BIG DOT SOCKS

hi. I like a lot of things. Perhaps by following this blog you'll learn more about me. otherwise, let's talk
Film 41: Brave (2012) How excited I was to discover that Pixar would be releasing a new film set not only in Scotland, but featuring genuine Scottish voice actors and a strong female protagonist (very Miyazaki). This is what enticed me to go out and watch it initially, for Scottish culture interests me greatly and the inclusion of a heroine this time around seemed unorthodox for Pixar yet intriguing, in addition to a faithfulness to Pixar animation ever since Toy Story. I wanted to see how this would play out - if it was possible for Pixar to redeem themselves after Cars 2. I had virtually no clue as to what the actual plot of Brave was, but with Pixar’s track record of producing kid-friendly stories with sparse complexity and action-filled antics, I trusted that I would not be disappointed. The setting here is very different from what Pixar fans may be used to. It’s nothing like Paris, the great barrier reef, or a spaceship (heck, the settings used in Pixar films are so diverse, it’s hard to picture an environment they wouldn’t use…). It’s the living, breathing highlands of Scotland. In this way, a Disney influence is most evident. A dark, menacing forest? Got it. A looming castle? Check. Don’t forget the lumbering king, his authoritative queen, a mysterious witch, and a princess to top it all off. We’ve seen these before, just not in this context. Does this make it a homage to the animated fairy tales of which we are so used to? It definitely looks that way. However, it’s much more fresh than the stories of Cinderella or Snow White - there is no damsel in distress nor a valiant knight to rescue her (not in the conventional sense at least). Here, the princess is the one who saves the day. The importance of a man in defeating the villain and rescuing those in dire need of saving is subordinated, and the role instead is given wholly to the woman. Yes, we’ve seen female protagonists in films of course, but it has always been sought to that a man, usually a romantic interest, is there to aid in her quest or save her from harm. It is not that Merida doesn’t have access to someone like that, but rather she chooses to rely on her own wits and strength to complete her quest. With that said, Brave is fresh without a doubt, whilst making use of elements from past stories.  The plot definitely gives Brave a fairy tale-like quality combined with slightly darker tones. Being that it is their first film with such traits, I almost felt like Pixar had taken a leap of faith in producing it. I found that the simple premise, however, was very accessible and engaging. It gets straight to the point, without losing its appeal in long, drawn out sequences or scenes that are not essential to the plot. Every frame and scene was strung together with brilliance, thus making the length of the film just right. In regards to the art style and soundtrack, Pixar did not disappoint. The landscapes of the majestic highlands and mystic woods of Scotland are depicted beautifully, making it one of their most aesthetically pleasing films to date. A fantastic usage of lighting throughout is a highlight of the superb animation, definitely adding to the magical feel that is emphasized. Character designs are intricate down to the very last detail and even the unique features found on many of the characters may serve as reflections of their personalities and past, and Pixar yet again demonstrates their superiority in the field of computer animation by breathing life into these characters with outrageous fluidity. The soundtrack and the sound of the film is general was captivating. Cultural Scottish music proved to be the perfect fit for this setting and story without being obnoxious or excessive. I will always commend sound editors for playing the right tunes at the right times, and the sound direction of Brave is no exception. If you expect a traditional epic fairy tale from Brave, you might be disappointed. But If you expect a fresh, smooth, and original tale that has its share of dark and gritty moments to contrast with its delightful and beauteous ones, you will find that Brave is comfortably embraced.

Film 41: Brave (2012)

How excited I was to discover that Pixar would be releasing a new film set not only in Scotland, but featuring genuine Scottish voice actors and a strong female protagonist (very Miyazaki). This is what enticed me to go out and watch it initially, for Scottish culture interests me greatly and the inclusion of a heroine this time around seemed unorthodox for Pixar yet intriguing, in addition to a faithfulness to Pixar animation ever since Toy Story. I wanted to see how this would play out - if it was possible for Pixar to redeem themselves after Cars 2. I had virtually no clue as to what the actual plot of Brave was, but with Pixar’s track record of producing kid-friendly stories with sparse complexity and action-filled antics, I trusted that I would not be disappointed.

