Mean Girls IMDB

GirlHouse (2015) [Slasher]

2020.10.25 04:03 NegativePiglet8 GirlHouse (2015) [Slasher]
Directed By: Jon Knautz & Trevor Matthews
Written By: Nick Gordon
If you were to ask a random person to define 'slasher' as concise as possible, I think some variation of boobs & blood would be a common answer, especially with the popularity of the Friday the 13th franchise. So what's a better way to lean into that than setting your bloody slasher film within the tech equivalent of the Playboy Mansion?
Meet Kylie Atkins (Ali Cobrin), a graduate student in North Carolina who decides to take an opportunity to earn some tuition money by agreeing to have her privacy taken away in GirlHouse. A house focused on streaming pornographic content 24 hours a day in a supposedly impenetrable location; that is until the house is invaded by an upset and fixated patron of the website decides to come in.
During the 2010s, slashers were sort of an old hat; some form of the slasher genre had existed since the 1960s and gained immense popularity in the 1980s. There were small booms during the 1990s and 2000s, but would never reach that peak again. This can probably be blamed on oversaturation of the market and a lack of 'new faces' within the Mount Rushmore of slashers. If you aren't Michael Myers, Jason Voorhees, Freddy Kruger, or Leatherface, do audiences have any interests? How can you overcome this sort of apathy? For Matthews and Knautz, the answer seems to lean into it. GirlHouse doesn't reinvent the genre. This isn't Scream, but it doesn't mean the film isn't completely aware of this and its audience.
While the film understand the genre's fixation on female nudity, like Knife + Heart will do years later, it has the element in there without being exploitative. The film displays a lot of sexual positivity and focuses on giving the streamers their own personalities and issues. While many of these issues won't be explored fully or at all, it does allow the audience to be able to connect to the characters in some small way, and makes their graphic deaths a more difficult to stomach, which should be the point. And while I can applaud the film for being sex positive, there are some small, but important elements that could possible undo this. For example, it's very common for the film's final girl to be virginal/pure in some way. Since they live in a Playboy style house, you'd think that trope would be ignored or changed, but it's really not. While Kylie still displays a more sex positive attitude throughout the film, they still make a point to make her move from streamer to porn actress off the table, essentially moving the goal post of that. Pretty small, and it's a trope that's almost required of the genre, but thought it was worth pointing out. The bigger issues really comes from the overall message of the film. The girls are attacked by an incel-type character, and repeatedly throughout the film Kylie's friend shows a lot of worry for her safety doing this type of work, and her friend is sort of vindicated, since the house obviously turns into a bloodbath.
Another important element in any of the major slashers is your slasher villain. While the iconic slasher may be going to the wayside, I'd say the film's antagonist LoverBoy might be the closest I've seen in awhile. Portrayed by Slaine, LoverBoy carried an enormous size and build to him, and while that may lend itself for him more of the 'walk slowly behind you' sort of villain, he shows a lot of agility and speed throughout the house that catches everyone within the house off guard in some way. And while his 'Pretty Woman' mask does give off this sort of uncanny valley to his look, his physicality does much more to cause fear within the audience. And with this film being released one year after the Elliot Rodgers shootings, it's hard not to feel this sense of realism of 'what could have been' when watching the film.
I don't want to spoil any kills, so as a very basic review, they're all pretty memorable and in many ways, unique without feeling gimmicky. There's a brutality to them and they never feel repetitive, and the filmmakers and set designers did a great job of building the house and allowing the killer to sort of have it as a sandbox. With the entire house being filled with cameras, their elements of knowing the house better than the killer is out of the window. Strangely this reminded me of Halloween: Resurrection where we have people watching the feed while the kills are going on, the biggest difference is GirlHouse is tolerable to watch and sets up the location much better to give the audience a sense of location, and kudos to the filmmakers for using a variety of elements within the house to keep the film feeling fresh for its sort of long runtime for a slasher (101 minutes).
Even with the runtime, I didn't feel like the film ran out of steam. The film is very well paced, saving most of its action and more slasher-like element towards the last act of the film. For some, I can see this being a problem. The filmmakers didn't seem to make this with a stop watch, kills happen when it makes sense and after the main ensemble is introduced and somewhat fleshed out, but once the action starts, that 40ish minutes of mayhem can feel pretty nonstop and feels very nicely built up.
If you're looking for a fun slasher with some pretty solid acting and characters, and if a slightly muddled theme doesn't bother you, GirlHouse is easily one of the better slasher films of the 2010s, and is worth a watch during the final week of your Halloween season.
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2020.10.15 17:16 FuturistMoon R.L. Stine's The Haunting Hour (2010-2011) [Kid Horror, Anthology]

TWEEN TERRORS: Review of R.L. Stine's The Haunting Hour (selected episodes - season 01 & 02)
I grew up before YA was really a thing, let alone the YA horror represented by R.L. Stine’s GOOSEBUMPS books and shows like ARE YOU AFRAID OF THE DARK. I’ve opined before, in other reviews, that I feel I owe my wide reading interests to the fact that the anthologies of spooky stories assembled for kids and sold on the Bookmobile in my youth were generally sourced from magazines intended for adults (usually digests like Alfred Hitchcock’s Mystery Magazine and the like), with a healthy smattering of classics (and little to no thought as to whether a young reader might have a problem processing them). On the other hand, because I started being interested in scary things at a fairly young age, I am still fascinated by the question of younger audiences and horror content. A recent spate of blog posts by individuals like Orrin Grey and a few others, all younger than myself, enthused about this series of spooky stories for tweens (Stine moving his target audience age up as they matured). So I took note of some titles, hunted them down, and worked my way through them (I still have about 9 episodes from the 3rd & 4th season to watch).
Now, we are talking about a show for kids (too scary for children under 7, by the introduction card) and so expectations should be lowered a tad. On the other hand, I was checking out cherry-picked episodes and so was probably, mostly steered clear of the lame, predictable and repetitive. And here’s the interesting thing about THE HAUNTING HOUR (which, just to be clear, only run 23 minutes without commercials) - the show markedly improves in quality between the first and second season. In the first season, there are some effectively weird scenarios (“Fear Never Knocks” and its creepy stranger, a threatening embodiment of fear, or “The Black Mask” which effectively introduces kids to the old familiar “it wasn’t a vision of the past, it was the future!” narrative switcheroo) and the show should be given credit for oddly ambitious installments like “Afraid of Clowns” (the payoff of which is essentially Lovecraft’s "The Shadow Over Innsmouth" stripped of all of its batrachian detail and replaced with unnerving carnival gilding), “Wrong Number” (mean girls learn the perils of messing with gypsy curses) and the two-part reinvention of a classic urban legend in “Scary Mary.”
But the second season kicks everything up a notch with the show producers seemingly deciding that, yeah, there had to be the occasional risk of unhappy endings and even death for the main characters, regardless of their age (never a violent death, of course, but awful all the same) if the shows were going to have any bite. And even more than that, the writers seemed to have been encouraged to take occasional narrative risks. The opener, “Flight”, has a boy on his first, nervous, airplane flight befriend a man targeted by the Grim Reaper - with a last line that will probably haunt kids seeing it for the first time. Episodes like “Sick” and “Brush With Destiny” play fast and loose with paranoia and rubber reality, while “Stage Fright” charts a disastrous attempt at a school musical (of Hansel & Gretel, no less!) only to end on another, deliciously witchy and perfect last line. Meanwhile, the Halloween episode “Pumpkinhead” and the domestic haunting/oddly menacing “The Hole” could easily have passed as an episode of TALES FROM THE DARKSIDE, back in the day, with their very nasty endings, and “Mascot” succeeds at being a "lost" episode of anthology tv show MONSTERS as two students, intent on replacing their bizarre and vaguely repellent school sports mascot “Big Yellow,” find out that it’s not as easy as it may seem (seriously, “Mascot” is weird and well-done, if not exactly scary, and gets extra points for never feeling the need to explain its bizarre, titular creature). Finally, if you thought you’d never see an apocalyptic riff on T.S. Eliot in a show for kids, then check out “Scarecrow”!
So, I’m surprised to report that there really were some effective episodes of this show, nice little treats if you’re looking for something “light” but still solid, and I look forward to checking out the handful of recommendations from seasons 3-4.
submitted by FuturistMoon to HorrorReviewed [link] [comments]

2020.10.13 01:42 drawwriter Top Thirteen Ranking of Episodes involving Pinkie Pie from My Little Pony: Friendship is Magic

My Little Pony: Friendship is Magic is a pop-culture icon for Hasbro. When it first aired, it was mostly centered for little girls, but it gained a cult following for Men named “Bronies”, who are fans of the show. Bronies proved to the world that stereotypes aren’t everything, and even to this day, Bronies are still fans of the show, even after it ended in 2019. I admit I am a Brony. Not to mention every Brony in the fandom has a favorite pony from the show. Even someone like me has a favorite pony, from the Tomboyish Rainbow Dash to the book lover Twilight Sparkle. There are a lot of ponies to choose from to make your best pony, but the best pony for me is Pinkie Pie. She’s a pink pony with energetic quirks and a big happy personality. I can’t really explain to you who Pinkie pie is in this whole article. I just have to show you her character by showing her Best and Worst Episodes involving her character arc. The best part about the show My Little Pony, is even though it’s mostly for kids, they tend to make sure all of their characters are well developed. So, I’m going to rank most of these episodes, but not all in part from me, mostly from a website called IMDB, which ranks episodes from user reviews, mostly so I can stay neutral when doing this ranking. I chose most episodes that either was centered on Pinkie in her perspective that involved her dialogue, actions, and even her messages at the end of each episode. I will also explain some of Pinkie’s character arc through each episode as well. Since there will be mostly thirteen, there is a lot to go over, so you might have to go and watch the show yourself. Let’s begin the ranking. 
  1. Yakity-Sax: Season 8, Episode 18, IMDB Ranking: 5.5 In this episode, Pinkie plays a new instrument as a new hobby, but her friends think that she won’t get any better, so when they tell her to stop, she falls into a depression. This is the worst Pinkie Pie episode in the series and has the lowest rank in this list. It’s even hated by the fans. It mostly portrays Pinkie as annoying rather than sensitive to her friends about her hobby. It even portrayed her friends as mean because they don’t tell her in a more reasonable tone about her new hobby. This episode also shows how Pinkie easily get depressed when she stops doing the things that she likes, but this seems out of character for her, even in some of the earlier episodes before this.
  2. Baby Cakes: Season 2, Episode 13, IMDB Ranking: 7.1 In this episode, Pinkie Pie babysits for her friend’s kids, but discovers that she had to place more responsibility on herself rather than just be a playmate. This portrays Pinkie being more mature rather than just trying to be more playful when she knows things are getting hard. Though it’s the second lowest episode on this list.
  3. The Maud Couple: Season 8, Episode 3, IMDB Ranking: 7.2 In this Episode, Pinkie’s sister, Maud, gets a boyfriend, who Pinkie doesn’t like. This portrays Pinkie trying to be more accepting to others, even her own sister when it comes to it. Though it’s low on the list mostly because it showed Pinkie as a bad guy who is still not accepting of Maud’s boyfriend, even though the boyfriend was being annoying to Pinkie.
  4. Secrets and Pies: Season 7, Episode 23, IMDB Ranking: 7.4 In this Episode, Pinkie tries to prove that her friend Rainbow Dash hates and throws away the pies that she makes for her. This shows Pinkie being more obsessive about one thing to prove a point, but even though they apologized to each other, we still don’t know the real reason why Rainbow Dash doesn’t like Pinkie’s Pies.
  5. Party Pooped: Season 5, Episode 11, IMDB Ranking: 7.5 In this Episode, Pinkie tries to stop a war between Ponies and Yaks, but when she fails. She begins to lack self confidence for herself. This also shows much dedication Pinkie places into her parties for everyone and how self consesious she is about making sure everyone is happy.
  6. The One Where Pinkie Pie knows: Season 5, Episode 19, IMDB Ranking: 8.1 In this Episode, Pinkie tries so hard to keep a secret that a couple is having a baby. This mostly shows Pinkie in a more comedic tone for trying to keep a secret, but it also shows how hard it is for Pinkie to keep a secret, mostly because of her extremely social quirks.
  7. Rock Solid Friendship: Season 7, Episode 4, IMDB Ranking: 8.2 In this Episode, Pinkie tries to get her sister Maud a friend, but gets too helpful with her help. This episode shows Pinkie to be more obsessed with trying to pair two Ponies together to be friends, but it shows that she cares a lot about her sister to try and get some friends with her.
  8. A Friend in Deed: Season 2, Episode 18, IMDB Ranking: 8.2 In this Episode, Pinkie tries to get someone to be friends with her when they reject her friendship. This portrays Pinkie as someone who is not only friends with everyone in her town, but knows everyone and about their lives as well. Pinkie just wants everyone to be happy, but it shows her as someone who needs to know when someone doesn’t want to be friends with her. It also includes one of the best songs of the whole series, The Smile Song.
  9. The Last Laugh: Season 9, Episode 14, IMDB Ranking: 8.3 In this Episode, Pinkie tries to find her life purpose while trying to make someone regain their laughter. This portrays Pinkie being caring about others as said before, but depressed about what she must do with her life when she is the only one out of her whole friends that isn’t fulfilled with her life.
  10. Too Many Pinkie Pies: Season 3, Episode 3, IMDB Ranking: 8.6 In this Episode, Pinkie clones herself to spend more time with her friends, but it backfires, resulting in multiple Pinkies. This episode shows Pinkie wants to spend time with all of her friends, but doesn’t know how to do it where she won’t hurt them.
  11. Maud Pie: Season 4, Episode 18, IMDB Ranking: 8.8 In this Episode, Pinkie introduces her friends to her sister Maud, but they have a hard time connecting with her, this episode shows how eager Pinkie is to make her friends accept her sister. But her friends have a hard time trying. This is also where info about Pinkie’s family is shown.
  12. Pinkie Pride: Season 4, Episode 12, IMDB Ranking 9.1 In this Episode, Pinkie competes with another party planner to see who is the better party planner. This episode not only has the special guest appearance of Weird Al, but it shows how much Pinkie’s job as a party planner is to her, especially when her friends in the episode leave her for the new party planner.
  13. Party of One: Season 1, Episode 25, IMDB Ranking 9.1 In this Episode, Pinkie investigates why her friends are avoiding her, as the episode goes deeper, Pinkie becomes crazy over the fact she assumed her friends abandoned her, making her freak out one of the best moments of the series. The freak out moment gave Pinkie a new alter ego named by the fandom as Pinkamena. This also shows how easily Pinkie feels betrayed when she thinks she’s losing her friends.
    We now know what the best episode of Pinkie Pie is, but this ranking won’t fully show what Pinkie Pie is like, you have to check out the show for yourself.
submitted by drawwriter to mylittlepony [link] [comments]

2020.10.09 18:02 TMS2017 TMS[3] #68: Hard Candy [2006]

IMDB synopsis: "A teenager meets a man in order to expose him under the suspicion that he abducts underage girls."
I've seen this movie listed on the "More Like This" section of the IMDB website countless times over the years. And, for whatever reason, I've never been inspired to try it. Maybe it's the name ("Hard Candy?" What does that mean?). Or maybe it's the lead actors, Patrick Wilson and Ellen Page, who seem so bland and uninspiring to me. In any case, I finally gave it a shot.
Well, it's pretty much exactly what I expected - nothing special, but watchable enough. The biggest problem (no surprise) were the lead actors. Wilson was a poor choice to play a suspected pedophile (he's not creepy enough, in terms of his physical appearance or his acting range). And Page was weak too; she almost seemed to be reading from her lines, especially in the first hour. Weird. We needed someone who could bring some pathos to the role or maybe some roguish fun (like "Hit Girl" in "Kick Ass"). The plot itself is predictable and some of the plot points felt contrived. The ending itself didn't make a ton of sense, but I guess it was fine.
I don't want to hate on it too much. Like I said, it was watchable. Basically, it's a "cat and mouse" game for 100 minutes, which is hard to make boring if you try. If you like the premise, maybe give it a shot. But keep your expectations reasonable.
Rating: 5.5 / 10
submitted by TMS2017 to 100movies365days [link] [comments]

2020.10.01 12:36 SenorMcNuggets SenorMcNuggets's OHMC 2020 checklist

Past Lists
2015 List
2016 List
2017 List
2018 List
2019 List

It's my 6th annual month of horror, and I'm pretty psyched. The world is burning this year, but did you know that horror fans fare better compared to our peers when it comes to handling the anxiety of living amidst numerous existential threats? My life is personally been pretty positive in the past year, so can't complain much there.
I'm taking it easy this year by not messing with any community challenges (no offense to u/sarafist's) and partaking in more re-watches than I have in the past. I'm reaching the point where the recommendations that really speak to me become rarer, so I thought I'd harken back to some top-tier classics to get my horror-noob partner more cultured in the genre. Otherwise, I'm making a huge dent in my watchlist that may be depleted in a year or so.
As I typically do, I'm also theming my weekdays and then packaging themed weekends, as well as binging the latest season of Supernatural. Enjoy the list!

My daily categories:
Mondays: Girls just wanna have fun! - Dedicated to casts made up of primarily women just trying to have fun (or do some science) when things go horribly wrong.
Tuesdays: Agoraphobics unite! - The scary things in these movies are outside, so let's stay in instead.
Wednesdays: Wackadoo Wednesdays - Am I crazy? Is the world crazy? These movies certainly are!
Thursdays: Demons are scary - Cults, priests, rituals, the whole nine yards. There's more than enough to pack 5 in this month.
Fridays: ...but humans are scary without them. - Who needs possessions? Humans can do horrific things on their own. That may be scarier in the end.

My weekend categories:
Parenting is Hard - Being a parent is difficult, so it's no surprise is drives some people a bit bonkers.
Arthouse Director Weekend - World renowned directors David Lynch and Lars von Trier make their appearance.
Not Drive-in Weekend - No drive-in near me was even showing something I wanted to see, much less the movie I wanted: Saint Maud. So my third weekend is just a grab-bag of whatever I felt like watching at the time. No planning required.
John Carpenter Weekend - The king of horror himself, need I say more?

