filmic stress device

@fevered.earth

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the internet's biggest fan of suicide squad (2016) by minutes of video essay produced | film writer, comic reader, occasional video game developer | he/him https://linktr.ee/fevered_earth

a person dressed in blue stands awkwardly on the stairs in a godawful crowd shot
I wasn’t expecting much from Thrawn 2.0 but Zahn really pulled out all the stops here, having been given the chance to start again and do Thrawn ‘right’ twenty five years after first writing the character. He turns in something which is actually kind of on the pulse of genre writing, with a handful of characters – Thrawn, his provincial attache Vanto and disinherited mining magnate Pryce – who are all in some way trying to serve an Empire that is inherently hostile to them. Shades of A Memory Called Empire or The Traitor Baru Cormorant, and Pryce’s story in particular is that kind of bureaucrat power play porn, culminating in her commiting an atrocity. The trick of the book is to get you to root for these bozos. It’s not Proust, it’s still a Star Wars book and it in fact directly ties in to a season of a children’s cartoon where Thrawn is a moustache-twirling characature, but I enjoyed this a lot more than I expected.
Probably eating a fine meal or spending money on expensive entertainment. Females did love such things. A Jedi Knight wouldn’t just sit around when there was vital Alliance business in the works, would he? No. He wouldn’t. This was one of those times, and as usual, it was a double-edged blade. Swung with care, it would cut both ways. Just as it was supposed to cut.
my neighbour told me dc films keep eating his supergirl so I asked how many dcu he has and he said he just goes to Warner bros and gets a new DCU afterwards so I said it sounds like he's just feeding supergirl to cinematic universes and then his creature commandos started crying
a simultaneously fawning and insulting summary of some articles i wrote about invincible
we NEED to synergise
The Truce at Bakura – Kathy Tyers Another entry in my big journal of Star Wars sequels and prequels, this is the book that infamously starts the moment Return of the Jedi ends, by having fan-favourite X-Wing pilot Wedge Antilles trip over his shoelaces and hit his head on an exploding Imperial Droid. Hijinks ensure. Tyers has a much looser grip on the Star Wars atmosphere than Zahn did, and the mid-nineties sci-fi pulp mood that you might also see in Doctor Who novels of that era is very much in evidence: Skywalker et al must contend with the threat of a vast empire of oddly sexy dinosaur-men. That’s not very Star Wars, but the constant diplomatic back-and-forth with the newly-minted Imperial remnant, who aren’t entirely convinced that the Emperor is dead, certainly is, and Tyers does a decent job of depicting power struggles in a very febrile situation. Takes a while to hit its stride, but an enjoyable read once it does.
To match this, in a stunning piece of visual metaphor the physical, real world cinema I visit caught fire this year. It was ultimately fine, with only mild water damage that has since been repaired, but talk about a bad omen. The only film I managed to see there over the course of the year was James Gunn’s Superman (of which more later) which I was obliged to see both as a terminal DC super-fan and as a connoisseur of Dog Movies. I’m hoping to make it over there for Avatar: Fire and Ash before the end of the year, which will mean having to edit this list. A similar story with Netflix’s new Knives Out: Wake Up Dead Man. (update: I made time for both!)
'civilisation' on bluray
truly, fuck the space whales
I'll admit that I was actually enjoying this movie for as much as half an hour, this movie makes the most effort to turn its characters into actual characters and not just empty vehicles in service of one lame white man's self-actualization.
The original sin of "Avatar" is that the Na'vi are condescending racist caricatures by a very stupid white man.
“A Grand Admiral,” Ackbar said at last, his voice sounding even more gravelly than usual. “We’re dealing with a Grand Admiral, Han,” Lando reminded him. “Anything is possible.” “Great,” Han growled. “Problem is, with a Grand Admiral in charge of the Empire, we might not have that much time.”
in watchmen (2009) a graffiti reads "who watches the watchmen?" this is a reference to mARCIA LUCAS WHOSE LAST-MINUTE EDITS SNATCHED VICTORY FROM THE JAWS OF DEFEAT, ADDING