The setting here is very different from what Pixar fans may be used to. It’s nothing like Paris, the great barrier reef, or a spaceship (heck, the settings used in Pixar films are so diverse, it’s hard to picture an environment they wouldn’t use…). It’s the living, breathing highlands of Scotland. In this way, a Disney influence is most evident. A dark, menacing forest? Got it. A looming castle? Check. Don’t forget the lumbering king, his authoritative queen, a mysterious witch, and a princess to top it all off. We’ve seen these before, just not in this context. Does this make it a homage to the animated fairy tales of which we are so used to? It definitely looks that way. However, it’s much more fresh than the stories of Cinderella or Snow White - there is no damsel in distress nor a valiant knight to rescue her (not in the conventional sense at least). Here, the princess is the one who saves the day. The importance of a man in defeating the villain and rescuing those in dire need of saving is subordinated, and the role instead is given wholly to the woman. Yes, we’ve seen female protagonists in films of course, but it has always been sought to that a man, usually a romantic interest, is there to aid in her quest or save her from harm. It is not that Merida doesn’t have access to someone like that, but rather she chooses to rely on her own wits and strength to complete her quest. With that said, Brave is fresh without a doubt, whilst making use of elements from past stories. 

The plot definitely gives Brave a fairy tale-like quality combined with slightly darker tones. Being that it is their first film with such traits, I almost felt like Pixar had taken a leap of faith in producing it. I found that the simple premise, however, was very accessible and engaging. It gets straight to the point, without losing its appeal in long, drawn out sequences or scenes that are not essential to the plot. Every frame and scene was strung together with brilliance, thus making the length of the film just right.

In regards to the art style and soundtrack, Pixar did not disappoint. The landscapes of the majestic highlands and mystic woods of Scotland are depicted beautifully, making it one of their most aesthetically pleasing films to date. A fantastic usage of lighting throughout is a highlight of the superb animation, definitely adding to the magical feel that is emphasized. Character designs are intricate down to the very last detail and even the unique features found on many of the characters may serve as reflections of their personalities and past, and Pixar yet again demonstrates their superiority in the field of computer animation by breathing life into these characters with outrageous fluidity. The soundtrack and the sound of the film is general was captivating. Cultural Scottish music proved to be the perfect fit for this setting and story without being obnoxious or excessive. I will always commend sound editors for playing the right tunes at the right times, and the sound direction of Brave is no exception.

If you expect a traditional epic fairy tale from Brave, you might be disappointed. But If you expect a fresh, smooth, and original tale that has its share of dark and gritty moments to contrast with its delightful and beauteous ones, you will find that Brave is comfortably embraced.

Film 40: Paprika (2006)

Dir. Satoshi Kon

(Source: stephhr)

Film 39: Rock of Ages (2012)

Dir. Adam Shankman

badcgijosh:

Okay so ask me how Snow White and the Huntsman was. Just ask me.

Hey Josh how was Snow White and the HuI HAVE NO GOD DAMN CLUE


I can’t… I can’t make heads or tails of this movie and I don’t mean the plot didn’t make sense I mean I don’t even know if I liked it or not this movie was a mess.. I think? I’m not even sure

I’m gonna speak pretty freely about it so if you don’t want it to be spoiled you should definitely skip over this post

  • Visually speaking this movie was absolutely stunning
  • Charlize Theron really did steal the show and her scenes were so dark and thematic and well done
  • I don’t dislike Kristen Stewart and even though she had top billing in this film she didn’t really have a whole lot to do but seeing her act in a big budget movie she ostensibly doesn’t loathe entirely was rather refreshing and other than a few lines delivered rather lifelessly, she was nice to watch
  • Chris Hemsworth was pretty cool but after seeing him in this movie and Thor and The Avengers I still can’t figure out if he’s a good actor or not but I guess it doesn’t really matter since he provides the closest thing to comic relief in the first act of a movie that kind of took itself a tad too seriously
  • Okay so the thing about this movie that left me with this cloud of unheimlich around my brain was the dissonance of everything
  • The movie starts off REALLY dark and thematic and Charlize Theron is fucking eating bird hearts like candy and sucking the youth out of scared looking white girls and Snow White breathes in a nightmare inducing hallucinogen and gets covered in locusts and attacked by a winged demon in her brain while trying to get through the forest
  • People die, K Stew sobs, a village gets burned to the ground, it brought truly brutal realism to the classic fairy tale and while there was SOME magic (mostly in Charlize’s character) it was still pretty harsh
  • And then an hour and half into Cormac McCarthy presents Snow White the movie turns into Kung Fu Panda
  • They encounter Bob Hoskins, Nick Frost, Ian Macshane and the guy who played Truman Capote who wasn’t Philip Seymour Hoffman and a few other dudes as bad CGI dwarves
  • The dwarves are in this film
  • The dwarves are in this film and they take Snow and the hunstman into a technicolour CGI forest with happy CGI woodland critters and literal pixies riding rabbits and the dwarves teach Snow how to dance
  • I was so uncomfortable because the movie gave NO FUCKING INDICATION that a tidal wave of whimsy was going to bukakke all over the god damn theatre and my brow was furrowed so much you could wash a dirty shirt on it
  • AND THEN TEN MINUTES LATER THE BRUTAL KILLING RESUMES
  • There was so much this movie tried to do and I have no idea if it succeeded in any of it
  • Also the movie spends about two or so minutes in its first act establishing that, in this world of trolls and CGI tortoises giving rabbits piggyback rides and immortality and Bob Hoskins pretending to be a dwarf, Snow White is a Christian
  • And then never revisit this concept again
  • I don’t know what to make of this movie
  • I don’t know anything anymore
  • I’m shutting down I’m s h u t t t t t t ti n g d d d d Did you know that the first TV interview was made with Irish actress Peggy O’Neil in April of 1930 I did not know that! Buy my cereal