  1. The Exorcist (1973)
It's hard to understate the impact this movie has had on not only horror, but culture in general. The fact that I can have Thursdays devoted to demons and still have spill-over in other days this month is only the beginning. It was Oscar-worthy on release, and even if the effects haven't all aged well, and though storytelling in cinema has evolved in the nearly half century since, the iconic movie still deservedly sits atop many a list of great and influential horror films. 9/10
2) Come to Daddy (2019)
This one was a great time! (Spoilers) While I had an idea of the twist, it certainly turned out to be more than I'd bargained for. Elijah Wood has really found his place in horror, and really sells the comedy. I hope Wilson continues to direct more. 7/10
3) The Innocents (1961)
I was vaguely aware of the many adaptations of "The Turn of the Screw," but lacked enough context having only seen The Others to know exactly where the plot would take me. This made it on my list finally, because I wasn't going to let a great story be squandered by seeing this year's The Turning instead. Deborah Kerr brings some serious acting chops to a horror movie with Hollywood talent behind in all facets. That alone is something special, especially because Kerr had already been in a best picture winner and multiple other films that have far from fallen by the wayside of film history. 8/10
4) Ma (2019)
There's some star power in this movie, and this fun, straight-forward flick gives you exactly what you're expecting from the trailers. While it does nothing new or ground-breaking, its execution of old tropes is nonetheless effective. 6/10
5) The House That Screamed (1969)
This is one of those older horror cult pieces that's hardly discussed these days, but is at least part of the inspiration for many that are. It feels largely like a giallo whodunnit, but it's Spanish, rather than Italian, and predates anything that the king of giallo, Dario Argento, ever directed. Without spoiling anything, the ending reminds one of multiple of other classics that subject their victims in similar, specific fates. My enjoyment wasn't particularly great, but I can see the value of it, and appreciate having seen it. 6/10
6) The Alchemist Cookbook (2016)
This is a polarizing movie, which is a bummer considering how few seem to have watched it. Potrykus has been dubbed "The New King of Underground Cinema," and I can see why in many ways. This movie looks low-budget on the surface, but I was struck by its expert sound design in the first minute, and by the dialogue in the first exchange. In its run, you learn little about who the characters are, in a way that avoids the exposition expectations of many viewers, but I don't think that diminishes the characterization one bit. One exchange, involving cat food of all things, between the only two actors was enough for me to fall for them. My biggest gripe is the poor execution of the ending, but my agreement with the emphatic naysayers ends there. 7/10
7) From Beyond (1986)
It wasn't until watching this that I realized how much of a distinct impact on horror Stuart Gordon was. It's not the practical effects body horror alone, but the specific cross-section between it and existential dread that is truly Lovecraftian. What sets this apart is that, for now at least, this may be my personal favorite adaptation of H.P. Lovecraft. We'll see if Color out of Space can compete. 7/10
8) Demon (2015)
Many a great horror movie makes its mark by making things feel very real. Where you can imagine the anxiety of a character, brought on by outside forces, but only exacerbating the challenges of real life. For the first half of Demon (a tragically generic name), this is what you experience with Piotr. When things really go off the rails, however, it loses some steam, making a point in 45mins that could have been made in a shorter time, and to greater effect. The resolution makes folklore sense and calls back to the ending of one of the greatest horror movies of all time, but doesn't offer the closure that one might hope from the moral motif of downtrodden history of the forgotten. Instead, tragedy begets tragedy, and we--like the wedding guests--all move on with our lives, saddened by the events and a tad disappointed. But given the message of it all, maybe that's on purpose. It's a shame that Wrona took his own life while his film was making its way through festivals. He could've grown into quite the talent. 8/10
9) The Dark (2018)
This is basically a lesser version of Let the Right One in. While there unquestionably are some darker themes dealing with rape and abuse, it doesn't come across as quite as consistent or human as the vampire flick. 6/10
10) The House That Jack Built (2018)
This movie follows a serial killer (though unlike any known real life killer) retelling a few of his many murders (at one point numbered at 61) to Virgil, who it turns out is the Virgil, the poet and Dante's guide to hell. Needless to say, that's where Jack is headed. They argue about the meaning of humanity and of art and how Jack sees these things intertwined in his murders in a very heady way. He's a brilliant serial killer, but vastly more academic than the IRL smart serial killer likes of Bundy. Jack is how an edgelord may envision himself as a serial killer. Lars von Trier is often critically-panned, and while I can't say I loved all 150mins of the runtime, I think that some of that is ill-advised. Maybe it takes someone looking for a black comedy in, at times, a Wes-Anderson-esque style. Like Antichrist, I wouldn't recommend it to just anyone. But where Antichrist is dreadfully plodding with sparks of brilliance in the last 20 minutes, The House That Jack Built is consistently and darkly pleasant, save for the final 15mins that could've been 2 instead. 7/10
11) Blue Velvet (1986)
Blue Velvet is not what I had hoped for when cracking into an Oscar-nominated David Lynch movie in mid-October for two reasons: I don't think it was Oscar-worthy and I don't think it was horror enough for this list. Thematically, there's some interesting things going on here, but to think that Lynch's screenplay earned a Golden Globe nomination is also a surprise. Lynch's capable directing probably turned what a would otherwise be an emotionally juvenile coming of age story with caricatures and stale protagonists into the passable thing we witness, but that's the most positive thing I can say about this movie. In the Halloween vein, the closest thing I got to a season-appropriate good time was imagining how much more entertaining Tim Curry's Frankenfurter would've been in the role of Dorothy than Isabella Rossellini in terms of voice, charisma, and of course sex appeal. 5/10
12) Annihilation (2018)
Other than one offhand line, that may be considered as on the nose as they come, this movie is one of the most masterful executions of feminism in the post-#metoo era. It doesn't make an overt, cringe-inducing girl power battle cry (i.e. Marvel MCU). It doesn't hurt its own cause by being painfully subpar and rejecting criticisms as sexist (i.e. Ghostbusters). It's women who aren't overtly sexualized doing things that aren't stereotypically feminine in a movie that is well-written, well-directed, and well-acted. This movie is a feminist masterpiece because it's actually really fucking good. The female cast The point is that it's not the point. It's one of the best sci-fi movies in recent memory, and I am ashamed I didn't spend real money to see it in theaters when it came out. This is what I want more of out of Hollywood. 8/10
13) The Hole in the Ground (2019)
I'll sometimes remark that a movie doesn't have to do too much new to be impactful. It's completely fine for a movie to hit all the same beats as others before as long as it hits them well. The Hole in the Ground is not completely fine. The story is bland, slow, and predictable. The acting from most of the cast is passable, but when you go all-in on the creepy kid motif, you'd better have a good child actor. No. This is far from the worst horror movie I've seen, but it's the worst I've seen this month. 4/10
14) Leprechaun (1993)
What a freakin' good time. Leprechaun is peak camp. The characters make dumb decisions, plenty of logic is faulty (why does the dilapidated house only have a paint crew, why does that paint crew only have one fully responsible adult, and why are they all instantly all-in on friendship with Jennifer Aniston?) The logic of this movie is a mess, but the acting is only bad enough to be fun. Warwick Davis is a tour de force, doing something I believe only he could do. I get why Aniston wants to pretend that this movie never happened, as if it's beneath her, but let's be real: Friends is less entertaining than Leprechaun. 7/10
15) Host (2020)
Dude! This is exactly what I was talking about when I expressed my disappointment in The Hole in the Ground. Host takes something somewhat innovative and executes to perfection. I had my doubts because it seemed like another Unfriended movie, but with Zoom instead of Skype, but this was the tightest display of hitting all the beats of tried-and-true horror tropes right on the head. There's some weakness in characterization in some places. Not every cast member is relatable. But the movie feels real, even as the tulpa (my word, not theirs) begins to manifest. Pull out your laptop, , turn out the lights, get on Shudder, and spend the next hour enjoying this gem. 8/10
16) Come and See (1985)
I've had this on my to-watch list for years, and I can say finally that it's worth every minute of its runtime. Come and See is maybe the most effective anti-war film I've seen. You could down an entire keg of whiskey and come out the other end of this viewing sober. I once had a friend claim that he couldn't watch a movie with pointless suffering, but that's exactly the point of Come and See. It's not entertaining, per se, but it's an incredibly well done study of the bleak realities of simple, human evil. The pointlessness of the suffering is the point. 9/10
17) Attack the Block (2011)
It's a horror comedy with Nick Frost featuring a baby-faced John Boyega, so you're bound to have a good time if you enjoy horror comedy. It's no Shaun of the Dead, but it does handle race in a surprisingly deft way considering the genre. It asks questions without pretending to have answers, but it also doesn't pretend that the questions aren't worth asking. 6/10
18) The Endless (2017)
It irks me how often movie cults have to be mapped onto real-world ones. This movie tries to map things onto Heaven's Gate. It's not until we really get into the weeds that this becomes more than just a cult movie, but I'm not sure that's the direction I was most interested in seeing. There's a crossover with the film Resolution, but even that brings about more questions than it does answers. I applaud independent filmmakers taking risks like these, but I am unconvinced that it paid off for this viewer. 6/10
19) Suspiria (1977)
This movie is to Argento what Halloween is to Carpenter: a cornerstone of horror with an incredible score and unforgettable visuals that defined not only an enormous career but also their own sub-genres. However, unlike slashers, Suspiria ironically breaks one of the central tenets of giallo: no supernatural elements. I watched the remake last year, so revisiting the original was a treat. The aggressive use of color is breathtaking, as is Goblin's killer music. Upon this re-viewing, I realized that the plot of this original piece isn't nearly as robust as the remake, which I think is something that adds a lot to the 2018 film. This is case where I feel both really do have their place in a movie library as respectable. 8/10
20) Color Out of Space (2019)
I said earlier this very month that I thought From Beyond might be my favorite Lovecraft adaptation. That was shortlived. Even after Suspiria just the night before, I was amazed by the visuals of this movie. It's not an adaptation that could've been made any sooner and executed the way it did. The cast is broadly capable, something that seems strange in a horror movie. They're able to convincingly play the normal, troubled family as naturally as they become unhinged. This transition is especially appreciated in Cage, who has shown before that under the right direction, his unhinged acting is practically unparalleled. Cage is also incredibly endearing as a dorky dad who really cares about his family and struggles with the transitions he's put them through moving to this farm. This is supposedly the first of a three-part series of Lovecraft adaptations coming out of SpectreVision, and this one has me psyched about the coming attractions. 8/10

Luz (2018) We Summon the Darkness (2019) Prince of Darkness (1987) They Live (1988) Vampires (1998) Carrie (1976)The Wind (2018) Dead Again (1991) The Mothman Prophecies (2002) Antebellum (2020) Hocus Pocus (1993)

I also continue my annual binge of the latest (and final) season (15) of Supernatural.

My Score: -- feature films + -- hour-long episodes = -- points

See y'all next year!
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2020.09.30 03:17 viewtoathrill viewtoathrill: #38 (Lap 2) Immoral Tales (1973)

Director: Walerian Borowczyk; Writer: Walerian Borowczyk, Andre Pieyre de Mandiargues; Watched it on the Arrow Video Dual Format release (spine AV021) IMDB Link
124 minutes (the Beast cut). I watched the extended cut that has five shorts instead of the theatrical cut with four. Basically, it’s five quick erotic tales that add up to a hair over 2 hours.
It starts off with the blowjob one. A young man teaches a young woman the meaning of the waves and the rising and ebbing of tides through sexual passions. It’s artfully carried out. The second is the female masturbation one and irreverent take on the fine line between religious fervor and erotic passion. The third is the segment that Borowczk later extended into La Bete in 1975 showing a Victorian consumed with an animalistic urge towards the beast from Beauty and the Beast.
The fourth is the lesbian terror one where a countess is kept young by murdering young naked women and bathing in their blood. It also has about five minutes of like 30 naked girls running after said countess to be chosen next. Finally, there’s the incest one which features a threesome between the Pope and his son and daughter.
So, I don’t really know how to review this film or write about it other than to say it’s obvious that Borowczyk wanted to cover all the possible taboos. He did, and the movie exists. It’s okay, definitely does land on the artistic end of the spectrum of sex films. I won’t watch it again and can’t recommend it as a film that needs to be seen, but I didn’t hate it and was able to see that Borowczyk was trying to make a statement on hypocrisy, not just a porno.
Started and finished on September 27th 2020
submitted by viewtoathrill to 100movies365days [link] [comments]

2020.09.30 03:15 viewtoathrill Contes immoraux (Immoral Tales, 1973)

In 2020 not in TSPDT Top 2000; Director: Walerian Borowczyk; Writer: Walerian Borowczyk, Andre Pieyre de Mandiargues; Watched it September 27th on the Arrow Video Dual Format release (spine AV021) IMDB Link
124 minutes (the Beast cut). I watched the extended cut that has five shorts instead of the theatrical cut with four. Basically, it’s five quick erotic tales that add up to a hair over 2 hours.
It starts off with the blowjob one. A young man teaches a young woman the meaning of the waves and the rising and ebbing of tides through sexual passions. It’s artfully carried out. The second is the female masturbation one and irreverent take on the fine line between religious fervor and erotic passion. The third is the segment that Borowczk later extended into La Bete in 1975 showing a Victorian consumed with an animalistic urge towards the beast from Beauty and the Beast.
The fourth is the lesbian terror one where a countess is kept young by murdering young naked women and bathing in their blood. It also has about five minutes of like 30 naked girls running after said countess to be chosen next. Finally, there’s the incest one which features a threesome between the Pope and his son and daughter.
So, I don’t really know how to review this film or write about it other than to say it’s obvious that Borowczyk wanted to cover all the possible taboos. He did, and the movie exists. It’s okay, definitely does land on the artistic end of the spectrum of sex films. I won’t watch it again and can’t recommend it as a film that needs to be seen, but I didn’t hate it and was able to see that Borowczyk was trying to make a statement on hypocrisy, not just a porno.
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2020.09.29 17:22 PumpkinPotPie_ Favourite Sub-Genre of Horror?

My favourite would have to be slasher films. I love supernatural slashers, intense and realistic slashers, and most of all whodunnits. “Halloween” and “Scream” are my favourites, with “A Nightmare On Elm Street 3: Dream Warriors,” “Black Christmas“ and “Psycho“ as runners up. I’ve recently seen “Urban Ledgend”, and absolutely loved it. It was tense and frightening and very 90’s. Also, Robert Englund was great as always. Wish he had a bigger role. That film is way underated and doesn’t get enough appreciation. The scores are so low on Rotten Tomatoes and IMDB. Unfortunatelly, someone spoiled the twist for me the morning before I watched it.
I also love supernatural and psychological horror, I just find it more devicive. Most supernatural films are bad or just okay, but when they’re good they knock the other sub-genres out of the water. “The Ring” is my favourite horror film of all time and 2nd favourite film of all time across genres. “What Lies Beneath” and “The Others“ are also favourites for their complexity, tension and amazing third acts.
For me, Splatter horror is the worst type of horror, because they’res nothing redeamable about gore for the sake of gore. Some people say this about slasher films, but if a slasher film’s good, it will have a strong story with strong characters, tension, a creative Villan like Freddy or Michawo and a great final girl. But splatter films are just disturbing and violent.
I run out of spots for options, but I wanted to put body horror as an option. Not a favourite of mine by any means, but it would be good to see if people like it.
(Although I’ve seen most of them, A few of the examples I’ve listed I haven’t seen, such as “Saw.”)
View Poll
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2020.09.26 03:12 Tythen Listing the English (and one Japanese) VAs of Fractured Futures ft. Sharpshooter Joe!

Sometimes, whenever I watch various directs or digests, I would just smile at the various news that comes by, whether it's for me or one that I'm not as interested in. The best I'd go for is just to make sharp gasps, wide smiles and pauses in the video in order to comprehend what I'm seeing. Well, everything, EVERYTHING has been like that for this direct! It's just like that, I completely forgot the things that I hoped would be added (like our four-legged good boi, but given how it was shown, they definitely haven't forgotten) and cherish each direct that goes through. Manacasters (OMG! JOE!), Adventurer balances, Mini Hildy, FREAKING ILIA, ELYSIUM and MIDS ZERO, and despite what people think, I actually am REALLY interested in trying out Dragalia's take on the battle royale!!! I'm definitely more interested in this than Fortnite or PUBG (because F/TP shooter games aren't so easy for me, unless its PVE).
But never mind that! Here I am, back again to list out all the voices that featured in Fractured Futures and those who appeared: Audric, Cassandra, Delphi. Parallel Zodiark is only restricted to roars and growls in the English version, even though if he did get an English VA, it's no doubt going to be Brian Drummond. Also, I'm going to skip Cassandra too, since we've done her very much recently, but like her Yukata alt, she's is voiced by Cherilynn Fulbright. So I thought I'd change this a bit and list Para Zodi's Japanese VA instead! Then we have our new buddy, Joe! He started off as the Pseudonym Eddie Dean, but now it's been changed to his real name.
Audric - Adam Trask. Guy likes to introduce himself in single sentences. He started with voicing and writing commercials, such as ads that you hear on the Radio. Used to be a bouncer and bartender, has a loving wife, and a former Snow removalist which he hated. His work has definitely been noted and he started voicing characters in cartoons and video games! He's been loving this so far... also he believes Goku can beat up Superman.
He started his video game/entertainment career with Crash Survivor Wade from The Long Dark (game recently advertised in the Nintendo Partner Showcase) and a live-action TV Short as an unnamed student in Technology in Education: A Future Classroom. This year, he makes a role in the long-running cartoon Ninjago as Plundar. Again, Ninjago's VO cast is in Vancouver, so yes. You can expect many other characters there voicing DL characters too (AKA Vincent Tong and Justin Dominic/Mark Oliver)
Delphi - Aidan Drummond. The name? Familiar. Related to Brian Drummond? Yes! Aidan is Brian's Son, and a wonderful voice actor, actor, musician, artist, and future filmmaker in his own league. Surely! He aims to tackle as much in the entertainment world. His roles? Aplenty. VA or Live-action? Both! Examples of Anime? Kohaku (Inuyasha: Final Act), Sorath (Shakugan no Shana), and Kotaro (Sword of the Stranger). For Cartoons? Henry Pym Jr (Next Avengers: Heroes of Tomorrow), Truman Triceratops (Dinosaur Train), and The Little Prince (The Little Prince) among many others. As for live action? As special guest stars. Renord (Stargate Atlantis), and Gabriel Slate (The Collector).
Is it nice to see a family VA together? Indeed. Know what I would love? The rest of the Drummond family to join in! His sisters Ashlyn and Brynna, as well as his mother Laura!
Parallel Zodiark - Norio Wakamoto. I am familiar with the various Japanese VA/Seiyuus that graced us with their voices in anime, and especially in Japanese dubs for English shows!!! Known guys I'm a fan of are Tomokazu Sugita, Mamoru Miyano, Shigeru Chiba, Daisuke Ono. On the girl side, Kana Hanezawa, Saori Hayami, Miyuki Sawashiro, Emiri Kato, Suzuko Mimori, to name a few!
Anyway, Norio Wakamoto. The man with the sharpest tongue and a smokey voice who voices many villains in anime, dubs for English shows, and video games alike!!! Vicious (Cowboy Bebop), Oda Nobunaga (Sengoku Basara), Dracula (Castlevania series), Balder (Bayonetta), Xenmas (Kingdom Hearts), M. Bison (Street Fighter IV, V, Protect X Zone 2), Cell (Dragon Ball Z), even Megatron (Transformers Animated)! My most enjoyed role for him though? Matsudaira from Gintama! The only person who only knows that number 'one' is all that a man needs to live, and forgets 2 and 3 when threatening someone.
I thought he would make a great match for the Japanese version of Discord from MLP, but Shigeru Chiba is a better fit, given he's voiced crazy and insane characters like Buggy the Clown (One Piece) and Kefka (Final Fantasy).
Joe (And Sharpshooter Joe) - Giles Panton. So THIS is who you are, Mr Dean!!! So wonderful that you've come with your true name now! And you definitely aren't a replacement either. Does that mean you also voice our mad masked scientist Kleimann? Man, is it an HONOUR to see you here! EDIT: So it's YES! You also voiced Kleimann! Wonderful!!!
Anywho! Giles rides a road that reaches through many forms of Film, TV, and Voice, one that involves leaving his birthplace in Canada for the USA (though I'm sure he's returned). Though he started his acting gig by playing and being a drummer in a barbie commercial (to which he is also a professional drummer). It all started when he played as the groom for a wedding commercial that ran almost as long as a decade. He's gotten plenty of lead, supporting lead, and series lead roles for animations and live-action, also known to be an award-winner for some.
Starting with the Live-Action, he appeared as a special guest star as Billy Turner from Man in the High Castle, Harrison Tate in Supernatural, Joe Wylee from Flash Gordon: A Modern Space Opera, and Lord Cunningham in Reign,
But he is very well known for his cartoons, especially his most popular character Clay Morrington. One of the protagonists in Lego Nexo Knights. Other lead roles include Keith from Voltron Force and Norman Osborn in Absolute Carnage. He's also one Flash Magnus from My Little Pony: Friendship is Magic as a supporting character. Let's not forget he did play a role in the Ocean Dub Gintama as well, being Nobunobu Hitosubashi, you know... the guy who overthrew... Shogun kayo!?
Oh yeah, I should also give a special mention for the show Marvel Battleworld: Mystery of the Thanostones were he plays Iron Man/Tony Stark. For this show, a majority of the cast are voiced by DL actors! Deven Mack voices Thanos, Jesse Inocalla voices Spider-Ham, all except three VAs. Alex Zahara, Ian Hanlin, and Rebecca Shoichet. I hope those three come to Dragalia someday!
Thank you so much for reading this, and living through 2 anniversaries of this game has never been better! I can't wait to look out for the new characters coming our way! Perhaps we'll finally get Mids real voice actor when Midgardsomr Zero arrives! What are your opinions of the voices? Do leave a comment below!!!
Adam Trask - His own website, IMDb,, Behind the Voice Actors, Bodalgo
Aidan Drummond - Twitter (@Aidan_Drummond), IMDb, Behind the Voice Actors
Norio Wakamoto - MyAnimeList, IMDb, Behind the Voice Actors
Giles Panton - IMDb, Behind the Voice Actors, Twitter (@G_Panton), Instagram (@gilespanton), His own website
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2020.09.23 19:51 toss_my_potatoes Someone who claims to have briefly met Aileen Wuornos in Florida wrote a review for Monster (2003)

