Solo - 8/10 : Sweaty Palms: The Movie. Perfectly tense. You never really understand/relate to the main subject of the documentary but I think that adds to the charm of it. Watching a achievement so mindblowing on the big screen was really worth it.
Hearts Beat Loud - 8/10
McQueen - 8/10
Love, Simon - 8/10
In The Fade - 8/10
In Between - 8/10
The Rider - 7/10 : When using amateur actor goes right. Really grounded, beautiful, believable neo-Western.
Old Man & The Gun - 7/10
You Were Never Really Here - 7/10
Foxtrot - 7/10
Goldstone - 7/10 : The Australian Wind River. Great crime-drama that keeps you engaged from start to finish. Unique setting, great characters.
Upgrade - 7/10
Overlord - 7/10
The Guilty - 7/10
What They Had - 7/10 : Solid character-driven family-drama with an awesome performance from Michael Shannon. The dialogue reminded me a bit of Aaron Sorkin. Taissa Farmiga is great.
Game Night - 7/10
Black Panther - 7/10
Ready Player One - 7/10
Avengers: Infinity War - 7/10
The Cakemaker - 7/10
The Insult - 7/10
Creed II - 7/10
Tully - 7/10
Deadpool 2 - 7/10
Support the Girls - 7/10
Solo: A Star Wars Story - 7/10
Incredibles 2 - 7/10
Searching - 7/10
Vice - 7/10 : Most disappointing movie of the year for me. This was all over the place and unfocused. Adam McKay tried to do way too much and it really backfired. The narration was sloppy and the actual story jumped around too much, it was impossible to focus in. He tried to replicate the lighting-in-a-bottle he caught with The Big Short but it didn't work out at all. Christian Bale was great but that's about it. I was really hyped for this but walked out underwhelmed.
Boy Erased - 7/10
Colette - 7/10
Crazy Rich Asians - 7/10
Widows - 7/10
Vox Lux - 7/10 : There's a reallllly good film hidden in here somewhere. Brady Corbet & Lol Crowley are absolutely a director & cinematographer to watch out for. They did some really 'out-there' and risky stuff with this one and a lot of it landed really well (...some not so much). It's just the ending that completely deflated the movie, and some awkward pacing throughout. This had the potential of a 9/10, just completely ruined with the ending. Could've used some more editing/cutting.
Mary, Queen of Scots - 7/10
Unsane - 7/10
A Fantastic Woman - 7/10
The Night Eats The World - 7/10 : Fresh take on the zombie genre. It's more about survival than actual zombie fighting, which I really liked. It's how I imagine a world-ending zombie apocalypse would actually go. It's a real slow-burn so it's definitely not for everyone. Not much actually happens for most of the movie.
Bumblebee - 7/10
Chappaquiddick - 7/10
Adrift - 7/10
Bag Of Marbles - 7/10
Puzzle - 7/10
Three Identical Strangers - 7/10
The Wife - 7/10
Instant Family - 7/10
Red Sparrow - 7/10 : I actually don't think this was as bad as most other people thought. Jennifer Lawrence puts in a great performance and I'm a sucker for Cold War-era spy-thrillers. The biggest problem was the runtime. This really needed to be cut down by at least 20 minutes, preferably even 30 minutes. There is absolutely no excuse for this movie being almost 2.5 hours.
Tag - 7/10
After Auschwitz - 7/10
Can You Ever Forgive Me? - 6/10 : I went into it expecting to be blown away but it was just kind of a middling biopic with 2 great performances. Nothing really stood out and the characters really didn't evolve much. One of the more disappointing movies of the year for me, based on all the buzz it had.
Aquaman - 6/10
Ben Is Back - 6/10
Flower - 6/10
Paddington 2 - 6/10 : Mods pls don't ban for the low score. It was fine, the hype is a bit overstated to me though. Cute/10
Den Of Thieves - 6/10
The Front Runner - 6/10
Back To Burgundy - 6/10 : If you've always wanted to know the inner-workings of France's wine-industry mixed with intense family-drama, this is the movie for you.
Bad Times at the El Royale - 6/10
Tomb Raider - 6/10
The Mule - 6/10: Clint Eastwood Scowls & Growls: The Movie
7 Days In Entebbe - 6/10
1945 - 6/10
Anna & the Apocalypse - 6/10 : I'm not usually a fan of musicals but this was decent. The songs are catchy and the characters are likeable. The practical effects were convincing and still was a well-made, bright, zombie movie.
Alpha - 6/10
On Chesil Beach - 6/10
Film Stars Don't Die In Liverpool - 6/10
Pacific Rim: Uprising - 6/10
The Third Murder - 6/10 : Needlessly convoluted. Way too many twists & turns. The plot gets very sloppy. It went from 'solid legal thriller' to 'messy & unfocused' really quickly. Again, a movie that needed to be a lot shorter. Surprisingly weak for Hirokazu Kore-eda.
The Seagull - 6/10
Blockers - 6/10
Christopher Robin - 6/10
Bombshell: The Hedy Lamarr Story - 6/10
Ant-Man & The Wasp - 5/10
Sorry To Bother You - 5/10
At Eternity's Gate - 5/10 : Willem Dafoe was awesome in this but it doesn't have much else going for it. It was way too artsy for it's own good. Felt like an off-brand Terrence Malick film. This feels too mean, but I actually liked the trailer a lot more than the movie itself.
Oh Lucy! - 5/10
Beirut - 5/10
Hotel Artemis - 5/10
Mortal Engines - 5/10 : The special effects in this were actually really good but it's brought down by a very predictable, by-the-numbers, generic story. Really hammy & distracting performance by Hugo Weaving. The dialogue is laughably bad and the stars are forgettable.
Maze Runner: The Death Cure - 5/10
Rampage - 5/10
Death Wish - 5/10
The Equalizer 2 - 5/10
The Meg - 5/10 : You get what you pay for. Jason Statham fights a shark, cheesy one-liners and cliche characters follow. It's an okay movie if you don't care too much and don't ask any questions. The definition of a Redbox movie, really.
Operation Finale - 5/10
Jurassic World: Fallen Kingdom - 4/10
Final Portrait - 4/10
Sicario 2 - 4/10
Don't Worry He Won't Get Far On Foot - 4/10 : This was a sloppy mess. Really low-tier Van Sant. The only redeeming factor was Jonah Hill. Probably the most underrated performance of the year, absolutely awards worthy. Comparable to Claire Foy in First Man. It didn't get any recognition because the rest of the movie sucked and Amazon sucks at releasing/promoting movies. Disappointing.
The Girl in Spider's Web - 4/10
Bohemian Rhapsody - 4/10
The Little Stranger - 4/10 : This is a great movie if you want to take a nap. Absolute snooze-fest, slow, gothic-lite, non-thriller. The highlight was being completely alone at a 7:00 PM opening night showing at my local theater's biggest room (200+ seats). That's always fun. The redeeming factors are the set designs & Ruth Wilson.
Annihilation - 3/10
Mary & The Witch's Flower - 3/10
The Party - 3/10
Early Man - 3/10
12 Strong - 3/10 : I was honestly expecting something better based on the cast alone but this is really just a glorified Army recruitment ad. Really felt heavy-handed and unrealistic. Pointless movie.
Skyscraper - 3/10
The Commuter - 3/10
Leisure Seeker - 3/10
Gringo - 3/10
Arizona - 3/10 : Five years too late. Godawful script and the violence is really off-putting for some reason. I don't usually mind gratuitous violence, but this was awkward/unnecessary.
Gemini - 3/10
Submission - 3/10
L'Amant Double - 3/10
Humor Me - 3/10
Bye Bye Germany - 3/10
Uncle Drew - 3/10 : Who knew that an entire feature-length film based on a bad commercial would result in a sub-par, uninspired, sell-out product?
The Catcher Was A Spy - 2/10
Venom - 2/10
Winchester - 2/10
Boundaries - 2/10
Mile 22 - 2/10
Fantastic Beasts: Crimes of Grindelwald - 2/10: It looked good I guess? The only real positive. It spends way too much time on characters we don't care about, love triangles that are irrelevant to the main arc, and pointless storylines. Feels like we start at Point A, and 2+ hours later we are still at Point A. Nothing really happens, whole movie feels like lame sequelbait. This franchise took a real bad turn, tough to see how it can recover.
Nostalgia - 2/10
Ocean's 8 - 2/10 : Winner of 2018's "Most Unnecessary Sequel' Award. It was in a very close race with Sicario 2.
A Wrinkle In Time - 2/10
The Predator - 1/10 : The best description for this movie: Gross & awkward. All the jokes feel dated and overcooked. Feels like 20 people contributed to the script. The character are all super unlikeable and everything reeks of studio interference. Shane Black can do a lot better than this. Really disappointing follow-up to The Nice Guys.
Happy End - 1/10
Let The Sunshine In - 1/10
15:17 To Paris - 0/10
Proud Mary - 0/10 : Undisputed worst film of the year for me. This was really amateur film making. Shit script, shit direction, horrendous acting. They straight up re-used some shots several times. Action scenes feel like a John Wick movie made by a freshman college student on a $1000 budget, and that college student also happened to be blind. I regret spending $11.00 on this so much. I don't know what I was thinking.
The Misandrists - N/A - Walked out after ~10 minutes. No Score.
The Ballad Of Lefty Brown - N/A - Walked out after ~30 minutes. No Score.
Notable movies that I haven't seen yet but will see in the next few weeks:
  • 22 July
  • Burning
  • Border
  • Capernaum
  • Cargo
  • Cold War
  • Destroyer
  • Hale County: This Morning, This Evening
  • The House That Jack Built
  • If Beale Street Could Talk
  • Mary Poppins Returns
  • Minding the Gap
  • On The Basis of Sex
  • The Other Side of the Wind
  • Stan & Ollie
Movies that I saw outside of theaters, not included in the list:
  • Roma - 9/10
  • Private Life - 9/10
  • The Night Comes For Us - 8/10
  • The Ballad of Buster Scruggs - 7/10
  • Kindergarten Teacher - 7/10
  • Outlaw King - 6/10
  • Apostle - 6/10
  • Bird Box - 4/10
  • Hold The Dark - 3/10
Movies that I saw in theaters in 2018, but are not included in the list due to original release date:
  • Phantom Thread - 9/10
  • Hostiles - 9/10
  • I, Tonya - 8/10
  • Molly's Game - 8/10
  • The Post - 6/10
So that's that, no complaints about this year, solid all-around. Looking forward to 2019. My wallet is not.
submitted by BunyipPouch to movies [link] [comments]