(Source: confusedtree)

Film 37: Men in Black 3 (2012) Dir. Barry Sonnenfeld

Film 37: Men in Black 3 (2012)

Dir. Barry Sonnenfeld

Film 36: Dark Shadows (2012)

Tim Burton makes beautiful films. Not beautiful in the traditional sense, but in their own freakish and quaint way, appealing to a niche group of moviegoers who will always recognize his filming style whether it be in animation or live-action.

Viewers should be aware that this is based on a soap opera that aired in the 60s and early 70s. With that in mind, the acting isn’t excellent but has its perks. I want to think that this was done purposefully, to give it a sort of cliché soap opera trademark. Michelle Pfeiffer is a fabulous actress, and her performance is obviously soap opera-influenced to the point that it’s painfully obvious and almost feels like a parody. If this was the intended goal, then Burton executed it well.

With all that aside, the film is an odyssey of the supernatural in modern society - with witches, vampires, and werewolves attempting to fit in as one of the humans while fighting a battle of their own, set to the background of the 60s lifestyle. And though the idea looks good on paper and in trailers, the film does not exceed expectations nor does it provide the viewer with an overly assuaging experience. The humor is usually dry but well-written at times. The drama element seems to be nearly overplayed, but understandably so. An ensemble cast makes watching it bearable, but little screen time for a number of cast members leaves much to be desired. However, Johnny Depp is always a blast to watch, and the Burton/Depp combination never fails to entertain me. Simply put, the film is quite neat to look at but is not necessarily an unforgettable experience.

(Source: levi-jadetaylor, via schwarzweis)

Film 35: The Avengers (2012) In all honesty, I truly believe that no review could do this movie justice. It’s simply amazing and will keep you completely engrossed in the action until the very last moment. Every single scene is acted out and shot extremely well and the action is virtually nonstop. I suppose that this might not appeal to a select few, but really now - who could resist the drawn out action scenes complete with excellent camerawork, amazing stunts, and perfect effects? And if you’re not all about action, you have a star-studded cast to provide you with generous heaps of unforgettable drama and humor.  You fall in love with the characters almost immediately, whether you’ve seen their solo films or not (which should be watched for added depth, being that character development is not a highlight of this film, but it’s no requirement in any way), and continue to see them as real, dependable and exceptional, superheroes. Each of their introductions is characteristic of their personalities and carried out in a fashion that does not disappoint. The chemistry between the characters is greatly emphasized and works to your satisfaction, and fortunately each of our heroes is given their own time to shine. Hawkeye and Black Widow, the ‘underdogs’ who lack their own personal films (though they have been featured in Thor and Iron Man 2, respectively), receive a surprisingly sufficient amount of screen time and are just as magnificent as the rest. Robert Downey Jr.’s Tony Stark retains his magnetic charm and is always a blast to watch onscreen, as Iron Man or not. It is believed that no one else could possibly play Stark as brilliantly as Downey Jr., and I can definitely see why. In his hallmark performance, Chris Evans’ Steve Rogers was my favorite to watch in this film. I was entertained by his demeanor and style, even more so knowing that Captain America is, in actuality, a 90-year-old war veteran who isn’t afraid to express his elderly spunk (please excuse my use of the word ‘elderly,’ it being the last word one might use to describe that perfect body). Thor is ridiculously entertaining if only for the fact that he is continually confused in regards to Midgardian customs and yet, being a god himself, possesses very human character dynamics. Bruce Banner, or the Hulk, is also quite lovable and gives our main villain a beat down to remember. That brings me to Tom Hiddleston’s Loki, who is lives up to his title as god of mischief and may possibly be the most complex of the characters. In Thor, Loki had been a more innocent and merciful young antagonist. Here, he is determined to his purpose and unyielding. He may not be pure evil, but you can sense traces of it developing with his character. You may see yourself as being on the side of the good guys, but you can’t help but root for the bad guy as well. This is where the acting element truly shines. In terms of action and effects: wow. Each battle or fight scene, from shot to shot, leaves you breathless and on the edge of your seat. It delivers in the sense that it caters to the audience’s need for more and more action, even when things seem to settle down. Cinematic quality of this calibre is a rare sight, and few manage to capture such erratic action as well as The Avengers. Joss Whedon is a genius.  In every sense of the word, it is a roller coaster of a movie.