I came across this review today while looking up random trivia about the film:
“Why would someone want to be comment number 458? Because it might mean something to somebody. This movie meant a lot to me.
I spent about four hours, sole-to-sole, in the back of a pickup truck hitch hiking with her and a friend of mine in Florida. This was before she had killed anybody, I believe.
Years later, I saw the "wanted" drawing. It sort of rang a bell, but a lot of usual suspects look like that, don't they? What are the chances? Then, they caught her and showed the first photo, then gave both the nickname (like a cousin), and the real name (like another cousin, only spelled in Irish.) At the time, she mentioned the spelling with an "A." I asked her if she was Irish and told her about my two cousins. What a small world, right? She either told me her last name and I assumed it, or told me she was Greek. The point being, the whole name aspect was the first part of a four hour life story discussion we had. And you don't forget four hours of a face like that either. The life stories matched. It was her.
The mood swings Charlize Theron portrays are perfect, as are the mannerisms, body language, clothes, teeth, complexion, hair, the body fat, manner of speaking, that strutting walk and just everything. It was absolutely uncanny. You never forget someone like that, and then when they pop up alive like that again. It was just unreal.
She was mood swinging, or perhaps "cycling," the whole time I was with her. I imagine if that was portrayed realistically, the movie would be unwatchable. I remember thinking at the time, her behavior seemed like the popular portrayal of those "possessed."
After I saw Monster more than twenty years later, I called the other guy that was with me. We have remained friends over the years. I told him "Oscar this, Oscar that," blah blah blah, just out of the shock of reliving the experience of Aileen again. The fact that she was played by the glamorous, beautiful, Charlize Theron on top of it, was beyond all comprehension. What a transformation! Of course, my beloved, goof-ball buddy was sitting beside her sleeping most of the time in the truck. His head kept on falling on her shoulder and she would push it off. It was like Three Stooges. They shared the Doritos like it was the school cafeteria or something. Can you imagine, in hindsight? Yes, it is good for a few jokes, I admit it. She hadn't killed anyone yet, so far as I can tell from reading about her and piecing the time-line back together. This was the first and only time I had been in Florida in those college-age days, so putting that together was fairly easy.
I don't know if I ever met anyone, before or since, that I have felt more sympathy for at the time. She was very talkative, about herself and the hard times she'd had. She was believable. She wasn't scamming us or anything, as I first suspected, just shooting the breeze. I wanted to cry for her. I think I even did so later, in hindsight. She was unreal. She had, what I thought, were "multiple personalities." Really just two, she would laugh one second, cry the next. She was like a big, tough hard-ass girl of eight years. She told me all about her childhood abuse, the horror of being a prostitute, and taking beatings and abuse from the men. She mentioned living in hotels. She didn't seem like too much of a drinker or a druggie. I just thought she was deeply, emotionally disturbed. In those days, we should have said "mental." My friend and I were a couple of happy middle-class college snowbird guys on Christmas break. She had about the worst kind of life of anyone I had ever met. She was only about four or five years older than us, but looked twice her age. When I thought later about the hand she was dealt, compared to mine, you better believe the religious feelings and tears well up. They still do. I can't bear to watch the movie sometimes, or at least parts of it.
Yes, what she did was wrong, if not evil. I don't think she was evil though, at all. She had the innocence lost, naive but semi-funny sweetness portrayed in the movie. I don't usually contemplate these things, its just that you could see there was a good person there, just profoundly _____ed up. For some reason, I was proud of her when she wanted the execution. She was nothing if not honest. As an outside observer, I don't know how you feel sorry for someone like that, but if you knew what happened, you just might. I have no agenda in that regard. Watch this and ask yourself if monsters are made, or are they born? This movie captures my feelings perfectly. If you have read this far, you can see the conflict. The movie reflects that so well, I can not do it justice by praising it with words.
If you were a victim of her actions, I wouldn't blame you for hating what I'm writing. If I read something like this about Charlie Manson, I'd never believe it.
I just want to thank everyone involved in telling this bizarre story.
I would advise people to see this if they want to be challenged, not just entertained. I've read some of the headlines on the index. So should you.”
Original review
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2020.09.23 00:18 thatforensicgirl Today Is Going To Be Visual: The Story Of Mark O. Barton's Surreal Killing Spree

Today Is Going To Be Visual: The Story Of Mark O. Barton's Surreal Killing Spree

Background, family life, and early troubles

Mark O. Barton
Mark Orrin Barton was born on April 2, 1955, in Stockbridge, Georgia. He was later raised in South Carolina and grew up as an only child.
Despite an ongoing drug habit that plagued him as a teenager, Barton was able to attend Clemson University, and then the University of South Carolina, where he graduated in 1979 with a degree in chemistry. Barton then moved back to Georgia, residing in Atlanta, and married his longtime sweetheart, Debra Spivey.
Their first child, a son named Matthew, was born in 1988. Their daughter, Michelle, came along in 1991. The Bartons were an average suburban family; Debra got along just fine with most people that she met and she adored being a mother, while Mark was on his way to becoming a successful chemist. Eventually, Barton's employer required him and his family to move to Alabama.
One of the first issues that came to light regarding Mark Barton was his seemingly out-of-the-blue paranoia. Acquaintances believed that the move to Alabama had riddled him with anxiety; he was in a new place, working around strangers, and had no nearby friends or immediate family to contact. This paranoia led him to distrust Debra. On several occasions, he accused her of cheating and threatened to take the kids away. Debra relented and soon ignored his accusations altogether. She reportedly told her parents that she was looking into divorce lawyers, and one friend recalls that Debra mentioned how Mark was physically abusive.
Around this time, Mark Barton had also gotten into trouble with his place of employment. His behavior and poor performance led to him being fired. One night, he broke into the building to sabotage computer data, resulting in him being arrested for burglary. Though he served a short jail sentence, the company declined to pursue further charges as long as Barton stayed away from his boss and limited contact with his former co-workers. This event drove the couple further apart. Bill Spivey, Debra's father, said that, during a phone call, his daughter casually mentioned how "it's a good day" when "Mark doesn't speak to [her]." They eventually refused to sleep in the same bed, with Mark choosing the couch.
One evening, Debra turned the tables on her husband, accusing him of being the unfaithful one. Her suspicions turned out to be true since Mark was, in fact, cheating. He had secretly been dating Leigh Ann Vandiver, a 20-year-old secretary. Vandiver was well-aware that Barton was married and had children, but it didn't stop their affair. Apparently a divorce was also on Mark's radar, and Leigh Ann didn't mind waiting. Her sister, Dana Reeves, expressed concern and chastised her.
"There were several times when I asked [Leigh Ann], 'How well do you know him?' and she would hesitate. When I found out that he was a married man, I was critical of her judgment."
But nothing swayed Leigh Ann's actions. She, too, was caught in a seemingly loveless marriage. She and David Lang had been high school sweethearts. While her family thought it was a match made in Heaven, Leigh Ann had a completely different viewpoint; they had rushed into things and, several months later, she realized that she wanted to be with someone else.
Mark continued to give Leigh Ann empty promises, so she stayed by his side.

1993 double homicide

Debra Barton and her mother, Eloise Spivey
Debra Barton and her mother, Eloise Spivey, had made plans for Labor Day Weekend. They rented a caravan at the Riverside Campground in Cedar Bluff, Alabama while leaving Mark in Atlanta with the kids. The two were last seen alive on the afternoon of September 4, walking peacefully around Riverside.
After failing to hear from his wife and daughter, Bill Spivey contacted a campground employee and asked if they could perform a wellness check. With no response from either Debra or Eloise after knocking on the door of their camper, the authorities were called. Upon making an entrance, two officers discovered the already-decomposing bodies of Debra Barton, aged 36, and Eloise Spivey, aged 59.
The day after Debra and Eloise had arrived at the campground, a man who had gone fishing for several hours was returning back to his caravan when he heard "a real loud fight." This was around 9 p.m., he later told police. He mentioned that he heard both a man and a woman yelling.
Another witness spotted a tall figure jogging away from a camper that turned out to be rented in Eloise Spivey's name. When asked to describe the figure, the witness recalled that it was a male, taller than 6'0" and weighing somewhere over 200 pounds. Unfortunately, the witness did not see a face because it was dark outside and could recall no other details. Another witness gave a similar account, but, instead of jogging, he referred to the figure as "running like [he'd] done something bad."
Though their graves indicate that they were murdered on September 4, a post-mortem investigation reveals that the two women were actually killed on the evening of September 5, which is backed up by the eyewitness accounts of a domestic disturbance coming from Spivey's camper.
An investigator stands by Eloise Spivey's rented camper
Various news sources cite Spivey and Barton as being stabbed, while others refer to their deaths as bludgeonings. However they died, the camper was a mess. The walls and floor were splattered with blood. It was noted that jewelry and cash had been strewn about, but nothing of value had been taken. In fact, a .32-caliber pistol, registered to Spivey, was found on the small kitchen counter. It was speculated that she'd brought the gun with her as a means of self-defense. Since Cedar Bluff and the surrounding areas weren't known to have a high crime rate, especially with violence, police theorize that Spivey was paranoid that "someone she knew" was following her and her daughter. Eerily enough, this proved to be true; the violence inflicted upon Debra Barton and Eloise Spivey appeared to be personal.
Bill Spivey was alerted to the homicides. He then contacted Mark Barton, fearing that he'd have to hear his son-in-law break down and sob over the phone. Oddly enough, Mark was calm and this surprised Bill. The two met up and drove down to Alabama. Bill recalls that Mark "didn't say much" during the car ride.
Riverside Campground in Cedar Bluff, Alabama
When they arrived at Riverside Campground, Bill heard Mark Barton say: "Huh, I've never been here before." He found that remark to be really suspicious and later told a nearby officer. Police were even more baffled at Barton's demeanor and behavior--he acted like nothing bad had happened. Not once did he ask how the pair had been killed. He didn't even appear to be sad. Thinking that Barton was just in shock, the investigation proceeded with officers asking him where he'd been on the evening of September 5. "I was at my house all day," Barton told them nonchalantly. "I was spending time with my kids."
Many had their suspicions about Barton right away. There was a limit as to what Alabama investigators could do, so authorities in Georgia were contacted and informed. Going back and forth, it was confirmed that, yes, Barton did have a criminal record, but nothing violent was found on his record.
A neighbor of the Barton family came forward a few days later, telling investigators that on September 5, he noticed that Barton's car had departed the residence "at some point after four-thirty in the afternoon." Then he mentioned that Barton hadn't returned until close to midnight. This contradicted Barton's claim that he'd been at home all day. If Barton had gone to Cedar Bluff then it would've been close to a two-hour drive. If he'd gotten back around midnight then he would've had plenty of time to go to Alabama, commit the murders, compose himself, and drive back.
Eventually, Mark Barton admitted that, yes, he'd left the house at one point, leaving the kids with Leigh Ann as a babysitter. But he hadn't gone to Alabama, he told them. First, he said he went shopping and then saw a movie; he couldn't provide receipts or a ticket, though. Mark then changed his story, claiming that he went to look for a new job. "That late in the afternoon?" he was asked. Mark Barton recanted everything and asked for a lawyer.
The sheriff went to Debra Barton's funeral to pay his respects. As soon as the service was over, he noticed that Mark was already hurrying outside. Even more shocking, Barton casually waited for a red car to pull up. Behind the wheel was Leigh Ann Vandiver, who had skipped the service altogether. The pair drove off, leaving Matthew and Michelle behind with their widowed grandfather. The sheriff was now definitely convinced that Mark Barton had something to do with the double homicide of his wife and mother-in-law.

Revelations and evidence

Leigh Ann and Mark, pictured in December 1994
Mark Barton and Leigh Ann Vandiver got married in 1995. Bill Spivey was repulsed and reportedly tried to get custody of his grandchildren, fearing that the worst was yet to come. But Mark was granted sole custody because he was their biological father and did all he could to cut Debra's surviving family members out of the picture. Even more so, Mark's own parents were given limited access to Matthew and Michelle.
"After the murders, I barely saw those kids," Bill Spivey once recalled. "I was lucky enough to visit them for their birthdays, but it still wasn't much. [Mark] didn't like having me around because he knew I thought he was guilty."
As the investigation proceeded, it was revealed that Mark Barton had taken out a $600,000 life insurance policy on Debra just a few weeks before she was killed. Of course, as big as this revelation was, it wouldn't have been enough to charge Barton and go to trial.
Mark and Leigh Ann took the kids and moved into an apartment in Stockbridge while investigators did all they could to try and connect Barton to the crime scene. Debra had sustained self-defense wounds, but there was no DNA of the killer underneath her fingernails. The only thing they had that potentially pointed to the killer's identity was vomit that had been discovered in the camper's toilet. This led to numerous theories, one of which being that Barton had thrown up after brutally killing his two family members.
"Whoever did this wasn't exactly a professional," said Richard Igou, one of the investigators. "They either lost control, rampaged, and came down from the adrenaline, or they had this planned but still couldn't stomach it."
In 1993, DNA testing wasn't as advanced as it is today. Even if it had been, vomit usually contains only shed cells, but it wouldn't have been easy to determine who it belonged to. Interrogating Mark Barton on what he had eaten the day his wife and mother-in-law died probably would've been seen as "silly" or useless. But the vomit proved to be a dead-end; the medical examiner, however, confirmed that it didn't belong to Debra Barton or Eloise Spivey, as the puke didn't match anything from the contents found in their stomachs.
The murders soon became a cold case. Anything that pointed to Barton was still on the grounds for speculation. His DNA hadn't been found at the scene, nobody confirmed that it was him who'd been running away from Spivey's camper, and Barton himself was refusing to talk to the authorities as the days went by, so a confession didn't exist or seem evident.
After just a few years of marriage, it's speculated that Leigh Ann wanted a divorce but was hesitant to leave because she feared what Mark would do if he was left alone with Matthew and Michelle
There was a point in the investigation when, in 1998, Leigh Ann was questioned. While she complied more than Barton ever had, she still didn't say much. She told them that she thought Mark was innocent but did admit that his behavior "bothered" her from time to time.
"Leigh Ann," one of the investigators told her, "if you don't feel safe living with him, or if he's threatened you, you need to tell us."
Reportedly, Leigh Ann Barton said that she was fine and that her main priority was making sure Matthew and Michelle were okay. After almost four years of marriage with Mark, there was a strong indication that she no longer viewed him as a successful, charming man. The 26-year-old woman left in a hurry and she never spoke with investigators again.

Barton's day-trading "career"

In 1994, Barton earned close to $600,000 from Debra's life insurance policy
From what we know, Mark Barton used the money he earned from Debra's life insurance policy to start his career in day-trading. To simply put it, day-trading was a way to check out the stocks and invest in them. It was a quick way to make cash but it was extremely risky.
In late-1998, Barton began day-trading at Momentum Securities. It was one of the eleven companies located at the Two Securities Center in Buckhead. Almost every day, Barton would drive from Stockbridge to Atlanta to invest in various stocks. On his best days, when he made tons of money, Barton was nicknamed "Rocket" or dubbed "The Rocket Man" due to his positive attitude and high energy. The first few weeks were promising for the former chemist. However, Barton didn't heed the warnings that he could lose money just as fast as he made it if he wasn't careful.
By May of 1999, Barton had gone through most of his money and was in debt of close to $100,000. Momentum Securities closed his account and informed him that he could no longer trade at their company. While Barton took this news extremely hard, he said that he understood their reason and left without incident.
Not one to be persuaded from day-trading, though, Mark Barton instead took the opportunity to invest elsewhere. Across the street from Momentum Securities was the Piedmont Center, which housed the offices of the All-Tech Investment Group. No more than a week after he'd been let go from Momentum, Barton was trading over at All-Tech.
The stock market was not too kind to Barton
Brent Doonan, a 25-year-old business school graduate and the co-founder of All-Tech, took notice of Barton immediately. He seemed to be a cheerful guy and had no problem giving the other traders advice on where to invest. Unbeknownst to Doonan, Mark had lied about his previous day-trading experience. He called himself a rookie and convinced everyone that he was new to the business. As he began to rake up another huge debt, All-Tech was contacted by Momentum Securities. Had Barton disclosed his debt of $100,000 that he owed to Momentum, All-Tech would've denied him an account.
Doonan was given the difficult task of informing Barton that they, too, would be closing his account. The pair had grown somewhat close and Doonan cringed at the idea of having to let a "good buddy" like Barton go. But his business partner reminded him that they were a new company and couldn't take a risk with someone like Mark O. Barton.
Barton understood All-Tech's position on the matter and promised Doonan that he'd return one day with all of the money that he owed them. He left without incident, just like he'd done at Momentum. But something about Mark's seemingly calm departure bothered Doonan and a few of the other employees.
"I guarantee you that's not the last of him that we'll see," a female co-worker told Doonan.

The Atlanta Day Trader Murders: July 29, 1999

A crime scene photo from the aftermath of the All-Tech shooting
On July 29, 1999, Brent Doonan was in a conference room when he was informed that Mark Barton was there to see him. "I think he's back with my money," Doonan joked quietly to a secretary. "He can come in! Mark?"
Barton popped his head into the room and said: "Hey Brent, you got a minute? Come here, you're gonna love this!"
Smiling, Doonan politely excused himself from the meeting and walked to his office with Barton in tow. Upon entering the small room, Barton closed the door and blinds. Confused, Doonan was waiting patiently for Barton to hand over a check or give him an update on the money he owed. Instead, Barton's smile faded. "Today," he said, towering over the five-foot-ten Doonan, "is going to be visual..."
In an instant, he pulled out two handguns and fired. Doonan felt "an intense pressure" in his chest, then he fell to the floor. Barton turned his attention to those who were outside of Doonan's office. Calmly walking out, he aimed at the table of day-traders on the main floor. Bang! Bang! Bang! Shots fired were fired at random. One man had no time to react and slumped dead in his seat, killed instantly by a shot to the head. Another person heard Barton taunt: "I hope this doesn't ruin your trading day!"
Nell Jones' computer after Barton had attempted to shoot her in the head
Taking aim at trader Nell Jones, Barton was caught off-guard by Doonan attempting to tackle him. The bullet missed Jones and wound up shattering her computer screen. Doonan's act of bravery gave numerous people time to flee, but the larger man overpowered him, firing rapidly towards Doonan's body. The 25-year-old was struck an additional three times but he managed to stagger down a hallway as Barton turned to shoot someone else.
As Doonan and others ran for their lives, 911 calls came flooding in, but not from All-Tech.
Unbeknownst to many, Barton had already opened fire elsewhere. A few minutes before he walked over to the Piedmont Center, Barton had gone to Momentum Securities to look for the office managers. One of them was on vacation but the other manager, Kevin Dial, wasn't so lucky. After attempting to speak with Barton, Dial was killed by numerous shots to the chest at close-range. Before he left Momentum, Barton killed four people and wounded several others. As he headed towards All-Tech, a civilian walked by and noticed the red blood droplets on Barton's legs and shorts. The civilian would later admit that he thought Barton "had just finished painting something."
Brent Doonan was a \"prime target\" in Barton's rampage
Doonan found his way to a service elevator, rapidly pressing the button as Barton's gunfire grew closer. As the doors opened, Doonan looked back to see Vadewattee Muralidhara running towards him. Barton "appeared out of nowhere" and shot her in the head. Doonan stumbled into the elevator and managed to close the doors as Barton raised his gun to finish him off. Panicking, Doonan went up instead of down. He found himself in another company's office, surrounded by strangers.
"I've been shot! He's shooting people!" Doonan told the workers. They hesitated, wondering if it was a prank. Doonan pleaded with them to get him, and themselves, inside of a locked room because Barton was probably coming upstairs to kill everybody.
In the confusion and mass hysteria, the workers tended to Doonan's wounds while calling 911. After nearly two hours, the SWAT team reached Doonan and took him to an ambulance. Had they arrived just a few minutes later, Doonan would have bled to death.
In less than thirty minutes, Mark Barton had killed nine people in two different locations, wounded numerous bystanders, and evaded police as he drove off in his green minivan.