2018.12.19 11:51 LeemyLammy Russian movies recommendation

I decided to make up a short list of good or okay-ish Russian movies that came out in the past couple of years. There’s a stereotype in Russia that we only make bad comedies or dumb flicks about WWII or the Space Race. And while it’s definitely true, there’s a lot more going on. As some of you may know classic Russian literature is famous for its depressive mood and this can be applied to contemporary Russian movies as well, so grab yourself a blanket and some vodka.
1) Closeness Теснота (dir. Kantemir Balagov, 2017). Balagov’s first feature-film about a kidnapping of a Jewish girl set during turbulent 90’s
2) How Viktor “the Garlic” took Alexey “the Stud” to the nursing home Как Витька Чеснок вёз Лёху Штыря в дом инвалидов (dir. Aleksandr Khant, 2017). A funny-sad road movie about a son and his long-lost father.
3) Arrhythmia Аритмия (dir. Boris Khlebnikov, 2017). A drama about a young paramedic and his wife trying to fix their marriage.
4) Acid Кислота (dir. Aleksandr Gorchilin, 2018). A drama about contemporary Russian teens trying to find meaning
5) Leto Лето (dir. Kirill Serebrennikov, 2018). Biographical movie about Russian rock-and-roll superstar Viktor Tsoy
6) The Student (М)ученик (dir. Kirill Serebrennikov, 2016). A high-school student gains divine revelation and challenges the world around him.
7) Under the Sun В лучах солнца (dir. Vitaliy Manskiy, 2015). Manskiy’s secret documentary about life in North Korea.
I didn’t include “Loveless” and “the Fool” in this list because I’m sure a good chunk of you guys have already seen those movies because of Adam’s video, but if you haven’t, then give them a watch, too. They’re great.
I apologize for any mistakes I’ve made (English’s not my first language). And please tell me what do you think about those movies if you’ve seen any of them.
submitted by LeemyLammy to Sardonicast [link] [comments]


2018.11.11 19:54 hombregato A list of 2018 movies with RT's Avg Critic Rating and IMDB scores averaged out.

Someone posted earlier today with a "What movies have I missed this year?" that was removed. I was about to leave this as a comment but since that's gone, it might be useful as its own post.
Each year I gradually update a what-to-watch list that averages the Avg Critic Score on Rottentomatoes and the IMDB scores given by audiences.
As an aside, doing this each year has revealed some patterns, but I'll just share the most important one:
Film festival fare and socially contentious films are prone to early positivity. Their scores almost always go down over time, not up. High for their festival debut, high-ish when a wider net is cast for critics, somewhat lowered when the core audience gets to them in limited release, lowered still as they open wider, and considerably lower when they hit streaming and everyone's catching up on things they heard good things about. So with that in mind, take movies that just opened or have yet to open wide with a grain of salt. They will likely slip downward in the coming months. Some movies even cracked the top 20, then fell completely off the list as I updated it.
(Wasn't sure if I should include a standup comedy special, but the numbers have held high, so I'm leaving it there. Foxtrot and Loveless are from last year's awards circuit, but didn't come out in the U.S. until this year. Not even as a wider-release-in-January thing. Some foreign films here might follow the same pattern in 2019.)
Remember, they are only numbers. Your favorite 2018 film might not register, but that doesn't make it less awesome. Mine (so far) just barely made the list.
submitted by hombregato to movies [link] [comments]


2018.09.19 18:57 mi-16evil Every video game tie-in for a Blank Check film (Part 3 - Steven Spielberg through Kathryn Bigelow)

Part 1, Part 2

This is part three of my coverage of every video game tie-in for a film covered on Blank Check, this time all 2017 episodes, aka from Split to The Post. For properties like say Batman I'm only including games based on a specific film like Batman Begins but ignoring off-shoots like say Batman: Arkham Asylum. Also list is in order of podcast episode release. I'm not going through Blankie Awards so if there's weird ones covered there let me know. Let's do this.
* = check comments for footnote

Split

N/A

The Lost World: Jurassic Park

The Lost World: Jurassic Park (Playstation, Saturn)
Premise: Sidescroller where you play as either various humans or various dinosaurs going through killing other dinos. What other sidescroller lets you play as a full sized T-Rex? Plus an original score by Michael Giacchino who would go on to score Jurassic World.
Available on: PlayStation, Sega Saturn
Game Rankings Ratings: (PS) 59.67%, (SS) 60%
Video: long play, 2hrs
The Lost World: Jurassic Park (Genesis)
Premise: Top down shooter where you play as a unarmed human in a dope hat trying to stop poachers while also fighting off dinos in order to escape the island.
Available on: Sega Genesis
Game Rankings Ratings: (SG) 60%
Video: long play, 3hr30mins
The Lost World: Jurassic Park (arcade game)
Premise: Light gun arcade rail shooter where you mow down dinosaurs, fight big boss dinos, and lose so many quarters as Third Eye Blind plays on the radio.
Available on: Arcade
Game Rankings Ratings: N/A
Video: long play, 25mins
Trespasser
Premise: Billed as sequel to Lost World, an extremely ambitious first person shooter that tried to implement realistic animation, controls, and graphics but ended up going far over budget and shipped out as a broken mess. Even was directed by Spielberg and features Attenborough and Minnie Driver in voice roles. Has been modded to a playable state by fans but is a fairly infamous if noble flop.
Available on: Windows
Game Rankings Ratings: (PC) 56.64%
Video: let's play, 26mins