Film 35: The Avengers (2012)

In all honesty, I truly believe that no review could do this movie justice. It’s simply amazing and will keep you completely engrossed in the action until the very last moment. Every single scene is acted out and shot extremely well and the action is virtually nonstop. I suppose that this might not appeal to a select few, but really now - who could resist the drawn out action scenes complete with excellent camerawork, amazing stunts, and perfect effects? And if you’re not all about action, you have a star-studded cast to provide you with generous heaps of unforgettable drama and humor. 

You fall in love with the characters almost immediately, whether you’ve seen their solo films or not (which should be watched for added depth, being that character development is not a highlight of this film, but it’s no requirement in any way), and continue to see them as real, dependable and exceptional, superheroes. Each of their introductions is characteristic of their personalities and carried out in a fashion that does not disappoint. The chemistry between the characters is greatly emphasized and works to your satisfaction, and fortunately each of our heroes is given their own time to shine. Hawkeye and Black Widow, the ‘underdogs’ who lack their own personal films (though they have been featured in Thor and Iron Man 2, respectively), receive a surprisingly sufficient amount of screen time and are just as magnificent as the rest. Robert Downey Jr.’s Tony Stark retains his magnetic charm and is always a blast to watch onscreen, as Iron Man or not. It is believed that no one else could possibly play Stark as brilliantly as Downey Jr., and I can definitely see why. In his hallmark performance, Chris Evans’ Steve Rogers was my favorite to watch in this film. I was entertained by his demeanor and style, even more so knowing that Captain America is, in actuality, a 90-year-old war veteran who isn’t afraid to express his elderly spunk (please excuse my use of the word ‘elderly,’ it being the last word one might use to describe that perfect body). Thor is ridiculously entertaining if only for the fact that he is continually confused in regards to Midgardian customs and yet, being a god himself, possesses very human character dynamics. Bruce Banner, or the Hulk, is also quite lovable and gives our main villain a beat down to remember. That brings me to Tom Hiddleston’s Loki, who is lives up to his title as god of mischief and may possibly be the most complex of the characters. In Thor, Loki had been a more innocent and merciful young antagonist. Here, he is determined to his purpose and unyielding. He may not be pure evil, but you can sense traces of it developing with his character. You may see yourself as being on the side of the good guys, but you can’t help but root for the bad guy as well. This is where the acting element truly shines.

In terms of action and effects: wow. Each battle or fight scene, from shot to shot, leaves you breathless and on the edge of your seat. It delivers in the sense that it caters to the audience’s need for more and more action, even when things seem to settle down. Cinematic quality of this calibre is a rare sight, and few manage to capture such erratic action as well as The Avengers. Joss Whedon is a genius. 

In every sense of the word, it is a roller coaster of a movie.

Film 34: Cabin in the Woods (2012) To be quite honest, I don’t know what I expected from this film. Though I knew for sure that it wouldn’t be a typical american horror film, I was continually caught off guard as the plot progressed. In truth, it isn’t a horror film at all. It’s a satirical black comedy masked as a horror film, a fresh approach to an all but overplayed movie genre that essentially gets the job done. It has all the makings of a common, cheesy teen slasher flick, yet the plot seems to spin out of control the very moment you begin to figure things out, panning out to reveal something much, much bigger than initially perceived. I cannot say much for the acting or the cinematography, both of which are generally unexceptional, but suitable. The comedy aspect is extremely crude and even downright nauseating at times, though it was necessary with the attributed subject matter… Many people will find this film annoying, strange, or just plain stupid, but only because its supposed goal is to astound and bewilder viewers with its sarcastic play on horror films. I guess it’s safe to say that whatever viewers take away from their experience watching this film is entirely dependent on how they see it.

Film 34: Cabin in the Woods (2012)

To be quite honest, I don’t know what I expected from this film. Though I knew for sure that it wouldn’t be a typical american horror film, I was continually caught off guard as the plot progressed. In truth, it isn’t a horror film at all. It’s a satirical black comedy masked as a horror film, a fresh approach to an all but overplayed movie genre that essentially gets the job done. It has all the makings of a common, cheesy teen slasher flick, yet the plot seems to spin out of control the very moment you begin to figure things out, panning out to reveal something much, much bigger than initially perceived. I cannot say much for the acting or the cinematography, both of which are generally unexceptional, but suitable. The comedy aspect is extremely crude and even downright nauseating at times, though it was necessary with the attributed subject matter… Many people will find this film annoying, strange, or just plain stupid, but only because its supposed goal is to astound and bewilder viewers with its sarcastic play on horror films. I guess it’s safe to say that whatever viewers take away from their experience watching this film is entirely dependent on how they see it.