Barton's suicide and the murders in Stockbridge

Mark Barton's body is removed from his green minivan after he commits suicide
A few hours later, police received a lead that Mark O. Barton was in Acworth.
After failing to take a teenage girl hostage, Barton veered on to the highway, where a patrolman spotted him driving erratically. Within minutes, his vehicle was cornered at a Shell gas station. Backup arrived and they ordered Barton to surrender. As they approached his minivan, Barton put his Colt .45 against his temple and fired, killing himself instantly. He was 44-years-old.
When they could not make contact with his immediate family, the door to Barton's apartment in Stockbridge was kicked in. Leigh Ann Vandiver Barton, aged 27, was found in the hallway closet; Mark had bludgeoned her to death with a hammer, presumably while she slept. Upon further inspection, Matthew, aged 11, and Michelle, aged 8, were found in a back bedroom. They were also killed with the same weapon. Barton had tucked them into their beds and left individual notes on their bodies, explaining why they had to perish. Michelle's baby doll was found cradled in her arm; next to Matthew's body was a toy truck.
Left to right, the Bartons: Michelle, Leigh Ann, Mark, and Matthew
Another note was found on the coffee table in the living room. Mark Barton explained that he killed Leigh Ann two nights prior, on July 27, because "she was one of the main reasons for his demise." He killed Matthew and Michelle the next night, on July 28, after taking them out to dinner and buying them toys at a nearby Wal-Mart. Barton also explained in his suicide note that he killed the children in order to "spare them from a lifetime of pain." He says that he couldn't imagine them growing up and living in the shadow of "what he had planned to do [in Atlanta]."
Barton spoke of his first wife and mother-in-law, but he still denied having anything to do with their murders. He mentioned "waking up at night [...] nobody should feel that level of fear while alive." He acknowledged that something was wrong with his mental health but he couldn't explain it.
I don't plan to live very much longer, just long enough to kill as many of the people that greedily sought my destruction, Barton's letter concludes.


Brent Doonan survived Barton's killing spree after being shot five times and nearly bleeding to death
After being shot five times, Brent Doonan underwent numerous surgeries, which included having one of his ribs removed, as well as a portion of his diaphragm. In 2006, he helped co-write the book Murder at the Office, which detailed Mark Barton's early life, killing spree, and Doonan's road to recovery. He is now married with a son.
Several people who were wounded during Barton's killing spree also faced permanent injuries. One survivor committed suicide a few years later.
Bill Spivey criticized the investigators of his daughter and wife's murders, claiming that if they'd done more and arrested Barton years earlier, then "twelve more people wouldn't have died at his hands." Spivey passed away in 2005.
On the tenth anniversary of the shootings, a few former investigators who handled the 1993 double homicide agreed in unison that Mark Barton was "absolutely responsible" for the deaths of Debra Barton and her mother, Eloise Spivey.
Barton's mother was once quoted as saying that she couldn't comprehend or understand her son's actions, but that she forgives him.
The All-Tech Investment Group disbanded a few years after the massacre, despite support from the community. The same thing happened to Momentum Securities, who was unable to recover from the tragedy. The buildings where the massacres took place still stand to this day.


  • Leigh Ann Vandiver Barton, 27
  • Matthew Barton, 11
  • Michelle Barton, 8
  • Russell J. Brown, 42
  • Dean Delawalla, 52
  • Joseph J. Dessert, 60
  • Kevin Dial, 38
  • Jamshid Havash, 45
  • Vadewattee Muralidhara, 44
  • Allen Charles Tenenbaum, 48
  • Edward Quinn, 58
  • Scott A. Webb, 30
  • Debra Barton, 36\*
  • Eloise Spivey, 59\*
*While Mark Barton was never officially charged with the murder, I feel it's appropriate to remember them, too. I also believe that he is responsible for their deaths due to strong evidence.
Sources: Murder at the Office, AP Archives, Wikipedia, Who The F\*k Did I Hire?*
submitted by thatforensicgirl to TrueCrime [link] [comments]

2020.09.22 16:16 ReelStats These are the statistical top 500 movies of all time, according to 23 different websites