Amistad

N/A

Saving Private Ryan

N/A*

A.I. Artificial Intelligence

N/A*

Minority Report

Minority Report: Everybody Runs
Premise: Third person beat-em up where you play as John Anderton (who in the game is voiced by and looks like Clancy Brown) punching everyone who stands in the way of you proving your innocence.
Available on: PlayStation 2, Xbox, GameCube
Game Rankings Ratings: (PS2) 52.87%, (XB) 55.87%, (GC) 53.53%
Video: long play, 3hr47mins

Catch Me If You Can

N/A

Blank Check

N/A*

The Terminal

N/A

War of the Worlds

N/A

Munich

N/A

Indiana Jones and the Kingdom of the Crystal Skull

N/A*

The Adventures of Tintin

The Adventures of Tintin: The Secret of the Unicorn (video game)
Premise: Sidescrolling, action-adventure platformer where you play as Tintin fighting pirates, sleathing around, and solving puzzles in a 2.5D style.
Available on: PlayStation 2, Xbox, GameCube
Game Rankings Ratings: (Wii) 46%, (Xbox 360) 64.7%, (PS3) 64.6%
Video: preview, 15mins

War Horse

N/A

Lincoln

N/A

Bridge of Spies

N/A

The BFG

N/A*

Clifford

N/A

Lincoln

N/A

Wonder Woman

N/A*

The Book of Henry

N/A

Following

N/A

Memento

N/A

Insomnia

N/A

Batman Begins

Batman Begins (video game)
Premise: Third person stealth/beat 'em up where you play as Batman and try to use intimidation, fear, and stealth to subdue your enemies. Features for the time audacious AI based stealth and the complete cast of the film as the voice cast. Not perfect but it's fun to threaten baddies through Bale Batman voice.
Available on: PlayStation 2, Xbox, GameCube
Game Rankings Ratings: (Xbox) 67.20%, (PS2) 65.63%, (GC) 66.74%
Video: long play, 4hr30mins

The Prestige

N/A

The Dark Knight

N/A*

Inception

N/A*

The Dark Knight Rises

The Dark Knight Rises (video game)
Premise: Third person beat'em up/stealth game where you play as Batman or Catwoman beating up thugs and solving crimes. Honestly this is just a low-res version of the Arkham games but with TDKR story and characters. Still impressive for how well it runs on 6 year old mobile platforms.
Available on: Android, iOS
Game Rankings Ratings: (iOS) 74.44%
Video: long play, 20mins

Interstellar

Interstellar (video game)
Premise: Build solar systems and then explore them via the Endurance. Has low graphics but tries to use realistic things like fuel, gravity, and travel distance.
Available on: Android, iOS
Game Rankings Ratings: (iOS) 50%
Video: long play, 6mins

Dunkirk

N/A*

The Devil Wears Prada

N/A

The Loveless

N/A

Near Dark

N/A

Blue Steel

N/A

Point Break

N/A

Strange Days

N/A

The Weight of Water

N/A

K-19: The Widowmaker

N/A

The Hurt Locker

N/A

Zero Dark Thirty

N/A*

Detroit

N/A

Justice League

N/A

Lost in Space

N/A*

The Last Jedi

N/A*

The Post

N/A
submitted by mi-16evil to blankies [link] [comments]


2018.04.18 16:26 autotldr Cannes 2018: Denis Villeneuve, Ava DuVernay, Kristen Stewart, Léa Seydoux And More Join Competition Jury Led By President Cate Blanchett

This is the best tl;dr I could make, original reduced by 38%. (I'm a bot)
The Cannes Film Festival has set its competition jury under president Oscar-winning actress Cate Blanchett.
Director-writer-producer Ava DuVernay recently directed Disney's adaptation of A Wrinkle in Time and champions women and filmmakers of color with her collective ARRAY. Kristen Stewart is regular at Cannes, having starred in many films that played at the fest including On the Road, Personal Shopper and Clouds of Sils Maria.
Internationally renowned and Academy Award-winning director Denis Villeneuve recently directed Blade Runner 2049 as well as numerous films such as Sicario and Arrival.
Chen is known for her role in Ang Lee's Crouching Tiger, Hidden Dragon and most recently appeared in Forever Young by Fangfang Li. French activist filmmaker Robert Guédiguian recently directed The House by the Sea and Burundian songwriter Khadja Nin is known for her albums which are a mix of occidental pop music, African and afro-cuban rhythms.
Russian director Andreï Zvyagintsev is known for many films including Loveless which won the Jury Prize at the 2017 Festival de Cannes, and was among the nominees at the Golden Globe and 90th Academy Awards.
Everybody Knows from director Asghar Farhadi will serve as the opening night film while the highly anticipated sci-fi adventure Solo: A Star Wars Story will also make its world premiere at the festival.
Summary Source FAQ Feedback Top keywords: Film#1 Festival#2 recently#3 known#4 including#5
Post found in /movies.
NOTICE: This thread is for discussing the submission topic. Please do not discuss the concept of the autotldr bot here.
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2018.03.19 02:35 Klop_Gob What Foreign-Language Films have you seen from 2017?

I have been catching up on some foreign-language 2017 films lately. I haven't seen as many as I normally would this year unfortunately, but so far I haven't seen anything that I would consider truly great.
So far I have seen, Ranked:
  1. Loveless [Russia] - 8/10
  2. The Square [Sweden] 8/10
  3. A Fantastic Woman [Chile] - 8/10
  4. Blade of the Immortal [Japan] - 8/10
  5. Ravenous [French language] - 8/10
  6. On Body and Soul [Hungary] - 7/10
  7. On the Beach at Night Alone [S. Korea] - 7/10
  8. Happy End [France] - 7/10
  9. Veronica [Spain] - 6/10
submitted by Klop_Gob to IMDbFilmGeneral [link] [comments]


2018.03.11 23:57 Klop_Gob 'The Square' (2017) WTF did I just watch (?)

I ask that in a positive manner and I am not sure if it's a question anyway. The Square is one of the more unique films I have seen from 2017's film selection, and from what I could gather the film seemed to be an observation on social behaviour and awareness, and through this rather lengthy observation we are witness to a mixture of some amusing and disturbing scenarios both. There is one scene towards the end of the film that combines both of these senses and it was very intense and awkward to boot.
I really enjoyed this experience overall and there are some great camera shots (one lovely shot being where the camera rather quickly ascends the center of a spiralling staircase at the same time as rotating in unison with the characters as they too ascend the many floor levels).
I would argue that the film started to overstay its welcome after the 2hr mark but otherwise this film is very solid. Currently I rank this as my #2 favourite non-English-Language film from 2017 just after 'Loveless', but I have quite a few left to watch.
submitted by Klop_Gob to IMDbFilmGeneral [link] [comments]


2018.03.09 12:30 rizzzeh FILM REVIEW: Loveless [нелюбовь] (2017)

FILM REVIEW: Loveless [нелюбовь] (2017) submitted by rizzzeh to russia [link] [comments]


2018.02.21 01:24 rkudeshi A list of all 59 films, sorted by highest category nominated (and where to watch them legally)

For the last couple years, I've made a checklist of all Oscar-nominated movies, sorted by highest category, for myself: http://raviudeshi.com/18/01/oscars-checklist-2018-nominees
In case it's helpful for anyone else, I've copied and pasted the main list below!
I also went ahead and included any links to stream each movie online legally. I keep looking through this subreddit for the posts for documentary shorts and other categories, so I figured it might be helpful to have them all in one place. Thanks to everyone who found the links in the first place!
(If I missed anything that's available to stream instead of purchase, let me know!)