Any real dive into the morality of the film is blunted not just on the ‘be kind’ platitudes but also the shifting message between the different chunks of film; early on Superman is criticised for his naïveté, at the end of the film he’s commended for his inspirational rigidity. Killing is always bad, except when it’s the cowardly and murderous Boravia president, or you’re doing the ending of Batman Begins and allowing public transport to bring your antagonist to an untimely end. Even ‘be kind’ folds in the face of ‘let your dog knock a guy about if it’s funny’.
A final discordant note on social media comes with the depiction of Eve Teschmacher by a vaguely scene-stealing Sara Sampaio. Lex Luthor’s partner, she’s a constant presence alongside him taking an endless array of selfies with goofy expressions on her face, as he goes about his many crimes. Exactly why he indulges her in this is never touched on, and the degree to which she is intentionally cataloguing his sins is also frustratingly vague. For some unknown reason she’s head over heels for Skyler Gisondo’s unpleasant Jimmy Olson, who in a strange and mean-spirited bit has issues with her physical appearance. Via Olson, Teschmaker gets her crucial smoking gun of photographic evidence to Lois for publication at great personal risk, despite which Jimmy continues to shun her. In this way Eve really takes second credit for exposing Luthor and it would have been nice for her to have her moment in the Owlship also. The absence of such means that the film makes an odd distinction between the serious Lois Lane and the slightly infantile Teschmacher, as if placing them on an even keel might sully Lois with Eve’s girlish vices.
I’m being droll but that’s not necessarily a criticism; there’s nothing inherently wrong with simplifying and literalising, though it means that this Superman is ironically often a bit more alien than he might otherwise be, oscillating in his scenes with Rachel Brosnahan’s Lois Lane between a kind of post-teenage petulance, demanding that the world be simpler so that he can act without consequence, and a detached aloofness. Fortunately Brosnahan brings her considerable talents to making the relationship seem plausible, with a nice subtle humour to the idea that – tormented by her own relationship demons – she is in a sense settling for Superman.
google ai summary confidently asserting that hex 254 is decimal 388
According to Jürgen Trimborn's biography of Nazi propaganda filmmaker Leni Riefenstahl, both Chaplin and French filmmaker René Clair viewed Riefenstahl's Triumph of the Will together at a showing at the New York Museum of Modern Art. Filmmaker Luis Buñuel reports that Clair was horrified by the power of the film, crying out that this should never be shown or the West was lost. Chaplin, on the other hand, laughed uproariously at the film. He used it to inspire many elements of The Great Dictator, and, by repeatedly viewing this film, Chaplin could closely mimic Hitler's mannerisms.[11]
called out by the gdq host for speaking the truth
Be ready to be shocked and offended at university, students told
The line "I... we..." is spoken by a black helicopter pilot in the game Deus Ex: Human Revolution. It occurs during the final confrontation with the Illuminati at the Panchaea facility. The pilot, after being seemingly mind-controlled, transmits a message that ends with "I... we...". This phrase is a key element of the game's ending, suggesting a larger, hidden force controlling the events of the game. The scene plays out as follows: 1. The final battle: The protagonist, Adam Jensen, confronts the Illuminati's leaders at Panchaea. 2. The message: A black helicopter appears, piloted by someone who is seemingly under mind control. 3. The transmission: The pilot transmits a message, ending with the cryptic "I... we...". 4. The implication: This phrase suggests that the Illuminati are not the ultimate controllers, but rather a tool of a more powerful, hidden entity. This ending leaves the player with a sense of unease and a feeling that the conspiracy runs deeper than initially perceived. The "I... we..." implies that the pilot, and by extension, the Illuminati, are not acting of their own volition, but rather as part of a larger, collective agenda. AI responses may include mistakes. Learn more
noah from 'noah'
"the first and last female president of the united states. surely you remember her? she raised you."