Hey everyone, great to be back again. Some of you might remember a similar title from a post I made back in April, where I made a list of the top 250 movies with 13 sources, or a preview of this list I made last month.
I want to emphasize that this is NOT an official ranking nor my personal ranking; it is just a statistical and, personally, interesting look at 500 amazing movies. These rankings reflect the opinions of thousands of critics and millions of people around the world. And I am glad that this list is able to cover a wide range of genres, decades, and countries. So before I get bombarded with "Why isn't X on here?" or "How is X above Y?" comments, I wanted to clear that up.
I sourced my data from Sight & Sound (both critic and director lists), TSPDT, iCheckMovies, 11 domestic websites (Rotten Tomatoes, Metacritic, IMDb, Letterboxd, TMDb, Trakt, Blu-Ray, MovieLens, RateYourMusic, Criticker, and Critics Choice), and 9 international audience sites (FilmAffinity, Douban, Naver, MUBI, Filmweb, Kinopoisk, CSFD, Moviemeter, and Senscritique). This balance of domestic/international ratings made the list more well-rounded and internationally representative (sites from Spain, China, Korea, Poland, Russia, Czech Republic, Netherlands, and France).
As for my algorithm, I weighted websites according to both their Alexa ranking and their number of votes compared to other sites. For example, since The Godfather has hundreds of thousands of votes on Letterboxd but only a couple thousand on Metacritic, Letterboxd would be weighted more heavily. After obtaining the weighted averages, I then added the movie's iCheckMovies' favs/checks ratio and TSPDT ranking, if applicable. Regarding TSPDT, I included the top 2000 movies; as an example of my calculations, Rear Window's ranking of #41 would add (2000-41)/2000=0.9795 points to its weighted average. I removed movies that had <7-8K votes on IMDb, as these mostly had low ratings and numbers of votes across different sites as well. For both Sight & Sound lists, I added between 0.5 and 1 point to a movie's score based on its ranking, which I thought was an adequate reflection of how difficult it is to be included on these lists. As examples, a #21 movie would have 0.9 points added while a #63 would have 0.69 points.
So without further ado, the statistical top 500 movies ever made. I separated the scores into overall, critics, domestic, and international columns to make comparisons easier. This list on Letterboxd.
Ranking Title Overall Score Critics Domestic International Year Director
1 The Godfather 93.89 97.73 90.50 89.36 1972 Francis Ford Coppola
2 The Godfather: Part II 91.93 93.30 89.04 88.06 1974 Francis Ford Coppola
3 Seven Samurai 91.05 97.38 87.63 85.90 1954 Akira Kurosawa
4 12 Angry Men 90.45 95.45 88.74 88.62 1957 Sidney Lumet
5 City Lights 89.94 96.75 85.67 85.93 1931 Charlie Chaplin
6 The Good, the Bad and the Ugly 89.45 91.20 87.81 86.59 1966 Sergio Leone
7 The Shawshank Redemption 89.41 82.95 89.49 89.18 1994 Frank Darabont
8 Psycho 89.29 95.23 85.70 85.01 1960 Alfred Hitchcock
9 Modern Times 89.28 95.55 85.21 85.37 1936 Charlie Chaplin
10 Schindler's List 89.08 93.80 87.22 87.29 1993 Steven Spielberg
11 Pulp Fiction 88.85 92.60 87.69 86.42 1994 Quentin Tarantino
12 Rear Window 88.63 97.65 85.40 83.33 1954 Alfred Hitchcock
13 One Flew Over the Cuckoo's Nest 88.55 87.38 86.28 86.97 1975 Miloš Forman
14 Apocalypse Now 88.54 93.85 85.24 83.48 1979 Francis Ford Coppola
15 Tokyo Story 88.49 98.30 85.16 83.76 1953 Yasujirō Ozu
16 Spirited Away 88.34 93.78 86.80 85.91 2001 Hayao Miyazaki
17 GoodFellas 88.03 91.48 87.00 84.03 1990 Martin Scorsese
18 Vertigo 88.02 95.60 84.05 82.76 1958 Alfred Hitchcock
19 Singin' in the Rain 88.01 97.65 83.95 83.13 1952 Gene Kelly, Stanley Donen
20 Sunset Boulevard 88.00 95.45 85.44 84.22 1950 Billy Wilder
21 Citizen Kane 87.83 99.03 83.06 82.22 1941 Orson Welles
22 Harakiri 87.79 85.83 88.00 86.29 1962 Masaki Kobayashi
23 Rashomon 87.74 96.55 83.52 82.73 1950 Akira Kurosawa
24 Once Upon a Time in the West 87.71 86.65 85.48 84.62 1968 Sergio Leone
25 Fanny and Alexander 87.54 97.30 83.15 83.00 1982 Ingmar Bergman
26 The Lord of the Rings: The Return of the King 87.40 92.59 86.06 85.38 2003 Peter Jackson
27 Andrei Rublev 87.39 91.90 83.80 83.94 1966 Andrei Tarkovsky
28 The Passion of Joan of Arc 87.39 94.65 83.88 83.57 1928 Carl Theodor Dreyer
29 Sherlock Jr. 87.36 96.45 83.64 85.60 1924 Buster Keaton
30 Bicycle Thieves 87.35 94.70 83.91 83.46 1948 Vittorio De Sica
31 Casablanca 87.35 98.00 85.25 82.62 1942 Michael Curtiz
32 Some Like It Hot 87.28 95.30 82.11 83.73 1959 Billy Wilder
33 Persona 87.22 88.20 84.28 83.07 1966 Ingmar Bergman
34 Children of Paradise 87.21 95.33 84.81 83.27 1945 Marcel Carné
35 Taxi Driver 87.14 93.88 83.60 82.06 1976 Martin Scorsese
36 The Dark Knight 87.08 88.81 86.96 84.80 2008 Christopher Nolan
37 Metropolis 87.03 96.00 82.92 84.01 1927 Fritz Lang
38 Sunrise: A Song of Two Humans 87.02 93.95 82.23 84.02 1927 F. W. Murnau
39 Stalker 87.02 92.30 83.86 83.29 1979 Andrei Tarkovsky
40 Pather Panchali 86.96 94.35 84.40 82.80 1955 Satyajit Ray
41 Lawrence of Arabia 86.95 97.65 83.76 81.49 1962 David Lean
42 M 86.91 96.20 84.34 82.92 1931 Fritz Lang
43 Ordet 86.82 98.10 83.08 82.55 1955 Carl Theodor Dreyer
44 It's a Wonderful Life 86.77 90.45 85.17 84.90 1946 Frank Capra
45 Satantango 86.76 90.45 84.58 84.21 1994 Béla Tarr
46 Parasite 86.72 96.34 86.55 83.15 2019 Bong Joon-ho
47 The 400 Blows 86.70 96.70 83.14 82.60 1959 François Truffaut
48 Ikiru 86.56 93.80 85.48 84.29 1952 Akira Kurosawa
49 Mirror 86.50 95.60 82.75 82.34 1975 Andrei Tarkovsky
50 Come and See 86.50 90.50 85.22 83.13 1985 Elem Klimov
51 The Apartment 86.48 92.00 84.09 82.99 1960 Billy Wilder
52 The General 86.45 91.45 82.59 83.87 1926 Buster Keaton, Clyde Bruckman
53 Grave of the Fireflies 86.43 95.13 85.85 82.97 1988 Isao Takahata
54 Le Trou 86.41 89.95 85.46 85.14 1960 Jacques Becker
55 The Battle of Algiers 86.37 95.40 82.64 81.24 1966 Gillo Pontecorvo
56 A Man Escaped 86.34 96.50 83.67 82.03 1956 Robert Bresson
57 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb 86.34 95.85 84.37 83.03 1964 Stanley Kubrick
58 Paths of Glory 86.25 92.30 84.97 84.48 1957 Stanley Kubrick
59 The Lord of the Rings: The Fellowship of the Ring 86.24 88.75 85.61 84.31 2001 Peter Jackson
60 All About Eve 86.23 96.95 83.69 83.20 1950 Joseph L. Mankiewicz
61 Star Wars: The Empire Strikes Back 86.21 86.93 87.05 83.29 1980 Irvin Kershner
62 High and Low 86.16 86.55 86.08 84.26 1963 Akira Kurosawa
63 The Great Dictator 86.15 91.10 84.25 85.03 1940 Charlie Chaplin
64 The Silence of the Lambs 86.12 88.68 85.29 84.17 1991 Jonathan Demme
65 2001: A Space Odyssey 86.06 88.35 82.93 81.54 1968 Stanley Kubrick
66 North by Northwest 86.03 96.38 83.17 81.74 1959 Alfred Hitchcock
67 Double Indemnity 85.91 94.38 83.84 83.12 1944 Billy Wilder
68 Ugetsu 85.91 97.25 82.69 81.91 1953 Kenji Mizoguchi
69 Woman in the Dunes 85.91 93.95 84.71 83.77 1964 Hiroshi Teshigahara
70 Sansho the Bailiff 85.88 95.50 84.24 82.21 1954 Kenji Mizoguchi
71 Once Upon a Time in America 85.87 86.10 83.84 85.53 1984 Sergio Leone
72 City of God 85.86 84.08 86.39 84.00 2002 Fernando Meirelles, Kátia Lund
73 Late Spring 85.81 94.75 83.74 82.27 1949 Yasujirō Ozu
74 Barry Lyndon 85.80 87.95 82.44 82.30 1975 Stanley Kubrick
75 The Lord of the Rings: The Two Towers 85.78 88.78 85.00 84.29 2002 Peter Jackson
76 Raging Bull 85.77 90.48 82.01 81.80 1980 Martin Scorsese
77 Chinatown 85.72 94.08 83.32 80.69 1974 Roman Polanski
78 Alien 85.69 91.73 84.76 82.62 1979 Ridley Scott
79 Ran 85.68 94.70 83.93 82.52 1985 Akira Kurosawa
80 The Seventh Seal 85.67 92.10 83.52 82.13 1957 Ingmar Bergman
81 The Kid 85.61 92.85 82.91 84.94 1921 Charlie Chaplin
82 Wild Strawberries 85.51 90.05 83.38 82.24 1957 Ingmar Bergman
83 A Brighter Summer Day 85.50 93.38 84.07 81.01 1991 Edward Yang
84 85.48 91.20 82.59 81.09 1963 Federico Fellini
85 The Pianist 85.38 88.69 83.31 84.80 2002 Roman Polanski
86 The World of Apu 85.38 93.20 84.38 83.09 1959 Satyajit Ray
87 La Dolce Vita 85.37 94.38 81.40 80.48 1960 Federico Fellini
88 Star Wars 85.33 90.03 85.22 81.92 1977 George Lucas
89 The Best of Youth 85.31 88.78 85.31 83.64 2003 Marco Tullio Giordana
90 The Gold Rush 85.29 94.55 81.93 83.59 1925 Charlie Chaplin
91 The Third Man 85.26 96.50 82.91 80.21 1949 Carol Reed
92 The Treasure of the Sierra Madre 85.20 96.68 82.77 81.81 1948 John Huston
93 I Am Cuba 85.18 93.60 82.00 83.44 1964 Mikhail Kalatozov
94 The Lives of Others 85.14 89.03 84.12 82.73 2006 Florian Henckel von Donnersmarck
95 Witness for the Prosecution 85.13 92.65 83.67 84.99 1957 Billy Wilder
96 Touch of Evil 85.11 95.70 81.36 79.65 1958 Orson Welles
97 WALL-E 85.10 92.09 82.82 82.64 2008 Andrew Stanton
98 Scenes from a Marriage 85.02 86.85 84.80 83.06 1974 Ingmar Bergman
99 To Be or Not to Be 84.99 89.58 82.52 83.39 1942 Ernst Lubitsch
100 A Separation 84.92 94.24 83.34 80.90 2011 Asghar Farhadi
101 The Night of the Hunter 84.91 96.93 81.17 79.06 1955 Charles Laughton
102 Three Colors: Red 84.87 96.78 83.32 80.78 1994 Krzysztof Kieślowski
103 Yojimbo 84.87 91.55 83.85 82.99 1961 Akira Kurosawa
104 Back to the Future 84.85 89.38 84.47 81.94 1985 Robert Zemeckis
105 My Neighbor Totoro 84.84 87.53 83.44 83.17 1988 Hayao Miyazaki
106 In the Mood for Love 84.84 83.87 82.55 81.20 2000 Wong Kar-wai
107 Princess Mononoke 84.83 81.18 85.02 84.24 1999 Hayao Miyazaki
108 Saving Private Ryan 84.82 90.35 83.94 82.50 1998 Steven Spielberg
109 Cinema Paradiso 84.78 82.30 84.73 83.43 1988 Giuseppe Tornatore
110 La Jetée 84.75 89.25 83.27 81.80 1962 Chris Marker
111 The Wages of Fear 84.71 94.60 82.99 82.80 1953 Henri-Georges Clouzot
112 Das Boot 84.68 90.13 83.62 82.71 1981 Wolfgang Petersen
113 Fight Club 84.65 71.18 86.39 84.95 1999 David Fincher
114 Nights of Cabiria 84.64 92.25 82.72 83.13 1957 Federico Fellini
115 La Strada 84.61 92.60 80.79 82.78 1954 Federico Fellini
116 Amadeus 84.53 89.55 82.88 82.59 1984 Miloš Forman
117 Forrest Gump 84.50 76.90 83.06 86.12 1994 Robert Zemeckis
118 Spider-Man: Into the Spider-Verse 84.49 90.41 85.03 81.69 2018 Peter Ramsey, Rodney Rothman, Bob Persichetti
119 The Lion King 84.45 88.28 77.22 84.09 1994 Rob Minkoff, Roger Allers
120 Inception 84.43 82.07 84.18 84.17 2010 Christopher Nolan
121 Whiplash 84.42 89.53 84.87 81.96 2014 Damien Chazelle
122 The Shop Around the Corner 84.40 94.43 80.85 82.37 1940 Ernst Lubitsch
123 Rififi 84.38 92.00 83.03 81.58 1955 Jules Dassin
124 Umberto D. 84.38 92.63 82.20 81.75 1952 Vittorio De Sica
125 Army of Shadows 84.37 95.30 82.98 80.50 1969 Jean-Pierre Melville
126 Blade Runner 84.34 85.85 82.57 80.29 1982 Ridley Scott
127 Samurai Rebellion 84.33 89.05 82.85 83.84 1967 Masaki Kobayashi
128 Close-Up 84.31 85.70 81.99 80.69 1990 Abbas Kiarostami
129 The Circus 84.29 90.35 81.69 83.14 1928 Charlie Chaplin
130 Raiders of the Lost Ark 84.19 89.33 84.31 80.57 1981 Steven Spielberg
131 Grand Illusion 84.18 95.35 81.85 79.78 1937 Jean Renoir
132 A Clockwork Orange 84.18 82.78 82.37 82.51 1971 Stanley Kubrick
133 Eternal Sunshine of the Spotless Mind 84.07 89.37 83.36 80.57 2004 Michel Gondry
134 A Woman Under the Influence 84.01 87.40 82.51 80.40 1974 John Cassavetes
135 The Cranes Are Flying 84.00 89.30 82.76 82.40 1957 Mikhail Kalatozov
136 Yi Yi 83.91 91.25 82.48 79.64 2000 Edward Yang
137 To Kill a Mockingbird 83.91 89.13 81.98 82.20 1962 Robert Mulligan
138 The Matrix 83.90 77.78 84.54 83.06 1999 Wachowski Sisters
139 The Sting 83.90 85.73 82.71 83.36 1973 George Roy Hill
140 The Mother and the Whore 83.87 94.55 81.24 79.82 1973 Jean Eustache
141 Se7en 83.86 72.15 84.91 84.48 1995 David Fincher
142 Early Summer 83.85 94.45 82.19 82.01 1951 Yasujirō Ozu
143 Werckmeister Harmonies 83.80 91.73 80.89 81.93 2000 Béla Tarr, Ágnes Hranitzky
144 Coco 83.80 86.21 82.73 83.66 2017 Adrian Molina, Lee Unkrich
145 Toy Story 83.76 95.03 82.30 80.15 1995 John Lasseter
146 It Happened One Night 83.76 90.83 81.46 81.76 1934 Frank Capra
147 Reservoir Dogs 83.74 84.68 83.12 81.99 1992 Quentin Tarantino
148 Unforgiven 83.73 88.55 82.24 81.59 1992 Clint Eastwood
149 The Deer Hunter 83.73 87.68 80.57 82.06 1978 Michael Cimino
150 The Young and the Damned 83.72 87.10 82.58 80.82 1950 Luis Buñuel
151 The Best Years of Our Lives 83.68 92.63 81.19 81.20 1946 William Wyler
152 The Leopard 83.66 97.30 79.56 79.57 1963 Luchino Visconti
153 Time of the Gypsies 83.65 86.05 83.31 82.29 1988 Emir Kusturica
154 Ali: Fear Eats the Soul 83.61 96.70 80.51 79.97 1974 Rainer Werner Fassbinder
155 Raise the Red Lantern 83.57 90.25 82.37 81.81 1991 Zhang Yimou
156 Terminator 2: Judgment Day 83.57 82.00 84.11 81.83 1991 James Cameron
157 The Shining 83.55 75.35 84.08 81.80 1980 Stanley Kubrick
158 Viridiana 83.54 92.95 80.68 80.81 1961 Luis Buñuel
159 Portrait of a Lady on Fire 83.52 93.59 83.08 80.02 2019 Céline Sciamma
160 Greed 83.51 97.05 80.65 80.64 1924 Erich von Stroheim
161 Gone with the Wind 83.48 92.90 80.01 81.68 1939 Victor Fleming
162 There Will Be Blood 83.48 89.65 81.91 79.02 2007 Paul Thomas Anderson
163 L.A. Confidential 83.46 91.63 82.08 80.81 1997 Curtis Hanson
164 Paris, Texas 83.46 83.95 82.89 81.66 1984 Wim Wenders
165 Throne of Blood 83.45 91.30 82.18 81.49 1957 Akira Kurosawa
166 Toy Story 3 83.43 93.55 81.61 80.32 2010 Lee Unkrich
167 Memento 83.43 85.20 83.78 80.76 2000 Christopher Nolan
168 On the Waterfront 83.37 93.00 82.23 79.52 1954 Elia Kazan
169 Trip to the Moon 83.37 94.70 79.96 82.83 1902 Georges Méliès
170 The Rules of the Game 83.33 96.55 80.45 78.02 1939 Jean Renoir
171 Red Beard 83.32 74.15 83.41 83.27 1965 Akira Kurosawa
172 The Grapes of Wrath 83.32 95.45 80.42 80.34 1940 John Ford
173 Au Hasard Balthazar 83.29 98.08 77.93 77.54 1966 Robert Bresson
174 Autumn Sonata 83.29 84.85 83.09 82.66 1978 Ingmar Bergman
175 Annie Hall 83.28 93.18 80.58 80.58 1977 Woody Allen
176 The Conformist 83.27 96.68 79.92 78.58 1970 Bernardo Bertolucci
177 Rocco and His Brothers 83.24 84.73 81.95 81.68 1960 Luchino Visconti
178 Dersu Uzala 83.23 74.75 82.35 83.37 1975 Akira Kurosawa
179 Cool Hand Luke 83.21 93.05 82.22 79.83 1967 Stuart Rosenberg
180 Monty Python and the Holy Grail 83.18 91.98 82.96 79.30 1975 Terry Gilliam, Terry Jones
181 Le Samouraï 83.18 92.35 82.45 79.40 1967 Jean-Pierre Melville
182 Aliens 83.18 88.73 83.29 79.61 1986 James Cameron
183 PlayTime 83.16 93.50 80.22 78.80 1967 Jacques Tati
184 The Bridge on the River Kwai 83.14 90.58 81.93 80.24 1957 David Lean
185 The Red Shoes 83.13 93.15 82.82 79.96 1948 Michael Powell, Emeric Pressburger
186 American Beauty 83.10 87.15 81.93 81.13 1999 Sam Mendes
187 To Live 83.10 84.00 82.16 82.46 1994 Zhang Yimou
188 Battleship Potemkin 83.10 95.85 77.81 80.41 1925 Sergei Eisenstein
189 Day of Wrath 83.09 93.40 81.07 81.29 1943 Carl Theodor Dreyer
190 All Quiet on the Western Front 83.07 92.85 80.05 81.48 1930 Lewis Milestone
191 It's Such a Beautiful Day 83.07 91.25 83.62 79.77 2012 Don Hertzfeldt
192 Full Metal Jacket 83.06 81.53 82.21 82.54 1987 Stanley Kubrick
193 The Cabinet of Dr. Caligari 83.05 96.40 79.84 81.83 1920 Robert Wiene
194 Kes 83.03 97.80 79.59 80.55 1969 Ken Loach
195 The Usual Suspects 83.02 80.23 84.08 81.48 1995 Bryan Singer
196 The Cameraman 83.00 93.90 80.77 81.57 1928 Edward Segdwick, Buster Keaton
197 Aparajito 83.00 90.90 81.81 81.20 1956 Satyajit Ray
198 The Elephant Man 83.00 83.00 82.10 81.87 1980 David Lynch
199 Rebecca 82.98 90.08 81.08 80.93 1940 Alfred Hitchcock
200 Make Way for Tomorrow 82.97 95.80 81.72 80.14 1937 Leo McCarey
201 The Great Escape 82.97 87.68 82.29 80.66 1963 John Sturges
202 Your Name 82.97 84.55 84.07 81.29 2016 Makoto Shinkai
203 Limelight 82.92 88.00 79.85 83.02 1952 Charlie Chaplin
204 Breathless 82.92 91.95 78.88 79.10 1960 Jean-Luc Godard
205 Underground 82.91 80.75 81.26 82.64 1995 Emir Kusturica
206 The Man Who Shot Liberty Valance 82.88 91.90 81.08 79.53 1962 John Ford
207 Aguirre: The Wrath of God 82.87 94.55 80.46 78.62 1972 Werner Herzog
208 Oldboy 82.86 78.98 84.00 81.27 2003 Park Chan-wook
209 Up 82.84 90.28 81.32 80.86 2009 Pete Docter
210 Anatomy of a Murder 82.84 94.00 80.57 80.02 1959 Otto Preminger
211 The Wild Bunch 82.84 90.35 79.45 80.12 1969 Sam Peckinpah
212 The Hunt 82.75 82.08 82.79 82.62 2012 Thomas Vinterberg
213 Il Sorpasso 82.74 95.75 82.84 79.57 1962 Dino Risi
214 The Last Laugh 82.74 95.25 79.47 81.61 1924 F. W. Murnau
215 A Streetcar Named Desire 82.73 94.60 79.89 80.26 1951 Elia Kazan
216 Life Is Beautiful 82.73 68.45 83.60 85.57 1997 Roberto Benigni
217 A Short Film About Love 82.71 87.10 81.90 81.89 1988 Krzysztof Kieślowski
218 The Shop on Main Street 82.71 94.45 82.15 80.43 1965 Ján Kadár, Elmar Klos
219 Rio Bravo 82.71 92.10 80.46 79.80 1959 Howard Hawks
220 Roman Holiday 82.70 84.55 80.74 82.42 1953 William Wyler
221 Ivan's Childhood 82.69 94.80 81.25 80.37 1962 Andrei Tarkovsky
222 The Exterminating Angel 82.68 91.10 81.66 80.17 1962 Luis Buñuel
223 Trainspotting 82.68 85.20 81.57 81.21 1996 Danny Boyle
224 The Last Picture Show 82.67 94.15 79.90 79.56 1971 Peter Bogdanovich
225 The Truman Show 82.64 89.63 79.70 82.15 1998 Peter Weir
226 Memories of Murder 82.64 82.88 82.68 80.94 2003 Bong Joon-ho
227 Faust 82.62 89.70 80.23 81.94 1926 F. W. Murnau
228 Sans Soleil 82.62 83.90 79.45 80.51 1983 Chris Marker
229 Song of the Sea 82.57 87.63 80.59 82.23 2014 Tomm Moore
230 Léon: The Professional 82.55 67.38 84.05 84.07 1994 Luc Besson
231 Fargo 82.54 87.45 82.36 79.19 1996 Coen Brothers
232 Solaris 82.54 89.95 80.91 79.69 1972 Andrei Tarkovsky
233 Sweet Smell of Success 82.52 96.53 80.81 77.62 1957 Alexander Mackendrick
234 For a Few Dollars More 82.52 79.28 82.38 83.15 1965 Sergio Leone
235 White Heat 82.51 90.65 80.77 81.24 1949 Raoul Walsh
236 Brief Encounter 82.50 88.35 80.81 81.03 1945 David Lean
237 Wings of Desire 82.49 85.70 81.30 80.42 1987 Wim Wenders
238 Diabolique 82.47 90.70 81.27 80.73 1955 Henri-Georges Clouzot
239 An Autumn Afternoon 82.45 91.95 81.68 79.85 1962 Yasujirō Ozu
240 The Tale of the Princess Kaguya 82.44 90.63 81.16 80.43 2013 Isao Takahata
241 Amarcord 82.41 85.95 79.26 80.73 1973 Federico Fellini
242 Heat 82.40 79.08 82.03 81.73 1995 Michael Mann
243 L'Atalante 82.40 95.60 78.32 78.10 1934 Jean Vigo
244 Django Unchained 82.39 83.44 82.23 81.94 2012 Quentin Tarantino
245 Jeanne Dielman, 23 Commerce Quay, 1080 Brussels 82.38 95.50 78.73 79.69 1975 Chantal Akerman
246 Kind Hearts and Coronets 82.38 95.60 80.80 79.72 1949 Robert Hamer
247 Dog Day Afternoon 82.37 88.40 81.11 79.80 1975 Sidney Lumet
248 Forbidden Games 82.37 93.75 80.36 80.99 1952 René Clément
249 The Crowd 82.35 93.35 79.21 81.23 1928 King Vidor
250 Notorious 82.35 96.78 79.96 78.21 1946 Alfred Hitchcock
251 Mary and Max 82.35 88.05 80.95 82.42 2009 Adam Elliot
252 Persepolis 82.34 88.95 80.09 80.77 2007 Marjane Satrapi, Vincent Paronnaud
253 Howl's Moving Castle 82.33 78.71 82.63 83.10 2004 Hayao Miyazaki
254 Nausicaä of the Valley of the Wind 82.33 85.10 81.54 82.03 1984 Hayao Miyazaki
255 Safety Last! 82.33 92.25 80.95 81.10 1923 Fred C. Newmeyer, Sam Taylor
256 Rosemary's Baby 82.32 94.78 79.99 78.69 1968 Roman Polanski
257 L'Avventura 82.32 92.10 79.08 78.03 1960 Michelangelo Antonioni
258 The Searchers 82.32 93.90 78.16 76.66 1956 John Ford
259 La Haine 82.30 90.60 82.38 79.56 1995 Mathieu Kassovitz
260 Three Colors: Blue 82.30 88.28 81.55 79.23 1993 Krzysztof Kieślowski
261 Chungking Express 82.30 79.95 82.29 80.73 1994 Wong Kar-wai
262 Inside Out 82.29 93.66 80.27 79.85 2015 Pete Docter
263 Where is the Friend's Home? 82.28 89.25 81.22 80.21 1987 Abbas Kiarostami
264 Cries and Whispers 82.27 85.45 81.02 80.80 1972 Ingmar Bergman
265 Napoleon 82.22 93.25 81.89 78.99 1927 Abel Gance
266 Paper Moon 82.19 83.08 81.37 81.29 1973 Peter Bogdanovich
267 The Spirit of the Beehive 82.17 89.83 79.31 78.91 1973 Víctor Erice
268 A Special Day 82.16 90.20 81.11 81.25 1977 Ettore Scola
269 Nostalghia 82.15 83.00 80.91 81.23 1983 Andrei Tarkovsky
270 Network 82.13 85.45 82.36 79.08 1976 Sidney Lumet
271 L'Eclisse 82.11 84.70 79.78 78.81 1962 Michelangelo Antonioni
272 Mr. Smith Goes to Washington 82.09 80.83 81.78 81.15 1939 Frank Capra
273 Sanjuro 82.09 91.90 81.67 80.85 1962 Akira Kurosawa
274 Badlands 82.06 93.38 79.77 77.21 1973 Terrence Malick
275 Vivre Sa Vie 82.06 85.20 80.12 79.83 1962 Jean-Luc Godard
276 Nobody Knows 82.06 87.18 81.12 81.15 2004 Hirokazu Koreeda
277 No Country for Old Men 82.05 90.68 80.56 78.47 2007 Coen Brothers
278 Spring, Summer, Fall, Winter... and Spring 82.05 86.05 80.76 80.62 2003 Kim Ki-duk
279 La Notte 82.04 78.35 81.45 81.11 1961 Michelangelo Antonioni
280 The Celebration 82.04 84.23 81.34 80.08 1998 Thomas Vinterberg
281 In the Name of the Father 82.04 84.90 81.14 81.85 1993 Jim Sheridan
282 I Am a Fugitive from a Chain Gang 82.02 89.55 80.18 81.56 1932 Mervyn LeRoy
283 Shoplifters 82.01 92.39 80.60 79.31 2018 Hirokazu Koreeda
284 Finding Nemo 82.01 92.60 80.13 78.76 2003 Andrew Stanton, Lee Unkrich
285 Z 81.98 87.55 82.21 79.59 1969 Costa-Gavras
286 The Phantom Carriage 81.96 95.00 80.01 80.32 1921 Victor Sjöström
287 Manhattan 81.95 86.23 80.50 79.81 1979 Woody Allen
288 Rome, Open City 81.94 95.40 80.45 79.27 1945 Robert Rossellini
289 Children of Heaven 81.93 80.15 81.24 82.01 1997 Majid Majidi
290 The Green Mile 81.92 71.93 82.95 84.38 1999 Frank Darabont
291 The Iron Giant 81.91 86.61 80.88 79.95 1999 Brad Bird
292 The Sacrifice 81.90 80.30 80.47 81.37 1986 Andrei Tarkovsky
293 The Philadelphia Story 81.90 94.95 79.79 77.86 1940 George Cukor
294 The Twilight Samurai 81.90 86.10 81.07 81.13 2002 Yôji Yamada
295 Before Sunset 81.88 87.79 81.42 78.41 2004 Richard Linklater
296 Before Sunrise 81.86 84.40 82.24 79.44 1995 Richard Linklater
297 Castle in the Sky 81.85 81.63 81.49 82.06 1986 Hayao Miyazaki
298 The Departed 81.84 86.92 82.82 79.04 2006 Martin Scorsese
299 Brazil 81.83 90.23 80.61 78.37 1985 Terry Gilliam
300 Incendies 81.81 83.85 81.88 80.74 2011 Denis Villenueve
301 The Maltese Falcon 81.81 95.65 80.24 77.28 1941 John Huston
302 The Wizard of Oz 81.77 98.03 79.38 77.17 1939 Victor Fleming
303 Le Cercle Rouge 81.76 90.03 80.81 78.54 1970 Jean-Pierre Melville
304 Monsieur Verdoux 81.76 89.80 78.55 81.34 1947 Charlie Chaplin
305 The Return 81.72 84.85 80.02 80.96 2003 Andrey Zvyagintsev
306 Secrets & Lies 81.71 90.73 80.29 78.66 1996 Mike Leigh
307 The Hidden Fortress 81.70 91.25 80.79 80.72 1958 Akira Kurosawa
308 Pan's Labyrinth 81.69 92.59 81.60 76.08 2006 Guillermo del Toro
309 Amélie 81.69 79.64 81.96 80.27 2004 Jean-Pierre Jeunet
310 Ben-Hur 81.67 86.93 79.86 80.22 1959 William Wyler
311 Fitzcarraldo 81.67 75.80 81.06 81.21 1982 Werner Herzog
312 American History X 81.63 70.13 83.58 83.00 1998 Tony Kaye
313 Ace in the Hole 81.62 79.10 80.88 81.36 1951 Billy Wilder
314 Capernaum 81.62 81.83 80.52 82.18 2018 Nadine Labaki
315 Still Walking 81.61 90.30 80.92 79.48 2008 Hirokazu Koreeda
316 All About My Mother 81.61 88.77 79.56 78.80 1999 Pedro Almodóvar
317 The Discreet Charm of the Bourgeoisie 81.60 92.28 78.82 78.83 1972 Luis Buñuel
318 Platoon 81.60 88.70 79.52 80.45 1986 Oliver Stone
319 Farewell My Concubine 81.60 80.50 80.49 81.04 1993 Chen Kaige
320 Letter from an Unknown Woman 81.59 93.10 79.84 79.31 1948 Max Ophüls
321 The Grand Budapest Hotel 81.58 87.64 80.72 79.19 2014 Wes Anderson
322 The Virgin Spring 81.58 82.45 80.70 80.66 1960 Ingmar Bergman
323 The Red Balloon 81.57 90.20 79.93 80.30 1956 Albert Lamorisse
324 Stagecoach 81.57 94.58 77.69 78.94 1939 John Ford
325 Mulholland Drive 81.56 80.61 79.60 77.87 2001 David Lynch
326 A Matter of Life and Death 81.49 92.60 81.91 76.27 1946 Michael Powell, Emeric Pressburger
327 High Noon 81.48 90.58 79.27 78.94 1952 Fred Zinnemann
328 Orpheus 81.48 96.20 79.88 78.90 1950 Jean Cocteau
329 Life of Brian 81.47 82.98 80.78 79.81 1979 Terry Jones
330 Casino 81.46 74.23 81.54 81.75 1995 Martin Scorsese
331 Kagemusha 81.44 82.93 80.01 80.43 1980 Akira Kurosawa
332 Butch Cassidy and the Sundance Kid 81.43 76.08 80.53 81.85 1969 George Roy Hill
333 In a Lonely Place 81.43 92.45 80.42 78.77 1950 Nicholas Ray
334 Scarface 81.43 71.30 81.97 82.18 1983 Brian De Palma
335 A Short Film About Killing 81.42 87.35 79.89 80.38 1988 Krzysztof Kieślowski
336 Beauty and the Beast 81.41 92.05 79.28 78.32 1946 Jean Cocteau
337 The Hustler 81.39 92.45 80.43 78.97 1961 Robert Rossen
338 Cléo from 5 to 7 81.38 91.65 80.03 79.11 1962 Agnès Varda
339 Fireworks 81.37 90.15 80.01 79.63 1997 Takeshi Kitano
340 Room 81.36 88.41 80.43 79.48 2015 Lenny Abrahamson
341 Mad Max: Fury Road 81.35 90.39 79.76 77.80 2015 George Miller
342 Steamboat Bill, Jr. 81.32 95.75 79.30 79.23 1928 Charles Reisner, Buster Keaton
343 Judgment at Nuremberg 81.31 71.58 82.24 83.03 1961 Stanley Kramer
344 The Straight Story 81.30 87.15 79.64 79.88 1999 David Lynch
345 Meshes of the Afternoon 81.29 96.25 77.91 79.99 1943 Maya Deren, Alexandr Hackenschmied
346 Alice in the Cities 81.28 86.70 79.60 80.20 1974 Wim Wenders
347 Akira 81.28 80.90 81.12 79.98 1988 Katsuhiro Otomo
348 Good Will Hunting 81.27 79.38 81.97 81.05 1997 Gus Van Sant
349 The Miracle Worker 81.25 85.15 78.88 81.55 1962 Arthur Penn
350 Talk to Her 81.25 87.48 79.33 78.71 2002 Pedro Almodóvar
351 The Graduate 81.24 85.58 78.91 79.97 1967 Mike Nichols
352 Beauty and the Beast 81.22 92.28 79.20 78.77 1991 Gary Trousdale, Kirk Wise
353 The Heiress 81.19 94.45 80.20 79.76 1949 William Wyler
354 Fantasia 81.18 93.03 76.76 79.95 1940 Samuel Armstrong, James Algar
355 Au Revoir les Enfants 81.18 94.25 80.14 78.92 1987 Louis Malle
356 Three Billboards Outside Ebbing, Missouri 81.18 88.62 79.36 79.90 2017 Martin McDonagh
357 Inglourious Basterds 81.17 79.05 81.06 80.51 2009 Quentin Tarantino
358 Elevator to the Gallows 81.16 90.45 79.31 78.56 1958 Louis Malle
359 Gladiator 81.16 75.39 81.69 81.52 2000 Ridley Scott
360 Through a Glass Darkly 81.15 93.60 81.11 78.86 1961 Ingmar Bergman
361 Million Dollar Baby 81.15 87.41 77.43 80.72 2004 Clint Eastwood
362 Days of Heaven 81.15 90.75 80.19 77.08 1978 Terrence Malick
363 Do the Right Thing 81.15 90.78 80.26 77.04 1989 Spike Lee
364 Out of the Past 81.14 91.40 80.73 77.92 1947 Jacques Tourneur
365 Strangers on a Train 81.11 93.30 80.01 78.68 1951 Alfred Hitchcock
366 Blue Velvet 81.11 83.48 78.98 77.09 1986 David Lynch
367 That Obscure Object of Desire 81.09 89.40 79.59 78.11 1977 Luis Buñuel
368 What Ever Happened to Baby Jane? 81.08 80.23 80.74 80.75 1962 Robert Aldrich
369 My Night at Maud's 81.07 88.15 79.51 79.42 1969 Éric Rohmer
370 The Earrings of Madame de… 81.07 92.15 80.36 77.05 1953 Max Ophüls
371 The Conversation 81.04 89.23 80.03 77.44 1974 Francis Ford Coppola
372 The Killing 81.03 91.50 79.51 79.21 1956 Stanley Kubrick
373 The Servant 81.03 87.83 79.45 78.57 1963 Joseph Losey
374 The Intouchables 81.03 67.15 82.13 84.70 2011 Olivier Nakache, Éric Toledano
375 The Life and Death of Colonel Blimp 81.01 94.15 81.57 75.44 1943 Michael Powell, Emeric Pressburger
376 Jaws 81.01 90.98 79.91 75.70 1975 Steven Spielberg
377 Winter Light 81.01 73.55 81.51 79.95 1963 Ingmar Bergman
378 Love Exposure 81.01 80.88 82.23 79.55 2008 Sion Sono
379 Hiroshima Mon Amour 81.00 92.95 80.13 77.99 1959 Alain Resnais
380 Day for Night 80.98 92.55 80.21 78.27 1973 François Truffaut
381 Ratatouille 80.97 92.73 78.72 78.68 2007 Brad Bird
382 Ghost in the Shell 80.97 81.43 79.98 81.15 1995 Mamoru Oshii
383 Germany Year Zero 80.95 92.00 77.80 80.03 1948 Roberto Rossellini
384 Spotlight 80.93 93.00 79.75 77.55 2015 Tom McCarthy
385 Die Hard 80.93 79.58 81.11 79.43 1988 John McTiernan
386 Laura 80.93 93.80 79.70 78.47 1944 Otto Preminger
387 Sleuth 80.93 89.95 79.16 80.87 1972 Joseph L. Mankiewicz
388 The Diving Bell and the Butterfly 80.92 88.64 79.69 77.84 2007 Julian Schnabel
389 The Handmaiden 80.92 85.99 82.55 77.41 2016 Park Chan-wook
390 Stand by Me 80.90 80.20 81.28 79.54 1986 Rob Reiner
391 Wolf Children 80.90 80.15 80.40 81.27 2012 Mamoru Hosoda
392 Marriage Story 80.88 92.86 79.40 77.75 2019 Noam Baumbach
393 Shoeshine 80.87 93.75 79.02 79.38 1946 Vittorio De Sica
394 Freaks 80.85 84.70 77.66 80.31 1932 Tod Browning
395 Nosferatu 80.85 93.75 78.29 79.14 1922 F. W. Murnau
396 Dial M for Murder 80.84 77.60 81.17 81.31 1954 Alfred Hitchcock
397 Amour 80.81 90.90 77.74 78.19 2012 Michael Haneke
398 12 Years a Slave 80.80 94.00 79.74 76.94 2013 Steve McQueen
399 The Nightmare Before Christmas 80.77 85.38 79.26 79.69 1993 Henry Selick
400 Cabaret 80.77 84.68 77.34 80.69 1972 Bob Fosse
401 Central Station 80.77 83.28 80.91 78.52 1998 Walter Salles
402 Landscape in the Mist 80.74 71.35 80.76 80.28 1988 Theo Angelopoulos
403 1917 80.73 84.37 80.65 79.33 2019 Sam Mendes
404 Intolerance: Love's Struggle Throughout the Ages 80.71 93.98 75.69 78.01 1916 D. W. Griffith
405 Call Me by Your Name 80.71 91.25 79.43 77.87 2017 Luca Guadagnino
406 Midnight Cowboy 80.71 82.98 79.10 79.50 1969 John Schlesinger
407 Shadow of a Doubt 80.70 94.38 79.31 76.04 1943 Alfred Hitchcock
408 Interstellar 80.70 74.16 81.30 82.25 2014 Christopher Nolan
409 Hannah and Her Sisters 80.69 88.95 79.15 77.98 1986 Woody Allen
410 Monsters, Inc. 80.68 85.29 79.37 80.08 2001 Pete Docter, David Silverman
411 The Testament of Dr. Mabuse 80.65 85.85 79.40 79.38 1933 Fritz Lang
412 Downfall 80.64 83.53 81.54 78.55 2004 Oliver Hirschbiegel
413 Being There 80.64 87.30 79.42 78.06 1979 Hal Ashby
414 The Killer 80.63 92.60 79.27 78.66 1989 John Woo
415 My Left Foot: The Story of Christy Brown 80.63 93.23 78.13 79.15 1989 Jim Sheridan
416 Jean de Florette 80.60 88.40 80.18 79.69 1986 Claude Berri
417 The Big Lebowski 80.57 74.80 82.28 78.57 1998 Coen Brothers
418 The King's Speech 80.57 90.86 78.50 78.59 2010 Tom Hooper
419 Whisper of the Heart 80.55 79.98 80.80 80.31 1995 Yoshifumi Kondō
420 E.T. the Extra-Terrestrial 80.54 93.08 77.22 77.82 1982 Steven Spielberg
421 Infernal Affairs 80.54 79.83 79.92 80.22 2002 Andrew Lau, Alan Mak
422 The Prestige 80.54 72.22 82.71 81.38 2006 Christopher Nolan
423 Our Hospitality 80.54 92.85 77.72 79.58 1923 Buster Keaton, John G. Blystone
424 Zootopia 80.53 85.22 78.84 80.18 2016 Byron Howard, Rich Moore
425 Toy Story 2 80.49 92.59 78.51 77.05 1999 John Lasseter, Ash Brannon, Lee Unkrich
426 Klaus 80.48 75.00 81.07 81.41 2019 Sergio Pablos
427 The Big Sleep 80.45 92.10 79.74 77.58 1946 Howard Hawks
428 Ford v Ferrari 80.45 83.94 79.37 80.01 2019 James Mangold
429 Dead Poets Society 80.44 78.70 79.43 80.75 1989 Peter Weir
430 The Terminator 80.43 89.08 78.26 78.13 1984 James Cameron
431 Naked 80.43 84.48 80.39 77.34 1993 Mike Leigh
432 Dangal 80.41 83.00 79.68 80.56 2016 Nitesh Tiwari
433 Kwaidan 80.40 81.80 79.75 79.42 1964 Masaki Kobayashi
434 The Man Who Would Be King 80.40 90.55 78.24 77.79 1975 John Huston
435 Wild Tales 80.38 82.57 80.48 79.22 2014 Damián Szifron
436 Groundhog Day 80.38 80.08 79.31 79.35 1993 Harold Ramis
437 Catch Me If You Can 80.38 83.44 78.74 80.57 2002 Steven Spielberg
438 I Vitelloni 80.36 90.28 77.64 78.06 1953 Federico Fellini
439 The Big Heat 80.35 92.90 79.27 77.87 1953 Fritz Lang
440 The Double Life of Véronique 80.35 82.63 80.19 77.87 1991 Krzysztof Kieślowski
441 Who's Afraid of Virginia Woolf? 80.35 82.58 80.19 78.43 1966 Mike Nichols
442 Requiem for a Dream 80.33 71.39 81.39 80.93 2000 Darren Aronofsky
443 Rope 80.33 79.20 80.31 79.30 1948 Alfred Hitchcock
444 Love and Death 80.33 89.83 77.55 78.50 1975 Woody Allen
445 The Remains of the Day 80.29 86.88 78.75 78.80 1993 James Ivory
446 Jules and Jim 80.28 93.70 78.30 77.94 1962 François Truffaut
447 The Gospel According to Matthew 80.28 88.30 76.50 78.52 1964 Pier Paolo Pasolini
448 How to Train Your Dragon 80.27 81.97 79.45 80.24 2010 Chris Sanders, Dean DeBlois
449 Harry Potter and the Deathly Hallows: Part 2 80.27 88.50 78.81 78.53 2011 David Yates
450 Cat on a Hot Tin Roof 80.26 87.05 79.46 79.79 1958 Richard Brooks
451 The French Connection 80.26 93.35 78.04 76.89 1971 William Friedkin
452 Opening Night 80.25 78.05 80.50 79.25 1977 John Cassavetes
453 Hotel Rwanda 80.24 84.54 79.34 79.40 2004 Terry George
454 4 Months, 3 Weeks and 2 Days 80.22 92.51 77.76 76.22 2007 Cristian Mungiu
455 Tampopo 80.22 92.40 81.20 77.01 1985 Juzo Itami
456 Scarface 80.22 93.50 76.43 79.55 1932 Howard Hawks, Howard Hughes
457 The Face of Another 80.21 87.50 79.61 79.34 1966 Hiroshi Teshigahara
458 The Roaring Twenties 80.21 86.20 77.79 80.68 1939 Raoul Walsh
459 Pickpocket 80.20 93.80 76.41 76.47 1959 Robert Bresson
460 Kiki's Delivery Service 80.20 85.45 79.87 78.84 1989 Hayao Miyazaki
461 A Prophet 80.19 89.61 79.53 76.14 2009 Jacques Audiard
462 Zelig 80.19 90.00 76.50 80.29 1983 Woody Allen
463 Trouble in Paradise 80.18 88.20 79.35 77.62 1932 Ernst Lubitsch
464 Gran Torino 80.17 76.27 78.57 82.36 2008 Clint Eastwood
465 Last Year at Marienbad 80.16 88.25 78.29 77.37 1961 Alain Resnais
466 All the President's Men 80.15 85.95 80.48 76.46 1976 Alan J. Pakula
467 Breaking the Waves 80.15 79.85 78.46 79.55 1996 Lars von Trier
468 Indiana Jones and the Last Crusade 80.14 74.28 81.44 80.57 1989 Steven Spielberg
469 Divorce Italian Style 80.12 91.00 79.28 78.26 1961 Pietro Germi
470 Edward Scissorhands 80.12 78.65 78.09 80.73 1990 Tim Burton
471 The Thing 80.12 67.98 82.60 79.34 1982 John Carpenter
472 Perfect Blue 80.11 74.05 80.91 80.09 1997 Satoshi Kon
473 Down by Law 80.10 79.03 78.98 79.61 1986 Jim Jarmusch
474 Bringing Up Baby 80.10 90.75 78.25 76.45 1938 Howard Hawks
475 The Phantom of Liberty 80.09 85.10 78.89 78.66 1974 Luis Buñuel
476 Bonnie and Clyde 80.07 85.38 78.16 78.23 1967 Arthur Penn
477 The Incredibles 80.07 89.69 79.77 75.78 2004 Brad Bird
478 Rocky 80.04 79.73 79.17 79.29 1976 John G. Avildsen
479 His Girl Friday 80.03 94.15 79.24 76.72 1940 Howard Hawks
480 Mommy 80.03 80.79 80.39 79.13 2014 Xavier Dolan
481 Mon Oncle 80.03 88.00 78.03 78.76 1958 Jacques Tati
482 My Fair Lady 79.99 91.85 77.53 78.00 1964 George Cukor
483 Charade 79.98 85.55 79.37 78.72 1963 Stanley Donen
484 Stalag 17 79.95 87.13 79.62 77.79 1953 Billy Wilder
485 Boyhood 79.95 97.08 76.08 75.95 2014 Richard Linklater
486 The Secret in Their Eyes 79.95 82.49 81.27 77.67 2009 Juan José Campanella
487 Ninotchka 79.95 90.15 77.99 78.50 1939 Ernst Lubitsch
488 Pierrot le Fou 79.94 81.75 77.84 76.65 1965 Jean-Luc Godard
489 The Enigma of Kaspar Hauser 79.94 89.10 78.30 78.27 1974 Werner Herzog
490 Stroszek 79.94 88.40 79.50 77.77 1977 Werner Herzog
491 A Hard Day's Night 79.93 93.73 76.82 77.08 1964 Richard Lester
492 Onibaba 79.90 74.75 79.42 79.96 1964 Kaneto Shindo
493 Repulsion 79.85 92.68 77.29 76.57 1965 Roman Polanski
494 Like Stars on Earth 79.85 80.50 79.54 79.86 2007 Aamir Khan, Amole Gupte
495 Duck Soup 79.84 92.33 79.01 74.92 1933 Leo McCarey
496 Carlito's Way 79.83 70.28 79.16 82.01 1993 Brian De Palma
497 Nashville 79.82 93.23 76.89 74.92 1975 Robert Altman
498 The Triplets of Belleville 79.82 88.97 76.57 78.66 2003 Sylvain Chomet
499 Dr. Mabuse the Gambler 79.81 85.10 76.88 79.98 1922 Fritz Lang
500 Gone Girl 79.79 83.03 79.32 78.87 2014 David Fincher
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2020.09.21 11:42 makeitlovely- Daily song discussion 31: Medicine