"Major" categories

Best Picture (9 movies):
  • The Shape of Water (digital release 2/27)
  • Dunkirk (iTunes)
  • Three Billboards Outside Ebbing, Missouri (iTunes)
  • Phantom Thread (digital release 3/27)
  • Darkest Hour (iTunes)
  • Lady Bird (iTunes)
  • Get Out (HBO)
  • Call Me By Your Name (digital release 2/27)
  • The Post (theaters)
Best ActoActress (5 more movies):
  • Mudbound (Netflix)
  • I, Tonya (digital release 3/2)
  • Roman J. Israel Esq. (iTunes)
  • All the Money in the World (digital release 3/27)
  • The Florida Project (iTunes)
Best Original/Adapted Screenplay (4 more movies):
Best Cinematography (1 more movie):

"Minor" categories

Best Animated Film (5 more movies):
Best Foreign Film (5 more movies):
  • A Fantastic Woman (theaters)
  • Loveless (in NY/LA theaters starting 2/16)
  • On Body and Soul (Netflix)
  • The Insult (theaters)
  • The Square (Hoopla)
Best Documentary (5 more movies):
  • Abacus (PBS)
  • Faces Places (DVD release 3/6, grr)
  • Icarus (Netflix)
  • Last Men in Aleppo (Netflix)
  • Strong Island (Netflix)

Technical categories

Technical categories (Best Score / Song / Sound Editing / Sound Mixing / Production Design / Makeup & Hairstyling / Costume Design / Film Editing / Visual Effects) (10 more movies):
  • Star Wars: The Last Jedi (theaters)
  • Baby Driver (iTunes)
  • Beauty and the Beast (Netflix)
  • Victoria and Abdul (iTunes)
  • Guardians of the Galaxy Vol. 2 (Netflix)
  • Kong: Skull Island (HBO)
  • Marshall (iTunes)
  • The Greatest Showman (digital release 3/20)
  • War for the Planet of the Apes (iTunes)
  • Wonder (iTunes)

Short film categories

Best Live Action Short Film (5 more movies):
  • DeKalb Elementary (digital release 2/27)
  • My Nephew Emmett (digital release 2/27)
  • The Eleven O’Clock (digital release 2/27)
  • The Silent Child (digital release 2/27)
  • Watu Wote/All of Us (digital release 2/27)
Best Animated Short Film (5 more movies):
  • Dear Basketball (go90)
  • Garden Party (digital release 2/27)
  • Lou (digital release 2/27)
  • Negative Space (digital release 2/27)
  • Revolting Rhymes, Part 1 (Netflix)
Best Documentary - Short Subject (5 more movies):
submitted by rkudeshi to oscarsdeathrace [link] [comments]


2018.02.15 11:38 READMYSHIT 40 Days of Film - Day 24: Loveless [Spoilers] February 15, 2018

Over the next 40 Days OscarsDeathRace are hosting a viewing marathon in the run up to the 90th Academy Award Ceremony. This series aims to promote a discussion of this year's nominees and gives subscribers a chance to weigh in on what they've seen. For more information on what we're going to be watching, have a look at the 40 Days of Film thread. For a full list of this year's nominations have a look here and for their availability check this out.
Yesterday's Film was Molly's Game
Today's film is Loveless. Tomorrow's film will be The Post.
Film: Loveless
Director: Andrey Zvyagintsev
Starring: Maryana Spivak, Aleksey Rozin, Matvey Novikov
Trailer: trailer Metacritic: 90
Rotten Tomatoes: 93
Nomination Categories: Foreign Language Film
submitted by READMYSHIT to oscarsdeathrace [link] [comments]


2018.02.06 06:02 i_am_from_cleveland Here's the text of the new Uncut Magazine MBV Interview