300 FAVORITE MOVIES (in no particular order)

91. The Boondock Saints (1999)

“And shepherds we shall be, for thee my Lord for thee, power hath descended forth from thy hand, that our feet may swiftly carry out thy command. We shall flow a river forth to thee, and teeming with souls shall it ever be. In nomine Patris, et Filii, et Spiritus Sancti”

(via fuckyourcontract)

I’m like cat here, a no-name slob. We belong to nobody, and nobody belongs to us. We don’t even belong to each other. 

Film 32: Breakfast at Tiffany’s (1961)

Dir. Blake Edwards

Film 31: Eternal Sunshine of the Spotless Mind (2004)

Hauntingly beautiful and romantic, there is excuse as to why I haven’t seen this film until now. The film’s long introduction in itself contains the elements of a melancholic yet satisfying romance, but the plot becomes even more deep and interesting as it takes an unexpected, though never overwhelmingly confusing, turn. A story told mostly through memories and dreams, the bizarre, nonlinear narrative is extremely intriguing. Films that are told in this unconventional manner are very difficult to pull off, and it doesn’t need saying that Charlie Kaufman and Michael Gondry did an excellent job in its production. Even 8 years after its release, the film has aged remarkably well, with brilliant cinematography, a wonderfully-chosen soundtrack, and superb acting. Here we have Jim Carrey working outside of his normal comedic comfort zone, portraying the reserved and withdrawn Joel, showing just how much he can do in regards to his supposedly restricted acting skills. Kate Winslet also performs brilliantly as always, portraying a carefree woman (Winslet succeeds as an entirely convincing american) who is drawn to Carrey’s character in response to their intensely different personalities. The abnormal circumstances of their relationship, taking place in the subconscious as well as the real world, does not hinder the chemistry of the two actors. Supporting performances by Kirsten Dunst, Elijah Wood, Mark Ruffalo, and Tom Wilkinson are also outstanding and worth noting. The diverse yet fitting menagerie of scenes is a very strong component in this film, with many scenes, whether there is a prominent use of close-ups or wide shots, that are beautiful and engaging (with the acting and soundtrack serving as compliments to the visuals). In most respects I feel that this film doesn’t even need a review, that it has the recognition it deserves and a large enough following to be a must-watch on everyone’s list. It’s lovely, and it’s one of those heartstring-pulling romances that don’t come around quite often as they should.

Film 30: Creation (2009)

Primarily my newfound interest in this film arose from the presence of Benedict Cumberbatch (yes, I too suffer from Post-Reichenbach Disorder and shall explore the fantastic actor’s works until the dawn of the new season arrives). Though to my disappointment I had discovered his role in this particular film was quite small, I decided that I’d check it out anyway being that I’d heard about it before its release and had been interested back then. First off, the film is quite eventful in its own special way, albeit slow at some parts. It’s something of a biopic, and biopics tend to move quickly in order to depict a notable moment or moments in one’s life, yet here we see one where scenes are more dramatic and drawn out, which was welcome. There are flashbacks aplenty, and though it was a nice literary touch it had served to confuse me greatly as the distinction between the present day and the past was at many instances unclear (though perhaps this was intended?). The selection of English actors is satisfactory, and I wish I had seen more screen time from certain ones as many of their appearances are brief. Yet knowing that the aim of the film was to document Charles Darwin, and not other subordinates characters, in his moments of and leading up to his writing of The Origin of Species along with his family life during that time, I would have to say it played out to be quite good and enjoyable, but not extraordinary. Very pristine and at times drab cinematography is utilized, creating an atmosphere consistent with the emotions and breakthroughs of our main character. Paul Bettany and Jennifer Connelly are excellent and have great chemistry, fitting their parts extremely well. I can’t say much about the soundtrack, which happened to be quite unremarkable, though with its melancholic feel it somehow helped in creating a fitting atmosphere. This type of story is most likely one that I would perhaps rather see in the form of a television programme such as a mini series or short drama series. But would it, in fact, succeed in that form?

Film 29: Mon Oncle (1958)

Dir. Jacques Tati

Film 28: The Assassination of Jesse James by the Coward Robert Ford (2007)

Dir. Andrew Dominik