Hello! Today's song is Medicine :) On to iliwys tomorrow - thanks for coming along for the self-titled ride - I have loved reading your thoughts and stories about the tracks!
So this is exactly what it sounds like (see original post here). I'll try to post a new song every day and we can discuss anything and everything to do with the song. You can talk about the background of the song, it’s meaning and influences, your own interpretation, your favourite part, links to best live performances, the video clip, your personal stories, self-references (I am sure there are lots of newer fans who don’t know all of these), what you thought when you first heard it? Even song recommendations (if you like this song you might like..) You get the idea!
Day 31:
Track title: Medicine
Release date: October 31, 2014
Youtube clip:
On the YouTube post, Matty explained that this song was written specifically for Zane Lowe’s Drive re-score:
After we stole him we made our way from Los Angeles through the Californian desert to Las Vegas. Drowning my sorrows and (narrowly) avoiding conflict from many directions… I sat down with Jim (Zane Lowe’s producer) and he began to explain to me how he was in the process of rescoring a movie and did we want to be involved. The film in question was the modern classic Drive. So of course my answer was ‘yes’. We wrote ‘Medicine’ for our chosen scenes.
‘Medicine’, its title and sentiment, goes all the way back to the original The 1975 project that was based in my bedroom. It’s a new piece of music informed by the genesis of our band and our love for Drive as a film. Having the opportunity to rescore a movie of which we were already so familiar with provided us with a sense of knowing and allowed us to be slightly more introspective than we maybe would have been approaching something unknown. The movie itself plays with the duality of resignment and hope – and this is most obvious and stirring in the scenes we chose to score.
The song is a testament to that same idea and has in turn become one of our most personal and best loved pieces of music to date. I won’t delve into what the song is about lyrically because frankly I want to put those ideas to bed; but being provided with the context in which ‘Medicine’ came to be, it allowed the song to become a mausoleum for those ideas, captured, diverted and frozen forever. Which is pretty cool x – Matty Healy
Later, shortly after the release of The 1975’s third album A Brief Inquiry Into Online Relationships, which contains the sons “It’s Not Living (If It’s Not With You),” a song about his heroin addiction, Matty Healy confirmed on Twitter what “Medicine” was really about:
"I think I have to come clean and admit this was never a metaphor," the singer admitted via Twitter. "It's not about a girl. You know what it's about. And I've always felt weird about it. And I'm kind of sorry."
I find it hard to say bye-bye
Even in the state of you and I
And how can I refuse?
Yeah you rid me of the blues
Ever since you came into my life

Because you're my medicine
(Yeah, you're medicine)
Yeah, you're my medicine
(Yeah, you're medicine)
(Yeah, you're medicine)

I, I wanna marry you
Said, "I, I adore you"
And that's all I have to say, "bye-bye"
And you opiate this hazy head of mine

Because you're my medicine
(Yeah, you're medicine)
Yeah, you're my medicine
(Yeah, you're medicine)
(Yeah, you're medicine)

Because you're my medicine
(Yeah, you're medicine)
Yeah, you're my medicine
(Yeah, you're medicine)
Yeah, you're my medicine

\All info is taken from*
submitted by makeitlovely- to the1975 [link] [comments]

2020.09.19 23:03 SuburbanCloth exploring how religions are formed: scientology & the prison of belief