From the March 2018 issue of Uncut Magazine (which isn't available anywhere online except right here!)
You aren't missing much by not having the print edition. There was only one previously-unreleased photo in the article, as far as I could tell, but man oh man is it a doozy: behold, a photo of Kevin at their very first show.. There's also this little sidebar by David Conway about his early days in the band. As far as I can tell, this is the only extant Conway comment on MBV in any sort of recent time frame. Finally, Kevin has a little sidenote about their haircuts. It's quite illuminating. Other than that, the text below is all you need!
Enjoy! This must be the most extensive interview with MBV of all time. (If you think I'm wrong, please don't hesitate to correct me!) They have all four members in there, which I think could be a first. Also, my apologies if there's some paragraph break errors in here. It was pretty tough translating the text into something postable on Reddit, so some errors might've snuck in.
My Bloody Valentine: Perfect Sound Forever
A landmark of songwriting and sonic adventure, Loveless by My Bloody Valentine didn’t come cheap. As the band’s members tell Michael Bonner, this was a recording plagued by poverty, illness and a commitment to “plough through hell”. From Amsterdam, via squats, haunted studios and chinchillas, this is also the story of the enduring genius of the band’s visionary songwriter Kevin Shields. “I still can’t really figure out what it is he does,” says Paul Weller. “But I know something: only he can do it.”
TO THE RESIDENTS of South Kensington, the sound comes from everywhere and nowhere. For an hour, a strange and unaccountable low-frequency rumble rattles windowpanes and shakes paintings off their hooks. This is summer, 1989 and My Bloody Valentine are busy conducting a sonic experiment.
At this time, the band has taken up residence in a 16-track studio tucked into the side of a large warehouse space. As befitting one London’s most affluent boroughs, this space also had an art gallery attached to it. “We dragged the amps out to make it as loud as possible,” recalls Kevin Shields, the band’s chief architect. “It was just me and Colm [Ó Cíosóig, drums ]. He was on bass and I retuned all the strings so they were all really low and floppy. We just created this huge, grumbling noise. The room was shaking and the lights were flickering. It put us into an altered state of consciousness. The second we stopped, we heard a noise outside. Apparently, the owner had been banging on the doors for about 40 minutes. The gallery didn’t have any soundproofing. He’d heard this crazy noise on the other side of the borough. By the time he got to the studio, the whole building was vibrating. The doors were locked so he couldn’t get in. He was furious, but he couldn’t stay angry with us because he thought we were crazy. You see, Colm and me were laughing like a pair of five-year-olds. We felt like we were on the strongest drug in the world. That’s when we realised, ‘There’s something in this. What would happen if other people got to feel this, too?’”
As far as it goes, it is possible to pinpoint Shields and Ó Cíosóig’s wilful seismic disturbances as a transformative moment in My Bloody Valentine’s history. The band had always been preoccupied with what to say and how loud to say it: even during their earliest days, on the fringes of Dublin’s post-punk scene, when they drew from The Cramps’ gothic-psychedelic edge and the avant-garde musical philosophies of Einstürzende Neubauten. But the wild, heavy drones they conjured that day in West London introduced new perspectives and focus to Loveless, the album they began recording a few months later. “As a piece of work, Loveless is a whole universe in itself,” says Colm Ó Cíosóig. “Every time I listen to it, I hear different things in it. It’s like listening to wildlife or whales or something. It has its own space and time.”
Since it was first released in 1991, Loveless continues to exert a mighty pull on Shields and his accomplices. This month, he finally unveils a new analog edition of the album – along with its predecessor, Isn’t Anything – that has taken him two arduous years to complete. “I got the best I could get,” he says. ”But it’s not over yet.
There’ll be a double-album version of Loveless eventually…”
“Kevin is always open to going anywhere, but he thinks in very abstract ways,” admits Debbie Googe, the band’s bassist. “He isn’t a very linear person – he doesn’t go from A–B.
He goes from A–K to somewhere in the middle. He meanders around things.”
Abstract? Meandering? Certainly, the My Bloody Valentine story can be both of those things – we shall discover colourful digressions involving a haunted tape room, a colony of chinchillas and inner journeys into uncharted hypnagogic states. But critically, the My Bloody Valentine story is also about the fierce connection between four people, even during trying times. “It’s an incredible, fortunate meeting of people,” says singeguitarist Bilinda Butcher. “We all love each other so much that we just stay together, no matter what. We’ve got this thing nobody else has; it’s really special. Each of us knows that. Even now.”
“I don’t look for extreme life, I don’t,” explains Shields. “But for some weird reason extremes happen all the time, good things and bad things.”
EVEN at the start, My Bloody Valentine’s story was informed by a degree of chaos. Arriving from Queens, New York in Cabinteely, Co Dublin, Kevin Shields discovered punk rock began shortly after his 14th birthday: “the first song I ever played on a guitar was Buzzcocks’ ‘Harmony In My Head’.” At school, a fellow student in Shields’ kung fu class happened to be getting a band together: he already had the attention of Colm Ó Cíosóig, an enthusiastic drummer with no immediate expertise. “The first rehearsals Colm and I did, he didn’t even know about a beat,” recalls Shields. “He was just hitting his drums randomly, and I didn’t know about tuning.”
United in the first instance from the desire to play Motörhead’s “Bomber”, Shields and Ó Cíosóig’s earliest bands rose and fell in line with their personnel. One early accomplice was Liam Ó Maonlaí, later of Hothouse Flowers. Shields found himself asked to leave one group after he discovered a phaser pedal – “I was so fascinated by the sound, I didn’t want to turn it off. I enjoyed moving past the point of reason.”
A union of like minds, the work Shields and Ó Cíosóig began together was made for people not catered for by the mainstream. “We were pushing boundaries,” says Ó Cíosóig. “We had a Tascam four-track portastudio and a synthesiser. We’d make tapes with weird noises and drones and then improvise over them.”
An advertisement placed in a local record shop drew the attention of David Conway, who became their singer in summer, 1983. “He was crazy, a bit like Lux Interior,” says Ó Cíosóig. “It was great to have a wild man upfront, it made the gigs a bit more fun.”
The band – not yet called My Bloody Valentine – played their first gig on August 18 at a small Dublin venue, the Ivy Rooms. The name arrived a short while later, suggested by Conway in the bar of Dublin’s North Star Hotel. Gigs and lineup changes followed; but alas, “we weren’t popular in Ireland,” relates Shields. Taking advice from Virgin Prunes’ frontman Gavin Friday, they moved to the Netherlands. “In Holland, you get paid by the government for gigs, even if there’s no one there,” says Ó Cíosóig. “It was like a union fee, I guess. We sent a demo tape. We got one gig and decided to emigrate.” Without a regular bass player, they were joined on a Casio keyboard by Conway’s girlfriend Tina Durkin. “When it worked, it was good,” says Ó Cíosóig. “Those early Casios had this cool, organy sound like a Farfisa, which gave the songs a distorted groove.”
“In Amsterdam, we stayed in a dive called The Last Water Hole,” remembers Shields. “It was pretty rough; it was run by bikers. There were no sheets on the bed, just a cover on the mattress. Everyone slept in their clothes.” A sympathetic promoter offered them the run of his house in the countryside near Gouda. Aside from a commendably well-stocked record collection, the band discovered the house also contained a modest cannabis factory in the attic.
“We were pretty broke so were started smoking weed instead of tobacco,” says Ó Cíosóig. “I got used to carrying a big tobacco pouch full of weed around with me. One day, I walked into a police station in Amsterdam with a huge bag of weed in my pocket without even realising it was there. We tried to get work. Kevin managed to get a job herding cows for a couple of months.”
A move to Berlin in winter 1984 facilitated an introduction to a dynamic local promoter, Dimitri Hegemann. Under his patronage, they record a mini-album – This Is Your Bloody Valentine. “The studio was so cheap that the engineer who was doing the mixing for us had to do a live gig that night, so he had to leave at 6pm,” says Ó Cíosóig. “It took an afternoon to mix the record. One of the tracks was mixed in 10 minutes. We just put the faders up. ‘Done! Next track.’”
DEBBIE Googe came to My Bloody Valentine by a circuitous route. Originally from Yeovil, she had been involved in Somerset’s anarchopunk scene in the late ’70s, where her band Bikini Mutants self-released a cassette on local label, All The Mad Men. In the mid-’80s, she was in London, working at the Rio cinema in Dalston. Her then-partner, Annie Lloyd, was based in Berlin, where she fronted Hegemann’s band, Leningrad Sandwich. When My Bloody Valentine decided to relocate to London, Lloyd recommended Googe as a potential bassist. “They were so sweet and innocent,” she laughs. “Colm took ages to decipher. We used to practise in the squats where Kevin and Colm lived. They were pretty smelly, as you can imagine with three boys in a very small room and no open windows.”
As it transpired, the London squat scene proved critical to the band’s growth. “We lived a very free life,” confirms Shields. “I liked it that way. It was very positive. Most of our gigs were squat gigs, too. Some of the squats in London, they’d literally take out the first floor to make it more like a venue. We played in a squatted church in Bath once. It was like Mad Max. Kids running around with ripped clothes and hair black with dirt. It was the hardcore end of the convoy people, basically. They really didn’t like us. I have a tape of that gig somewhere. It’s very funny. You can hear us playing, then they got us to stop and you can hear a guy with a real hippie voice saying, ‘Hey, man. We told you to stop. It’s too loud.’ That was late ’85.” The picture that emerges of My Bloody Valentine during this period is one of guileless aspiration. The music – evident in songs like “The Devil Made Me Do It”, “Tiger In My Tank” and “The Love Gang” – was reaching for an aesthetic ideal not yet completely formulated. “They needed to get something down that was more in spirit of what they were like when they played on stage – which was astonishing,” recalls Joe Foster, who produced the band’s 1986 EP, “The New Record By My Bloody Valentine”. “There was total chaos going on.”
“They were great,” says Bilinda Butcher. “I was a bit of a fan. They were a bit different. They all had bowl haircuts. Dave was quite impressive as a frontman. Then my boyfriend at the time said they were looking for a backing vocalist and I went along for an audition. I remember Kevin was hitting pedals and amps, chucking things around. His glasses were stuck together with a plaster. I knew the words to some of the songs; I think that did it for Kevin. For Deb, I sang Dolly Parton’s ‘Bargain Store’ a cappella.”
In fact, Butcher was walking into a more fluid situation than she might have imagined. The band was growing restless with their direction; then, shortly after a tour in 1987, Conway decided to leave. Shields was now unsure how best to manage this event. Take on lead vocals himself? Or was a more radical approach necessary?