Scientology receives a lot of criticism today, and rightfully so, for being a farce of a "religion", but at the same time, what Scientology has enabled us to see is how exactly are religions formed, and how do its members so deeply believe in the ideology.
Most religions today are rooted in something historical (which often means that they are held sacred, primarily due to the time of them being around as well as the influence they've had on civilizations), but Scientology is a modern, contemporary "religion", and the whole world has seen how exactly it's formed from scratch (one of their claims is that they are the biggest religion where you can hear the founder's voice, indicating just how recent of a phenomenon it is).
I watched the documentary Going Clear: Scientology & The Prison of Belief last night, and I highly recommend everyone watches it, if not just to see how exactly people are convinced to join a religion, and what types of controls are set up to keep them in it.
Think to whether your ancestors were fooled the exact same way when they originally accepted Ahmadiyyat (or Islam).
I'll share some quotes from the movie which eerily remind you of Ahmadiyyat and its followers, with little to no personal commentary: make of it what you will.
  • "So [Scientology] really looked like ... that it was a solution to handling a lot of the world's problems. Instead of trying to handle things en masse, you could deal with it person by person, make each person better, and thus the world would get better and surer."
  • "Probably my favorite concept of Scientology is a world without criminality, a world without war, and a world without insanity. And I know of no other group that their goals are that clear."
  • "We had this terrible fight, and he told me he was going to commit suicide if I didn't marry him. I really believed him, so we got married." ==> this was from his wife Sara, at the time. Sounds quite similar to what Mirza Ghulam Ahmad said about marrying a 13 year old girl, Muhammadi Begum (link), specifying that if this man's underage daughter did not marry him, the father would die within 3 years, and the girl's husband would die within 30 months of marriage. Yikes.
  • "Hubbard, from the beginning, knew that people would pay for this counseling at a pretty good clip, and so he continued to come out with more and more levels. The real money was in paying for these higher and higher courses." ==> Think of the Wassiyat program, to be buried in Maqbara Bahisti: you need to dedicate some of your property to the Jamaat when you die as well as consistenly give the Jamaat a lot of money, but as MGA said: "God has made an exception in my case and the case of my wife and children. All other men and women must comply with these conditions; and whoever objects will be a hypocrite." (The Will)
  • "We were all very heated, very excited about this. Whatever was his whim, we did. We would have died for the old man." ==> Recall the Khuddam Pledge: I solemnly pledge that I shall always be ready to sacrifice my life, wealth, time and honour for the sake of my faith, country and nation. Likewise I shall be ready to offer any sacrifice for guarding the institution of Khilafat-e-Ahmadiyya. Moreover I shall deem it essential to abide by any “Maroof” decision made by Khalifatul Masih
  • "When you're in the organization, all the good that happens to you is because of Scientology, and everything that doesn't, that isn't good, is your fault. They sell it all in the beginning as something quite logical. Everything makes sense."
  • "Hubbard died of a stroke in 1986, but he left no plan for succession. The ambitious David Miscavige stepped forward, and by bending arms and making deals, took control of the church and installed a new generation of lieutenants." ==> from Nick Evans' book, speaking about Khilafat: It was only after this dissenting group left the community in 1914 that the second caliph was able to vastly expand the Jama’at’s bureaucracy, its financial system, and the theological justification -- largely absent from Mirza Ghulam Ahmad’s own writings -- as to why the caliphate was so vital.
  • "Because Scientology is perceived and conceived by Scientologists as being the salvation for mankind, you can have people that lie with a very straight face if they believe that what they are doing is protecting the Church of Scientology."
  • L. Ron Hubbard (LRH), the founder of Scientology said: "One certainly couldn't contest anyone as holy as the commissioner of the IRS, whom I believe gives God his orders." ==> the IRS favoured LRH historically, since they treated the Church of Scientology as a religion hence making them tax-exempt, and so he was evidently shouting their praise, which ... sounds a lot like how MGA spoke of the British government "The coming of the Promised Messiah in thy reign which is full of the light of sincerity is a sure sign and testimony from God that thou hast far excelled the monarchs of the world in thy love for peace and security. Good management, sympathy for thy subjects and the spreading of justice and equity" (Review of Religions)
  • "Now Scientologists are constantly under intense pressure just to hand money over. They pitch themselves as being the underdog, as being the victim. And you identify with that. But then they start hitting you up for bigger donations, and bigger... and I got a lot of pressure. And I think I donated another $250,000 to them under pressure. They really know how to do it."
  • "He was trying to turn this into, this was a result of the power of this movement ... which was such bullshit, because it was all about control. Where are the checks and balances on his power? There is none."
  • "But if you're a member of the Church of Scientology, and someone in your family, or a friend, or your spouse, is skeptical or critical of the Church of Scientology, you are supposed to disconnect yourself from that person."
  • "What I take away from it is that we we lock up a portion of our own mind. We willingly put cuffs on. We willingly avoid things that could cause us pain, if we just, if we looked. If we can just believe something, then we don't have to really think for ourselves, do we? And so I can't damn these people who aren't coming out"
  • "It really is the crux of how controlling is any religion over its adherents, and Scientology has perfected a lot of techniques of control. There is no logical explanation as to why, other than faith. Your future, your eternity, all depends on you going up the Bridge. It's scary. It's kinda like Christianity with hell. If they don't have the Bridge, they can't go free. They don't believe they can get it anywhere else. It's like brainwashing. Really simple. I mean, that's a scary word, and it took me a long time to come to that conclusion, that that's what's occurred. I think that's how I and other people got involved and stuck through it for so long. Because when you're out, you look at it, and you go, "What the crap was I thinking," you know? It's such a hard thing when you do wake up. You go, "Oh my God." Because you have this wave of regrets. I just started to think that maybe my entire life has been a lie. You just don't see it happening to you. You justify so much."
  • "Cults, they prey on people, suggesting that, you know, you should be able to think for yourself and then tell you exactly how you have to think, or get out. And if you get out, there will be consequences."
  • "And I just, I'm fighting back by communicating, you know? It's a peaceful protest. I want the truth to be known"
submitted by SuburbanCloth to islam_ahmadiyya [link] [comments]

2020.09.14 04:57 Twisted-Razor Twisted-Razor #20 - La Roue (1923)

IMDB Link:
I just sat down on my couch and watched La Roue for four and a half hours, and I enjoyed every second of it. I don’t think that I need to tell you that this film is a masterpiece. This and *Napoleon* (1927) are my favorite Abel Gance films.
It’s a silent masterpiece and its impact on cinema can not be understated. The rapid cuts help to build tension with a scene and the lighting is as innovative as it is beautiful.
But before I continue this review, here’s a quick plot synopsis: A girl is orphaned after a terrible trainwreck but is taken in by a station employee. Fifteen years later the employee and his son both fall in love with their adopted daughtesister. They struggle with their love as well as trying to keep the secret of her being adopted away.
Now that we have that all of the way, I’ll continue with this review. The visuals in this film are stunning. Looking at it in the context of the time, and seeing how much they could fit into a single frame, it's really incredible. It's very pleasant to look at, and the film isn't entirely in 'black and white'. From what I assume to be a step in the processing of the film, some of the frames were tinted to be a certain color. This adds to the overall scenes most of the time, even if it isn't intentional.
Admittedly, this film seems like two films in one. One is much better than the other. The first half is energetic, captivating, and heartfelt. From the first scene of the trainwreck, it's grand and epic, we see the trains crash. It's fantastic.
Compare that to the slower second half that comes just around the time that (spoiler alert) Elie is murdered. It isn't a bad second half and things actually pick up towards the ending of the film, but I still feel like a good hour could have been cut.
Overall, this is not an easy watch by any means, but its impact on cinema and its fantastic first half makes this film for me. If you are going to watch it, I'd suggest watching it in multiple parts.
Overall rating: 9/10
submitted by Twisted-Razor to 100movies365days [link] [comments]

2020.09.13 01:46 PaulWesNick PaulWesNick[2] #16: Black Girl (1966)

Black Girl (1966) dir. Ousmane Sembène – “La noire de…
I’m not a professional, please bear with me. I’m attempting to write proper reviews here and there.
This movie is from Senegal, and is widely considered to be the first major art film of Sub-Saharan Africa. Indeed, once upon a time, Senegal was a thriving landmark of African Cinema, lead by directors like Ousmane Sembène and Djibril Diop Mambéty, but this died away during the 1980s. Pretentious praise aside, I do think Black Girl is a film worth considering. It was restored for its Criterion release by Martin Scorsese’s World Cinema Project. It’s a simple film, only 59 minutes long. It tells the story of a Senegalese girl who goes to work for a French family in Antibes, and winds up hating it. The movie certainly has a lot to say about the status of African people in 1960s society, with our main character Diouana practically reduced to dehumanizing servitude by her mistress. There is a mask, prominently displayed in the film, which provides the most nuanced commentary in the film. The mask is a symbol of heritage and family and tradition for Diouana, but to the French family, it is not much more than a neat artifact, a souvenir – much like Diouana. Very good movie, shot in gorgeous black and white.
I mean if you care to see it, it is not hard to find or to sit through.
My rating - 8/10
submitted by PaulWesNick to 100movies365days [link] [comments]

2020.09.12 06:09 kwpluckett Kwpluckett #74.5: Ghostbusters (2016)

Challenge started: 5/18/2020 Date Watched: 9/11/2020 Runtime: 117m Rating: PG-13 Watched on: Blu-ray Rotten Tomatoes: %74 Imdb rating: 4.2 Genre: Comedy/Fantasy Directed by: Paul Feig 
Google synopsis:
Paranormal researcher Abby Yates (Melissa McCarthy) and physicist Erin Gilbert are trying to prove that ghosts exist in modern society. When strange apparitions appear in Manhattan, Gilbert and Yates turn to engineer Jillian Holtzmann for help. Also joining the team is Patty Tolan, a lifelong New Yorker who knows the city inside and out. Armed with proton packs and plenty of attitude, the four women prepare for an epic battle as more than 1,000 mischievous ghouls descend on Times Square.
My thoughts:
I first watched this about a year after it came out. (Hence the 0.5 view count on my list.) At that time, I felt this movie was being judged too unfairly for being different from the originals. I grew up with the OGs as well and honestly, the ignorant dissmissals of the reboot starring an all female cast felt surreal, to say the least. I mean it's just the Ghostbusters, right?
After watching it, I thought it was way better than it was given credit. The lead actresses McKinnon, Wigg, McCarthy, and Jones were all top notch. While different than the original cast, I found them every bit as funny.
Watching it for the second time, I largely agree. However, the movie has some serious pacing issues. (As do the originals.) The start is pretty funny, but then it takes some time to get back into the swing of things. Occasionally it hits some good grooves, and will make you laugh from time to time, but overall it's just missing something.
Do i think it's a "good" as the original? Probably. I mean, yes I would've preferred Harold Ramis' direction here as well, but that wasn't available for obvious reasons.
A big plus for me with this though is that I am raising girls and I don't want to subject them to a torrent of sexual remarks that degrade their gender while still enjoying the silliness that is Ghostbusters. (And yes Bill Murray's character was a blatant sexist/ womanizing creep in the OG. Hate me if you want, I ain't afraid of no ghost-buster-enthusiasts.)
Another plus for me is the ghosts. They were really fun for my little girl, who growled every time they came on screen. (Adorable.)
So, in conclusion, this is a fun movie to watch with the family, overall, as long as you can remember that the Ghostbusters is not meant to be idolized/ taken too seriously/ is supposed to be silly/ has not really aged that well. (Nostalgia is a hell of a drug.)
Anyways, I'll give Ghostbusters a 3 out of 5. I'd totally take a sequel to this. I mean, why not?
Find me on letterboxd
submitted by kwpluckett to 100movies365days [link] [comments]

2020.09.11 18:49 PaulWesNick PaulWesNick[2] #13: Sorceress (1982)

Sorceress (1982) dir. Jack Hill
This is the last film that Roger Corman alumni Jack Hill ever directed. He is not dead, but I suppose that after making a film like this, I might have given up too. There’s nothing inherently terrible about it, and it is more than standard par for a film of its time and genre. This is a fantasy movie, about two twin girls who are taken from their evil father for protection, and an old wizard grants them some sort of mystic powers, leading to the characters thence forth being known as “the two who are one”. I don’t know what that means, but the movie doesn’t seem to care whether you understand or not. We all know why were are here, watching an 80’s B-Fantasy, and that reason is tits. They are abundant in the movie, made infinitely more uncomfortable by the lead sisters being played by real life twins. Most of the acting is subpar, to say the least, save for a fellow called Bruno Rey, who plays a human-sized dwarf. The writing is ungodly abysmal, maybe one peg above the dialogue in A Talking Cat!? I will commend the film for its sets and costumes (when the characters are actually wearing costumes), as well as some of the creature effects which are pretty solid. There is a fawn-like character in the film who looks and moves like a fantastical creature would, so good on them. Unfortunately, that’s about all there is to praise. The plot is nonsensical, and what few lines actually do make sense are very awkward sexual jokes. The ending is also anticlimactic, abrupt, and just generally terrible. I suspect this is not the finest work for any involved.
If you need a bad movie to watch on a late night, you could do worse than Sorceress, which is thankfully only an hour and twenty minutes long. Also, just now realizing, the name makes no sense. There are two lead females, and neither is a sorceress. So, there you go.
My rating - 3/10
submitted by PaulWesNick to 100movies365days [link] [comments]

2020.09.09 07:08 SmolTexas SURVEY RESULTS

+3, +2, +1 balls for the top 3 answers. -3, -2, -1 balls for the bottom 3 answers, unless i don't feel like scoring it that way. it's my survey

reddit name/slack name/real name/SSN

i meant this to mean just put any one of these, not all of them. a few people thought i meant the latter. of those, cory was the only one to seemingly give his actual social security number. +1 bonus ball to cory

Find the dumbest thing on

Cincinnati Reds Nick Castellanos 8-Piece Regulation All Weather Cornhole Bag Set $56.99
the thing about this is that a cornhole set of 8 different players on the team would actually be cool. but instead it's Just Nick Castellanos.
Women's Oakland Athletics Dooney & Bourke Medium Tote Bag $248
Texas Rangers 3' Giant Victory Four Game Set $199.99
both good entries in the category of things that aren't inherently dumb but are absurdly expensive, but outshone by:
St. Louis Cardinals Supreme Mystery Grab Bag $249.99
a mystery grab bag for two hundred and fifty u.s. dollars
Miami Marlins Black BlackBerry Curve Cashmere Silicone Case $29.99 Regular, $3.99 Reduced Price Almost Gone!
couldnt find anything bad, but i did order this while looking: Men's Baltimore Orioles Fanatics Branded Navy Banner Wave Pullover Hoodie $64.99
congratulations on the hoodie bgro!
New York Mets Peanuts Wireless USB Keyboard $54.99
Looks Like Shit
Houston Astros Highland Mint 2017 World Series Champions 39mm Gold Mint Coin $49.99
Houston Astros 2017 World Series Champions Blu-Ray Collector Set $79.99
St. Louis Cardinals Earth Design Yoga Mat $39.99
i think this looks fine!
Chicago Cubs Kris Bryant 24" Studds Plush $29.99 or Chicago Cubs Kris Bryant Pro Bros Plush Toy $19.99
the first one is ASTOUNDING and the second one is fine i don't know why you submitted both when the first one is clearly the correct submission
+3 dylan, +2 iama, +1 jiggy -3 pjd and ruairi, -2 bgro, -1 desmond

Give me a Youtube video under a minute long that will make me laugh

did not make me laugh but good pacing, doesn't wear out its welcome
this is mesmerizing i have been watching this for ten minutes
solid old video!
azula describes her fursona
i am sorry ben it DID NOT make me laugh
VERY classic but still great!
THAT is a true classic
good contagious laughter
over a minute but the actual content is a small portion repeated
funny but it does still break the rules
shortest video submitted and has some punch to it
+3 dylan, +2 bgro, +1 des -3 pole, -2 jiggy, -1 Cory

Something nice that has happened to you in the past month

I reserved a rental car months in advance and when I showed up, they told me I would need to wait two hours for the car to be ready and I think they were expecting me to be an asshole about it because they were kind of preemptively dickish about it. Instead, I just went home, waited two hours, came back, got my car and then because I had been cool about it, they comped me about $100 for having to wait. The whole reservation only cost $220 so that was pretty cool.
Got a real nice performance evaluation from my job. I've been unsure about the job ever since I switched to remote work, just feeling extremely unmotivated and not very efficient, so it was good to hear that it's mostly in my head.
Didn't exactly happen to me but a student told a coworker that the reason she chose Xavier was because the grounds are so beautiful.
owner at nearby greek place we like gave us a free bottle of house wine when we told her we just moved in down the street, pretty cool
I visited one of my best friends in Texas with our other best friend. First time ever being in a small town like that and it was awesome. Makes me kinda want to live in some small town when I get older as a high school baseball coach with a hot wife.
i moved to a new city and made new friends that's pretty nice
got kissed it was pretty hype
my friend gave me a sirfetch'd just so i didn't have to bother evolving my own
i have become very close with one of my friends i met online and i am very excited to end up meeting him
My wife and I got a new dog, his name is Bentley and he is a labrador, he's a giant goofball and has made a good friend for our other dog Christmas
I got my diploma in the mail and it was a nice tangible culmination of what I've actually achieved in the past 3 years of my life, in what was otherwise kind of a stressful month.
+3 to iama, +2 to bgro, +1 to everyone else!

An argument you have had with your parents that you were wrong about in hindsight

I was convinced that my parents were wrong and I was not depressed. Turns out I was lol.
That I didn't need therapy as a teenager. Really wish I would have stuck with it!
therapy: It's Good!
I dunno never really argued with my parents. gonna have to take the L on this one
I can't think of anything specific :/
It's been a long time since I argued with my parents. I would guess it was some time when I was still living at home and I was just being standoffish and unappreciative of the fact that my parents were housing/feeding me. I would barely talk to them and just stay in my room and I dont remember having a specific conversation about it, but eventually I realized that I was the one who needed to change my attitude because really my parents weren't doing anything wrong.
That I wouldn't regret spending time with them and the rest of the family. Now that im out on my own i do regret all the times i passed up spending time with them. If i could go back i would have spent as much time with them as possible
relationships with family: It's Good!
i haven't really argued with them about much but my mom did argue against me moving in with my ex (HAD SEX WITH ANOTHER PERSON WHILE IN A 'MONOGAMOUS RELATIONSHIOP' WITH ME) so that seems like a fair one to post
I really didn't want to eat my vegetables. I probably should have eaten the vegetables.
this is most topical for me but kinda boring but i argued with my parents in favor of not contacting a person i barely know who recommended a college counselor to my dad when she recognized him at a movie theater. we ended up contacting the counselor and she has been great.
My dad used to get annoyed about how I always overpacked my bookbag in high school and I always blew it off, but now I have back problems that aren't necessarily related to that but it really makes you think
+3 bgro/pjd, +2 pole/cory, +1 lbon -2 ruairi/des, -1 iama

Tenth favorite pokemon

feel like zapdos is the correct answer between the two, sorry pole
Vaporeon eeveelutions are a solid tenth favorite pokemon choice. not my favorite eeveelution but not a bad answer
a nice but not fantastic gen one pokemon feels like a good tenth favorite pokemon choice
EXTREME tenth favorite pokemon energy. love this choice
great pick, probably a top 5 favorite for me but right in the range
too soon
Golisopod, good Bug/Water type that i love using competitively i appreciate the competitive aspect, but unfortunately it is also fuck ugly
gotta go with Blastoise imo
yeah that's fine
+3 bgro, +2 bnav, +1 Cory -2 jiggy, -1 pjd, -1 pole

Tell me about a piece of media you have enjoyed recently and haven't had the chance to talk enough about

i relistened to clairo's album and holy shit that girl can sing. shit rocks.
Lianne La Havas's newest album - definitely my AotY pick for 2020 so far. I just love everything about it.
I've been watching a lot of No Reservations and Bourdain just has such an interesting view of the world. He's so self-aware when he goes to poorer countries, and, while he initially comes across as somewhat pompous, he's actually incredibly kind and complimentary of the people who cook for him. I'm really sad that he killed himself and I think about it a lot when I'm watching.
Really can't say enough good things about Schitt's Creek. It's hilarious and heartwarming and I think it might even be the best Catherine Keener has ever been in anything. Dan Levy and Annie Murphy somehow make their hilariously entitled characters actually redeemable and you root for their success. It's just a good-hearted show that consistently makes me laugh.
the 5th season of Lucifer. Nobody I know has watched it so I haven’t been able to talk about it
I started reading a series called Lightbringer by Brent Weeks. I just finished reading the first book in the series "The Black Pirsm" and was blown away. Here is the plot summary for the book In a world where magic is tightly controlled, the most powerful man in history must choose between his kingdom and his son in the first book in the epic NYT bestselling Lightbringer series.
Guile is the Prism. He is high priest and emperor, a man whose power, wit, and charm are all that preserves a tenuous peace. Yet Prisms never last, and Guile knows exactly how long he has left to live.
When Guile discovers he has a son, born in a far kingdom after the war that put him in power, he must decide how much he's willing to pay to protect a secret that could tear his world apart.
Ive really been digging it and cant wait to start the second book
The Gondoliers is an excellent critique of nominal republicanism and nobody wants to discuss it just because it came out 141 years ago
fucking selling sunset man it's sublime i love trash reality tv and discounted it immensely for some reason
I watched Inferno ( and even though it has gotten mixed reviews I thought it was really good. I really liked the cinematography and thought it was a worthy sequel. Probably my second favorite movie by the director.
I'm addicted to watching a Vancouver-based youtube named Northernlion become aggressively more toxic every time he plays Fall Guys. He was already my favorite and he just doubles down on the ridiculousness. It's fantastic in every way.
i have really started getting into ASMR youtube videos, so its not really one specific piece of media but i something about it is great. i recommend DennisASMR, Latte ASMR, and Gibi ASMR for anyone looking to get into it
+3 desmond, +2 pjd, +1 bgro nobody gets a minus for talking about the things they like