As Shields sees it, the arrival of Googe and Butcher – while two years apart – initiated a change not just in the band’s personal dynamic but also their sound. The music the quartet first made together – a single, “Strawberry Wine” and a mini-album Ecstasy, both in 1987 – was, they all agree, necessarily transitional. Stylistically, the songs shared a number of attributes with the jangly independent music of the mid-’80s. “It was the first time I’d ever written lyrics and sung them,” recalls Shields. “I remember coming home from Waterloo in the morning going, ‘I’m a songwriter!’ In ’87, early ’88, we very, very, very quickly decided that we didn’t like them. Then we were going to drop the name. We just wanted to erase the whole history.”
“You can hear where we’re going in songs like ‘Clair’ or ‘Please Lose Yourself In Me’,” says Ó Cíosóig. “But we wanted to rock out more. We were very inspired by the American scene – Dinosaur Jr, Sonic Youth and Hüsker Dü. Then Kevin got a great new guitar, discovered the tremolo arm and the reverse reverb effect. That gave him a whole new place to play in. A whole new sonic world.”
“I used reverse reverb all over the Ecstasy and ‘Strawberry Wine’ records to no great consequence, because I was using it the way it was meant to be used,” explains Shields. “Then in ’88, I discovered that it was extremely sensitive to velocity and how high you hit the string. You could make huge waves of sound by hitting it softer or harder. At the same time, my friend Bill Carey from Something Pretty Beautiful lent me his Fender Jazzmaster. It had a tremolo arm. I played it on ‘Thorn’. The second I did that, something jumped inside me. It allowed me to play in a way where I didn’t have to think about what I was doing, I could just feel it.”
Change came, and not a moment too soon. My Bloody Valentine showcased these exciting new developments in late 1988 via two EPs, released a few months apart on Creation Records, “You Made Me Realise” and “Feed Me With Your Kiss”.
“To me, the biggest shift was ‘You Made Me Realise’,” says Googe. “I remember when we were mixing it, Kevin said, ‘What do you think?’ I said, ‘It sounds like Jefferson Airplane.’ He said, ‘Fuck that!’ and started pushing things.”
“When we were doing ‘Feed Me With Your Kiss’, I made the bass so heavy it popped the speaker off the wall,” admits Shields. “Instinctively, the engineer put his foot out to stop it hitting the ground and it broke his foot.”
“By the time we got to Isn’t Anything, it wasn’t just the sound that had changed,” continues Googe. “It was something about the way the songs were falling rhythmically. It sounded different. It felt like a different thing entirely.”
FOEL Studio, Wales, summer, 1988. My Bloody Valentine take up residence to record their debut album, Isn’t Anything. “It was quite a spooky place,” remembers Bilinda Butcher. “The studio was in a converted barn. Kevin used to fall asleep there a lot and wake up completely freaked out. The guy who owned it, Dave Anderson, had been in Amon Düül. He had some weird stories of stuff that had gone on there. There was a time where something peculiar happened and the tape went into a strange shape on the tape machine, like a pyramid.”
Sessions were dictated by Shields’ habit of sleeping long into the day and working through the night. “When it came to doing all the vocals, Kevin only had about two hours sleep a night,” remembers Ó Cíosóig. “That’s where the weird, broken lyrics come from – this dream state of the language itself being twisted around and placed in a different space.”
Paranormal activity? Fugue states? There’d be more of those to come. But for now, despite such otherworldly conditions, the music of Isn’t Anything was surprisingly gritty. “It was purposefully raw,” acknowledges Shields. “We didn’t add compression or reverb to the vocals. We kept to single takes. The idea was, it’s just us doing what we do – without trying to be something that we’re not.”
“People weren’t prepared for Isn’t Anything,” says Jeff Barrett, then a publicist for Creation. “I went up and down the country with the Valentines. I remember a gig at Nottingham Trent Poly where they were phenomenal. It didn’t feel necessarily year zero, it didn’t feel like scorched earth, but I knew it was going to be a big record. It put a fire up everybody’s arse. There was some good British noise bands. You could go see Godflesh or Jackdaw With Crowbar. Loop were doing their thing. But there was something different about this. The Velvets weren’t the reference point. It was contemporary.”
While Isn’t Anything was an exciting artistic breakthrough for MBV, over the next year the band found the pressure mounting. Shields recounts two failed attempts to record follow-up EPs during early 1988. Domestically, meanwhile, his relationship with Butcher was also beginning to unravel. “At that point, things were breaking down between us, I think,” she says. “We were living in this house together and we’d see each other – but be in different spheres. Loveless is called Loveless not just because of our relationship breaking down, but because the whole process of making Loveless was difficult.”
Shields’ best work – then, as now – comes to him during the hypnagogic state when the brain transitions between wakefulness and sleep. Butcher recalls him writing songs at night on the sofa in the flat in Brixton, often nodding off with a guitar on his lap. During an American tour to support Isn’t Anything, a fan gave Shields a cassette of The Beach Boys Today! and Pet Sounds. “I fell asleep to it all the time,” he says. “It became part of my life. Maybe because of it, I developed a certain ideas about production.” Inspiration came from other sources, too: from his home on Brixton’s Tulse Hill Estate, Shields was exposed to a vibrant mix of gospel, reggae, ragga and – crucially – hip-hop. These various factors began to coalesce, towards the end of 1989, into a follow-up to Isn’t Anything. The making of Loveless has been the subject of much conjecture and myth-making over the past 27 years. Joe Foster, then an ally at Creation, attempts a definitive take on what went down between September 1989 and January 1991. “There are all kind of stories. Some of them make it look like Kevin was an Orson Welles-like genius. Others make it look like he’s a stoner, just useless. Neither of those things were true.”
What Foster leans towards is a kind of third way, where Shields’ creative vision for Loveless was effectively frustrated by bad luck, administrative ineptitude and the band’s own slow, meticulous working practices. The experiments Shields and Ó Cíosóig conducted in South Kensington during June and July, 1989 initiated a shift in Shields’ attitude to the possibilities of sound. Among the songs they worked up was an embryonic version of “Soon”, which would later lead off the band’s “Glider” EP. In September, the band decamped to Elephant Studios in Wapping, south London, for an eight-week period where, Shields claims, “we put down about 20 songs.”
Their relationship with Alan McGee’s Creation label, however, was faltering. “They were penniless, they couldn’t afford £1,000 to do the next Felt record,” says Shields. “They knew we were slow and decided there was no point putting us in an expensive studio. They found these good deals, but that meant the studio wasn’t looked after properly or it was run by weird people. At Elephant, we worked at lot at night and the studio owner was always hanging around. He told us he was hiding out as MI5 were after him. The tapes were confiscated three or four times, because Creation didn’t have the money to pay the bill. That characterised Loveless . Then Colm got really ill.”
“I was going to be evicted from my squat,” says Ó Cíosóig. “I didn’t have a new place. Creation couldn’t even afford £300 deposit for a flat. I’d go to the studio and then as soon as I left, I’d walk the streets looking at places to squat. This was November, it was cold, and I’m out walking the streets. All that got to me. I had this nervous breakdown. I was able to function mentally, but my brain-to-arm muscle control mechanism stopped working. I managed to get it together for a couple of songs – two songs on the record have live drums. ‘Only Shallow’ and ‘Come In Alone’.”
“It was like a fucking meltdown,” recalls Shields. “So then we got the idea that we would program the bass drum parts and he’d just play the hi-hat and snare.”
“The initial process of doing drums was very lengthy,” says Debbie Googe. “You would turn up every day and not really do anything because Kevin and Colm were tuning a drum. You lock into that. It becomes what you do. A lot of time goes by. We were all perilously close to losing our sanity at a certain point. For me, I guess, my sense of self-worth got a little low at times. I wasn’t doing an awful lot.”
“It felt like ploughing through mud,” says Butcher. “Kevin was going through such a lot. I would swan in and out when I was doing my thing, whereas he was there all the time, dealing with everybody, with Alan McGee and the engineers.”
Even now Shields shudders as he recalls the perceived intransigence he encountered firsthand in recording studios. “When we recorded ‘Glider’, I remember the guys at the studio saying, ‘You guys are out of your mind, what you’re doing.’ At another studio, one of the engineers wanted to run a pizza place, the other one wanted to move into advertising.”
“Kevin had a vision, we could all see it,” adds Ó Cíosóig. “We needed a proper studio from the get-go that didn’t break down, where there were no faulty channels and no crap going on. We were firing engineers all the time. We didn’t do things normally. They’d be freaking out. ‘That frequency, 4hertz, is distorting! You can’t do that!’ ‘We don’t give a shit about your fucking 4khtz! It sounds good. So what?’ They couldn’t get the weirdness of the record, the warpiness. It didn’t help when you had somebody sitting in the corner looking at you like a freak.”
“I used to really love watching Kevin creating his various sound booths in various places – his little blanket tents,” remembers Googe. “He would construct these things out of foam and blankets and God knows, these crazy little shanty towns inside the actual studios.”
Aside from Ó Cíosóig’s work earlier on, Shields recorded much of the album alone. Butcher recorded her vocals late in the process, at London’s Protocol and Britannia Row studios between May and June, 1991. “Kevin would give me a guide vocal and I’d make up lyrics for it,” says Butcher. “He might not be singing real words, but it would sound like something to me so I would write down what I thought he had sung.”
In February, 1991, the “Tremolo” EP brought into woozy focus Shields’ gifts for crushing sonic power and delicate vulnerability. One track, “To Here Knows When”, appeared on Loveless, when the album finally appeared in November. “I always thought Loveless was a really great pop record,” says Googe. “Kevin has got a really strong sense of melody that people don’t always pick up on. People talk about how he reinvented guitar – which is true – but actually the reason it works and why people remember it is because you do go away whistling these little hooks.”
“How many studios did we work in?” says Shields. “25, I think. It nearly sank us, to be honest, but it didn’t quite. It was just a lot of bad luck. Some people, they would get into a situation like that and then stop to regroup. That’s the smart way to do it. Otherwise you use too much energy and it slows you down. Don’t just plough through hell.”
HAD it ended there, Loveless alone would have granted My Bloody Valentine an unshakeable place in rock history. But the protracted process that led to its follow-up proved the band unable, in this instance, to play the cards they had been dealt. “I don’t know what the hell happened,” reflects Bilinda Butcher. “I look back and think, ‘God.’ I mean, that was really mad.”
The plan, everyone now agrees, seemed sensible at the time. In 1992, My Bloody Valentine signed with Island Records. Shields bought a house in Streatham and began building a recording studio at the property. “We did it really fast,” says Shields. “We got the house in January ’93, paid for it in March, we had the studio finished in June. Then the desk died.”
“We didn’t understand all the technical aspects of wiring a studio,” admits Ó Cíosóig. “Problems with electricity, tones, frequencies. It took months to try and figure that out; engineers were scratching their heads.”
A second desk proved to be equally problematic. Meanwhile, Island proved unwilling to help the band recoup their outlay. Shields estimates they lost a year. There were other considerations, too. “The house was full of madness,” admits Googe. “We smoked way too much weed. It was like the Partridge Family on acid. It was quite a mad scene. And then there were the chinchillas. I think Kevin bought one as a present for Bill. They thought it might be lonely, so they got another one. Then, like rodents do, they bred. At its peak, I think there were 13 or 14 chinchillas and they had the whole of the upstairs floor.”
“I don’t know what kind of pressure Kevin must have been under to follow up Loveless,” admits Butcher. “But a lot of songs got written there and eventually things were recorded there. That was a spooky place too, I have to say. There were some weird things going on. Both Colm and I saw this apparition like a hooded monk hanging out round the tape-machine room. Kevin saw all sorts of stuff there. He was going on a voyage of I-don’t-know-what while he lived there.”
“I started getting into serious mind meditation shit after we finished the [1991] tour,” explains Shields. “I read a book by Terence McKenna about using psychedelics as a way to explore the mind. I started experimenting on myself. I’d close my eyes and visualise a cow, for some reason. Then I realised I couldn’t just see the cow, but pass around it. It was solid. That led on to an infinite amount of experiences. I really looked forward to having my own time when everyone went to bed. I’d sit there, close my eyes and trip out. In a very short space of time, I was flying around this solar system: my imagination.”
Shields admits that the music made during this period was essentially “lots of ideas… we were trying not to write songs in a normal fashion. We were listening to a lot of drum’n’bass. We were experimenting with vibrations – how when something’s really distorted it shakes as well and that creates a rhythm. But we lost momentum. We were all right to make a record in our heads, and excited by the studio – but somehow it went a bit sideways.” “There was work done,” adds Googe. “But we were dysfunctional, ridiculously slow. Every day, Colm would get up and say, ‘Today’s the day we’re going to make the record!’ Then Colm left. I really missed him! We were always up first and we’d sit and have our coffee together in the morning. Then I left. I’d driven over to Island to deliver a tape of the Wire song we recorded [“Map Ref 41°N 93°W”]. It was a Friday evening and as I was driving back to the house, I thought, ‘For my own sanity, I can’t go back.’ So I went back to my flat and phoned Kevin. That was late 1997, I think.”
“I moved back into my council flat in Brixton,” says Butcher. “But I wasn’t leaving, I was there waiting, anytime, to do whatever we needed. But after we all left the house, I think Kevin felt a bit abandoned.”
ONE regular visitor to Shields’ Streatham home during 1998 was Primal Scream guitarist Andrew Innes. In his home studio, Shields was working on mixes for Primal Scream’s new album, XTRMNTR . “At the time, Kevin wasn’t living a 24-hour day,” recalls Innes. “He’d get up at 6pm and work all night. But he’d work through the next day and go to bed at a different time.”
Shields’ involvement with Primal Scream lasted from 1998–2005, where his talents were felt both in the studio and the live arena. “In the studio, he’d say, ‘What do you want me to do?’ We had these little phrases, descriptions of what particular sound we wanted. ‘Can you get that one where you’re cutting down the trees?’ He’d hit the pedals and it would sound like a chainsaw. Live, there were certain tracks on XTRMNTR that were aggressive; we’d hold him back and hold him back and then give him the nod, ‘Kev, hit that button.’ He’d take it to the next level of intensity and pain. There’d be some little kids down the front and they’d be smiling and by the time Kev had played three songs, you could see they were thinking, ‘This isn’t actually very funny.’ It was brilliant.”
Brian Reitzell, meanwhile, speculates that Shields was financially “trapped in Primal Scream. It’s not such a bad trap, but still a trap.” As drummer for Air, Reitzell had met Shields on tour in Japan in 2001. A few years later, he approached Shields in an altogether different guise: as the soundtrack producer for Sofia Coppola’s new film, Lost In Translation . Reitzell remembers making three, week-long Transatlantic trips to Shields’ studio in Camden between November 2002 and March 2003. Reitzell describes a familiar pattern for these sessions: “We had a different engineer each time because Kevin would burn them out. We would show up at the studio and the engineer had to be there at eight o’clock, but we wouldn’t roll in until 11 at night and then we’d work through until nine or 10 in the morning.”
Along with insight into the recording process, Reitzell also also offers a tantalising glimpse of material that didn’t make the final cut. He outlines trips to a Camden shop selling instruments from around the world and an attempt to “put an e-bow on one of these weird Asian stringed instruments” that was ultimately ditched. “Kevin and I also did a cue with Martin Duffy on electric piano and Duncan McKay playing layers of trumpet – both from Primal Scream. It was a full-on Miles Davis/Gil Evans trip. I loved it, but it didn’t make the film.” They also recorded “three proper songs” – although only one, “City Girl”, appeared in the film when it opened in September 2003.
Critically, Reitzell says that the success of the Lost In Translation soundtrack allowed him greater financial latitude on his next film with Coppola, Marie Antoinette , for which he “grossly overpaid” Shields to do two remixes, facilitating his economic independence.
It is possible to view Shields’ work with Primal Scream and Brian Reitzell as a process of rehabilitation after the Valentines’ split. In the immediate aftermath, Shields undertook remix work – for artists ranging from the Pastels to Placebo, Mogwai and Yo La Tengo. He also quietly continued to work on the band’s long-gestating fourth album. “I would bump into Kevin here in Camden on his way to the studio, doing the album,” says Googe. For Shields, though, a turning point came in 2005, when Patti Smith invited him to participate in The Coral Sea project at London’s Queen Elizabeth Hall. “I never really used the tremolo arm after the last recordings I made in 1997,” says Shields. “I can’t add that way of playing on as an effect for people, so I developed a whole different approach with Primal Scream. When Patti asked me to play Meltdown, I got my tunings from the My Bloody Valentine days and a bunch of guitars and we improvised. Patti really inspired me to start playing guitar again like I used to.”
Paul Weller witnessed first-hand the rejuvenated Shields when the two collaborated together on a track, “7 & 3 Is The Striker’s Name”. “When he came down to here to the studio, be had a big bag of effects and pedals,” he tells Uncut . “They were all buzzing and cracking, almost on the point of explosion. I watched Kevin during that session and I still can’t really figure out what it is he does. But I know something – only he can do it.”
FOR the other members of My Bloody Valentine during their extended hiatus, time passed in different ways. Colm Ó Cíosóig began playing with Mazzy Star’s Hope Sandoval. Debbie Googe “floundered for a while; I’d been ‘Deb in My Bloody Valentine’ for years and I didn’t know who I was” before she formed Snow Pony with her then-partner, Katharine Gifford. Bilinda Butcher, meanwhile, opted out of music to raise a family. “But I never gave up faith that it was going to happen again,” she says. The band are all individually keen to stress that they never actually fell out with one another – “They’d had enough of me, but they didn’t hate me or anything,” laughs Shields. In 2006, they received an offer of $300,000 to play the Coachella festival; “it put the idea into our head,” says Shields. In 2007, they decided to make a go of it, booking five nights at London’s Roundhouse. Coachella, meanwhile, upped their offer to a million dollars – but, according to Shields, ”it was too early, we’d literally just got it together in time to do those Roundhouse gigs, so even for a million dollars we couldn’t do Coachella.”
“The first day of practice, it was like I’d gone to the toilet and come back in,” remembers Googe. “There’s a lot of shared history and familiarity that comes in to play in those situations. But we’d had eight, 10 years away from each other. We chose to come back.”
On June 13, 2008, My Bloody Valentine performed in public for the first time in 16 years during two live rehearsals at the ICA. An extensive world tour was announced, to run through the summer and autumn months. And in the middle of all this sudden, unexpected activity Shields mentioned that the band’s long-gestating third album was at last near completion.
Finally, after 20-odd years of prevarication, false alarms, teases and disappointments, m b v was released through the band’s website on February 2, 2013. Ó Cíosóig describes the album as “closing up a chapter. A lot of the music was from back in the time, the house, pre-implosion. There were some great songs there.” Shields reveals that he began writing the oldest track on the album, “New You”, in April, 1994 “the night after I heard Kurt Cobain killed himself.” Another song, “Only Tomorrow”, was only slightly younger – dating from around 1996. “I went back into the studio and recorded some drums over the drum loops to give it a bit of character,” says Ó Cíosóig. “Give it a bit of push and pull.”
“The m b v record has a theme, for want of a better word,” says Shields. “It’s about change and death and what was happening in the world, as I saw it in the late ’90s. Nostalgia’s part of it. Funnily enough, it all made even more sense in 2012.”
Five years later, and Shields seems confident that a fourth album will appear soon. Early forays in the studio began in Ireland over summer 2017. “Kevin was working on drums with Colm,” says Googe, identifying an all-too familiar pattern in My Bloody Valentine’s recording processes. There was lull, meanwhile, as Shields concentrated on the new vinyl editions of Isn’t Anything and Loveless and a collaboration with Brian Eno, called “Only Once Away My Son”.
“I know he’s got some stuff pretty much nearly ready for me,” says Butcher. “I’m really looking forward to it. It feels really exciting. Kevin’s working on songs in the way he always does. He’s always got millions of songs going round his head.”
“I’m keeping things clear in case I’m needed for Valentines stuff from April,” says Googe. “Certainly, from June on I think we’ll playing live. Between June and August, stuff will happen.”
“Everything’s going really well,” adds Ó Cíosóig. “I’ve been recording with Kevin recently. He’s got his studio, I’ve been helping out. The trip. It’s now or never, I guess.”
“In the last few months,” says Kevin Shields, “when things have got quite tense with the remasters, I’ve pulled back from it. I really want to make this new record and I don’t want to get burnt out. You see, I don’t feel like I’m finished. I will be exploring things until I’m dead. I feel like if I don’t do this myself, no-one else is going to do it.”
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2018.01.29 18:38 bongo1138 Oscar Nominees and Where to Watch Them