Say something nice about the next person in line

Cory to lbon:
Luca is extremely smart and creative, and it is a genuine pleasure to watch him grow as a person.
lbon to iama:
i really like iama's ability to make it to every slack meetup, whether he was invited or not
iama to wharble:
Wharble you're a fun dude to shoot the shit with and I wish you were less busy with work to hang around and talk baseball.
me filling in for wharble to pjd:
you are the only person to really stick around heavily from last sim and the way you seamlessly fit in with the group of slack regulars is really nice
pjd to Ruairi:
Ruairi is a beautiful man. He is dedicated to his job and providing nothing but good content for people who play MLB The Show. He is a wholesome man who never has anything negative to say about anyone else. Ruairi is a good friend to all
Ruairi to des:
His passion for plants is inspiring and beautiful. He’s also a huge cutie.
des to bnav:
He's very smart, and funny, and nice, and I really just want him to be happy, because he deserves it so much. Things are hard for him right now, but he's going to be wildly successful in life.
bnav to jiggy:
jiggy is a strong man who stands up for his morals, he's also incredibly kind.
jiggy to pole:
pole is very passionate about the thing he cares about and is not afraid to vocalize it which is something i like in people.
pole to bgro:
I really appreciate all the work Bgro has put into the various slack games over the past year or so (e.g. slack survivor).
bgro to dylan:
Dylan is intelligent, a good conversationalist, and someone you can rely on to be objective and rational when discussing things. Seems like he is a strongly principled person who acts on his beliefs.
dylan to cory:
What can I say that hundreds of thirsty women (or anyone!) in the Bay Area haven't already said?
-2 to lbon giving a joke answer, -1 to dylan not really answering, +3 to everyone else

What is your Starbucks order

the people who order nothing:
Nothing, I don't like coffee and I'd rather make tea at home.
ice water
the people who understand starbucks has other things:
Hot chocolate, I don't drink coffee.
dont drink coffee but if i go to starbucks i get some kind of iced tea, depends on the day
Dragonfruit Lemonde, i dont drink a lot of Starbucks because of how pricey it is here
the people who order coffee:
Venti mocha, no whip
Vanilla latte (dont really drink coffee)
usually I just get regular coffee but if i feel fancy, then a mocha latte probably
Chocolatey thingy. A large frap
venti iced caramel macchiato with 4 shots of blond and an extra shot of caramel syrup due to being a child
cold brewnavis:
cold brew, black
+3 jiggy, +2 cory, +1 bgro -3 dylan, -2 desmond, -1 pole

How many balls should I get

7 balls: 8 votes 1 ball: 2 votes 15 balls: 1 vote 0 balls: 0 votes
i was not going to award any balls for voting to give me more balls, but since Ruairi was the only person to vote for 15 balls he can have an extra ball

You may give one ball and take one away

the results: desmond +2 bnavis +1 dylan +1 bgro +1 iama +1 bgro +1 wharble (did not participate in survey) +1 lbon 0 jiggy -1 pole -1 pjd -1 ruairi -1 cory -2
anonymous quote: "take one from Cory (just bc i assume he'll get a lot)"

What is your hidden talent

I can pronounce the name of that really long welsh town, Llanfairpwllgwyngyllgogerychwyrndrobwllllantysilogogogoch
i can tie cherry stems in knots with my tongue i guess
i can sleep equally as well on both sides of the bed
is this not normal
Does being a disappointment count as a talent? Because i am great at that
the only thing disappointing about you is this answer
Idk I guess I'm good at memorization?
i can remember really vague and useless trivia for things that are super irrelevant
I do card tricks. I also have a very good memory. I’m also very good at math in my head. And math in general.
i can name every country in the world and locate it on a map, as well as name the majority of the capitals, purely from memory
des may have an incredible memory but everyone else had more conviction
I'm very good at directing the packing and unloading of vehicles.
the man is a natural leader
I can chug beer faster than just about anyone
I can guarantee with a reasonable amount of certainty I'm the best Rock Band vocalist you've ever met.
+3 dylan, +2 bgro, +1 iama -3 pjd, -2 lbon, -1 desmond

Strawberry, vanilla, or chocolate?

+1 to all who answered vanilla, 0 to all who answered strawberry, -1 to all who answered chocolate

Make up a guy who sounds like a Giants reliever

Bnavis: Tyler Gordon PJD: Sergio Wilson Ruairi: Brian White iama: Caden Jackson bgro: Scott Osterbrich Cory: Daniel Humphries desmond: Garrett Blaukamp thefuckinwolves: Sam Kennedy lbon: Tariq Byers pole: Seth Skyscraper dylan: Nick Garcia
scored purely on how much they sound like a Giants reliever +3 Ruairi, +2 dylan, +1 iama -3 pole, -2 bgro, -1 lbon

Describe your perfect Sunday morning

I am awoken early by sunlight streaming through my window. Nonetheless, I feel well rested. I lie in bed for a short while basking in the soft warmth of the sheets and the soft sunlight filling the room. Stretching, I rise. I shuffle into the kitchen, where bacon and eggs are being cooked by my housemate. I help get breakfast ready, and then I eat my breakfast at the table while sipping coffee. After breakfast, I prepare for the day's activities.
desmond: My internal clock actually allows me to sleep past 8:30, I get up and get a breakfast sandwich to bring back home and eat on my porch with some tea. I watch a show or play some video games for a while and take a nap around lunchtime.
It’s raining/drizzling outside. I wake up next to my hot wife/girlfriend and play some Michael Bublé. Then I put on a fire in our fireplace. Start making breakfast. We’re talking pancakes, french toast, and cinnamon rolls. My hot wife walks into the kitchen wearing a Nick Castellanos jersey and nothing else. Life is good. we eat our breakfast and drink champagne because why waste the good taste of champagne with orange juice. We eat our breakfast and drank our champagne out on our balcony watching the rain
sleepign until 10 am, then sitting outside eating yoplait yogurt listening to the birds
i wake up at like 10 am, mom made eggs or some shit, watch a terrible TLC show, probably 4 weddings, for a couple hours.
turn on the record player, have a nice breakfast, and have an aggressive amount of sex while i hear the church let out from across the street
bgro: I like to be very active on Saturday and then do literally nothing on Sunday. So...sleep in, shower, play video games all day, watch some sports, watch the latest episode of a good HBO show that evening, go to bed.
sleep until noon, get up at 1 and have a homemade bacon and egg mcmuffin while watching
I do not wake up until the afternoon
Wake up with no alarm, make some coffee, make a delicious brunch, go for a little walk down to the Point.
I wake up, sun is shinning, birds are chirping. Christmas is snuggled up to me snoring away like the giant squish she is. A wonderful smell makes its way into my room, its the smell of chocolate chip pancakes. My wife has prepared my favorite breakfast with chocolate milk as a beverage. I blow bubbles into my chocolate milk because i am a child. In this perfect world i have quit my job and no longer have to work Sundays. I go outside, get some fall yardwork done. Leaves raked into a big pile to be given that good suck by the leaf blower. Then 1 PM rolls around. Its football time. My mother and grandmother who are both massive Eagles fans have come to my house to watch the game. The Eagles blow out the Cowboys, Carson Wentz throws for 300+ yards and 5 Touchdowns. My wife prepares my favorite dinner, Chicken Alfredo. We have a nice red wine with dinner as well. Some of our friends join us for dinner as is Sunday tradition and then games afterwards. Many laughs are shared in the home my wife and I have built. Everyone goes home happy and I fall asleep finally content with the life i have built
i am really deep into this however Patrick, dinner and falling asleep for the night are not a part of Sunday Morning
+3 Ruairi, +2 iama, +1 pjd no minuses, your mornings are all very lovely
Two types of cuisine
des: Italian and Mexican bgro: Italian and Mexican dylan: Italian and Mexican pjd: Italian and Mexican Ruairi: Mexican and Greek cory: Mexican and American jiggy: Mexican and Indian lbon: Italian and American pole: Italian and Ashkenazi iama: Italian and Japanese bnav: Italian and Indian
+3 jiggy, +2 cory, +1 bnav -1 to all Italian and Mexican answers for not not being individual enough

Which shell is the ball under?

The ball was under the left shell!
+3 points to iama and dylan, 0 points to everyone else


total raised: $141.50 cory: $100 +3 balls bnav: $25 + 2 balls lbon: $12.50 +1 ball


CORY 16 balls IAMA 15 balls BGRO 11 balls DYLAN 9 balls BNAVIS 8 balls JIGGY 8 balls RUAIRI 5 balls PJD 2 balls WHARBLE 1 ball DESMOND 0 balls LBON -1 balls POLE -3 balls
all who finished at 0 or fewer balls will be given one ball for the lottery. wharble did not participate in the survey but will get the first pick if his one ball wins, otherwise will pick last
submitted by SmolTexas to groupselect2k18 [link] [comments]

2020.09.09 01:56 VonBraun12 Making a CGI Short - Day 1 "Slow and steady"

Making a CGI Short - Day 1
Hello there,
This is the first post of my current Project. The goal of it being to create a Photorealistic Short. The story of which, for now, is simple and very containted to keep the scale reasonable.
This first post wil be longer as i need to go over 2 Days worth of work. But there are a lot of Pictures so that might help.

Scale & Layout
As stated above, the scale of everything is "limited". The quotation marks will make sense later. This means that almost every scene of the short will take place in the same location. With the exception being the Opening shoot, which will be outside. But at night.
I started by making a small outline in Affinity Photo, just to get an idea of what i want the final Layout to be. I also wrote in a bunch of Assets that should be in the scene.
Textured Layout (Cubes in the Rooms are Placeholders for the Characters)
After this, i started to Model the actuall 3D scene, as the Screenshoot was just a very basic mock up. The goal was to create a old auto repair shop that has been abandoned.

I spend a bit of time thinking about how i want to approach modeling everything. As this is currently only my project, meaning i am the only one doing something for it. The normal idea of getting all the detail and 100% Photoreal Materials just wouldnt fly. So i adapted the Ian hubert style of "If it looks ok, it is ok". Aka, just using textures of everything and not bother with Materials.
This style of work already gives me way better results that any node tree from me could have yielded.
Just a simple Texture ripped from Google Images and bam, 1min of work just beat a Node tree that gave bs results after 20min of work.
As of now, the only Materials in the scene that dont use any Textures are some Metal Surfaces but ill replace those too.

A Selection of Renders from Today
A Pin board which took a bit of time to fill up, still not done though. (All textures are from Google, there is not a single Node Tree Material on that Pin board.
A Close up of the fall to check if it would look realistic enough in the final Renders (0 Node Materials, all textures)
Random Angle Nr. 1
The Poster who still need some rework.
I did this room yesterday and only added the Pin Up Girl today.
From the get go it was clear that i cant use Free resources for this. The quality just dosnt hold up. So i decided to get a Freelancer Poligon sub. The site is really amazing and the textures are worth every stupide Credit.
I did use the site before but not on this scale. Today alone i bought around 20 Textures (+-). But then again, worth it.
But of course, some Textures such as the Posters are not on Poligon. Good guy Google helps out there. Although almost every Google Texture needs some enhancing in Affinity. The Poster´s for example are overlayed with self made imperfection maps to fit the Poster´s content and also the way it was folded.

Limited Goals
I plan to finish the actual modeling part of the scene within a Week at most. Which shouldnt be to hard. I finish one room each day and there are 3 1/2 rooms left. So i can reasonable expect to be done with everything Modeling related by that time.
Although i should mention that ill add detail according to the final Camera Movements and maybe for some Close Ups.

What comes after
This is where the fun beginns. Let me show you my madness. The plan is to use 3D Models of real actors for the Characters. Those being:
- Lorenza Izzo (Leading Roll as "June". press officer and CIO of the V.V.G Group) - Léa Seydoux (Amara, Super AI made by the V.V.G Group) - Giovanni Ribisi (Neural Network Scientist working at the V.V.G Group) - Jack Quaid (Programmer working on and with Amara at the V.V.G) - Kirby Bliss Blanton (Head of Marketing, also V.V.G) - Logan Marshall-Green (Random that gets killed with a Crowbar)
Now i know what yall think, this mf is crazy. And you are right. Ill have to create each Charater myself. Although the Faces will be made with an Addon for Blender that makes that easy. So really, the Mesh of the Characters is mostly created for me by (for now) free (!) software. But Hair, cloths and all of that good stuff will sill have to be done by me.
The Animation side of things will be done with Mocap and Expression Cameras. Will be a pain to do but it will also give better results than Hand Animating everything. Come to think of it, most of the Stuff in the Short will be done for me by Software anyways so.
But if this turns out to be too much for me, Giovanni and Kirby can be removed without having to do major rewrites. Just in case. And Seydoux could be reduced to only the voice. Izzo, Green and Quaid cant.

In short, the Voices. There are two options i see myself doing. Either ill just not use the Actors real voice and instead use Actors for that. I mean i already need Actors for the Mocap stuff.
Ill AI the shit out of this. There are a few Services out there that create really good results in terms of Text to speach. I am currently talking with a Company called Resemble AI to send me a short clip of a "Deepfaked" sentence by Izzo. If the results hold up, i may use there services.
There is just one little problem, i have no idea if the Law requiers me to get the consent from all the people in the short. And idk about you, but i am pretty sure everyone on my list has better things to do then to give some wannabe CG Artist consent for there voice.
But that dosnt mean i wont try. Even althoug the chances of this working can be approximated with Zero, i still draft a Email for everyone of them and send it over IMDB Pro to there Agents. As they say, you never know. The Email for Izzo will be out first, still working of the Perfect wording but the content for all of the will be the same. TLDR "I need Pictures of your head (Front, both sides, top, down, back and a few other Angles) and Spoken consent (a video) that a Company can clone your voice".
Ill Update you guys on how that went. Again, you never know.

So yeah, this is it for today. I know its a lot of text and i am sorry for the long read. Tomorrow the next post will be a lot shorter and also have more Renders. Any form of feedback is appreciated ! If you have any tips, weather it be on the Characters, Modeling or getting consent from World Class Actors when nobody knows you, i will listen !
Please excuse any Tipos, i am German after all.

See you all tomorrow,
Cheers !
submitted by VonBraun12 to blender [link] [comments]

2020.09.07 23:54 PaulWesNick PaulWesNick[2] #6: A Talking Cat!?! (2013)

A Talking Cat!?! (2013) dir. David DeCoteau
Whilst browsing the “Movies we think you’ll like” tab on Amazon Prime, I am embarrassed to admit that the algorithm correctly assumed I would be interested in watching a little film called A Talking Cat!?! I mean, how could I ignore it, with a title like that and a poster to match? Against my better judgement, I recommended the movie to the Bob Dole Film Committee, a conglomerate of friends of mine who appreciate watching bad movies together late into the night via Prime’s built in synced-stream service. Don’t ask why it is called that, it is a long story.
Innocently enough, we set down to begin the so-called “film”, and from the very beginning it became rapidly apparent that this was not just a poorly-made movie, but an incompetent and lazy one. Few things on this planet are more embarrassing and shameful than a film that unabashedly shows off its laziness. The writing is not just amateur but abysmal. The repetitive music (which is probably royalty free stock music off of fucking pond5) is so inappropriately chosen and sprayed haphazardly across the film, a weird jumble of jazz mariachi, reggae nursery rhymes, and what sounds like the composer slapping notes on an untuned synthesizer in random-number-generated order. The overuse of stock footage is also unapologetic, with inconsistent locations and constant 180º rule violations. There are individual stock shots of the beach and forest which have more screen time than a few of the actors. Suspension of disbelief is impossible when the father goes for “a short walk”, yet the film is edited to look like he completed a quest that would put Odysseus to shame. It felt as though the characters crossed more biomes than a Minecraft speed-runner. And, good Lord above, the acting was appalling. Some of the performers were simply bad, but other reached a new cinematic low. I have seen pornography with better line reads than the main teenager gives. And by the way, the aforementioned terrible dialogue is also weirdly sexual at times? Never explicitly, but between the way that they act and the jazz saxophone soundtrack, this film is basically eighty minutes of the part of porn you are supposed to skip. If only I had skipped the whole movie.
And then the cat. The talking cat, to be precise. He does indeed talk, but the whole plot of the film (which makes no God damned sense, by the way) is that this sentient, omniscient feline sets about trying to get various characters to befriend one another, to help one girl achieve her dream of being a coder, and to I guess provide the father character with a romantic interest? I am sorry if that is confusing but it is no less confusing in the actual movie. The real kicker is that the cat can only talk “one time” to each person. I do not understand what this means, because he can and does say multiple sentences to each character? So in the logic of the film, is he limited by topic? The rules, if they exist, are ill-defined and admittedly irrelevant. There is less than zero explanation for this strange plot choice, and in fact the movie seems to actively try to complicate the already convoluted set-up by casually introducing a magical collar, hidden in some unnamed grove of trees!? You could not pay me to make this stuff up. When the cat speaks, the mouth is essentially a black ellipse which widens and shrinks, and I can only assume it was drawn and animated in MS Paint. Also, the cat is played by a drunk Eric Roberts (Academy Award nominee), who according to IMDb, recorded all of his lines on his living room couch in fifteen minutes. It shows.
This movie frustrated me, it confused me, it made me sad. What little enjoyment we derived from the movie was from making fun of the film’s utter incompetency, and communicating with one of the actresses after the movie (I still do not understand how we did that). To summarize, I shall quote my friend: “I’ve never felt so hallow after watching a film”. Do not watch this.
My rating - 1/10
submitted by PaulWesNick to 100movies365days [link] [comments]

2020.09.06 22:40 trillykins Doctor Sleep

Spoilers for basically everything in the movie.
Saw this earlier. I thought it was kind of bad. Way too long without seemingly much reason. It did a lot to, I don't know how to describe it... categorise things from the first movie? Power levels and special abilities and entities. Almost expected people in this movie to exclaim "OVER 9000!!!!" at one point. It's not a sequel to the book or the TV series that King himself directed since, spoiler warning, Hallorann doesn't die in either of them and the hotel is destroyed in both, so this is clearly a sequel to the movie. Looked up some basic plot points from the book and it seems like the book is a sequel to the book and the movie is a sequel to the movie.
The thing that I remember as the best parts of the movie was how well the actor playing Wendy (Danny's mother) imitated the way Shelley Duvall talked in the original movie. Granted, it's been quite a number of years since I saw it last, but it sounded exactly as I remembered it. I don't recall anyone doing a bad job in terms of acting, this was just the one that stood out the most. Oh, and that the person playing the bartender at the hotel is the person who played Danny in the original movie. He did really well, especially considering he has only played two roles according IMDb (apparently he's a professor of biology, that's pretty cool).
Anyway. I don't really think a horror movie can work when the bad guys are so consistently outmatched and easily killed at every point. I mean, even action movies don't really work that well under those conditions. The protagonists and the bad guys meet, like, three times at each time the baddies are killed almost immediately. Even when the big baddie mind duels with one of the goodies she is completely outmatched. Both times. Then at the end the goodies are running anyway from the big baddie despite all of the other baddies being dead? It's just very inconsistent. And it's not really scary when the good guys always have the edge. I mean, the main girl in the movie is basically Jean Grey in her Phoenix form fully in control of her powers.
The movie is two and a half hours long and The movie doesn't really explore Danny's character either or his baggage. At the beginning there's a parallel between Danny and Jack. He even gets violent in a way that is superficially similar to Jack. He almost kills a guy while saying the "take your medicine" line, but it's not really explored after that. He just goes somewhere and gets sober and that's the basically the end of it. In general, there was a lot of things that seemed to just be superficial references to the original movie. Like, there's an office that looks practically identical to the one Jack is in when he's interviewed for the job for seemingly no reason other than having people recognise that it's the same one?
submitted by trillykins to imdbvg [link] [comments]