This list does not include any of the short films, as they're in a category of their own. This list is presented in alphabetical order and includes all features and documentaries that are nominated. Use this list to cross reference what's nominated for what. If I've missed anything, let me know!
As for the shorts, Shorts TV is presenting them all in cinemas on Feb. 9th, across 5 continents. Check out their website here.
“Abacus: Small Enough to Jail” - Amazon Prime
“All the Money in the World” - Theaters, No VOD release date
“Baby Driver” - VOD
“Beauty and the Beast” - Netflix
“Blade Runner 2049” - VOD
“The Boss Baby” - Netflix
“The Breadwinner” - Theaters, No VOD release date
“Call Me by Your Name” - Theaters, No VOD release date
“Coco” - Theaters, VOD (2/13 to own, 2/26 to rent)
“Darkest Hour” - Theaters, VOD (Rent - 2/27, Buy - 2/6)
“The Disaster Artist” - Theaters, No VOD release date
“Dunkirk” - VOD
“Faces Places” - Theaters, No VOD release date (might be March)
"A Fantastic Woman" - Theaters
“Ferdinand” - Theaters, No VOD release date
“The Florida Project” - Theaters, VOD (Buy 1/30, Rent 2/6)
“Get Out” - HBO
“The Greatest Showman” - Theaters
“Guardians of the Galaxy Vol. 2” - Netflix
“I, Tonya” - Theaters, No VOD release date
“Icarus” - Netflix
“The Insult” - Theaters
“Kong: Skull Island” - HBO
“Lady Bird” - Theaters, VOD (Rent 2/27)
“Last Men in Aleppo” - Netflix
“Logan” - HBO
“Loveless” - Theaters
“Loving Vincent” - Theaters, VOD
“Marshall” - VOD
“Molly’s Game” - Theaters, No VOD release date
“Mudbound” - Netflix
"On Body and Soul" - Theaters (IMDb says Feb. 2nd)
“Phantom Thread” - Theaters, No VOD release date
“The Post” - Theaters, No VOD release date
“Roman J. Israel, Esq.” - Theaters, Available to own now on VOD, and to rent on 2/13
“The Shape of Water” - Theaters, No VOD release date
“Star Wars: The Last Jedi” - Theaters, No VOD release date
“Strong Island” - Netflix
“The Square” - Theaters, VOD (available 1/30)
“Three Billboards Outside Ebbing, Missouri” - Theaters, No VOD release date
“Victoria and Abdul” - VOD
“War for the Planet of the Apes” - VOD
“Wonder” - VOD (1/30 to own, 2/13 to rent)
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