2020.10.25 04:03 NegativePiglet8 GirlHouse (2015) [Slasher]
2020.10.15 17:16 FuturistMoon R.L. Stine's The Haunting Hour (2010-2011) [Kid Horror, Anthology]
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.
2020.10.09 18:02 TMS2017 TMS #68: Hard Candy 
2020.10.01 12:36 SenorMcNuggets SenorMcNuggets's OHMC 2020 checklist
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. 9/102) 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. 7/103) 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. 8/104) 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. 6/105) 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. 6/106) 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. 7/107) 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. 7/108) 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. 8/109) 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. 6/1010) 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. 7/1011) 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. 5/1012) 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 just....is. 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. 8/1013) 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. 4/1014) 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. 7/1015) 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. 8/1016) 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. 9/1017) 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. 6/1018) 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. 6/1019) 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. 8/1020) 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. 8/1021)
2020.09.30 03:17 viewtoathrill viewtoathrill: #38 (Lap 2) Immoral Tales (1973)
2020.09.30 03:15 viewtoathrill Contes immoraux (Immoral Tales, 1973)
2020.09.29 17:22 PumpkinPotPie_ Favourite Sub-Genre of Horror?
2020.09.26 03:12 Tythen Listing the English (and one Japanese) VAs of Fractured Futures ft. Sharpshooter Joe!
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)
2020.09.23 00:18 thatforensicgirl Today Is Going To Be Visual: The Story Of Mark O. Barton's Surreal Killing Spree
submitted by thatforensicgirl to TrueCrime [link] [comments]
Background, family life, and early troublesMark 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 homicideDebra 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 evidenceLeigh 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, 1999A 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 StockbridgeMark 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.
AftermathBrent 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.
Sources: Murder at the Office, AP Archives, Wikipedia, Who The F\*k Did I Hire?*
2020.09.22 16:16 ReelStats These are the statistical top 500 movies of all time, according to 23 different websites
|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|
|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|
|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|
|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|
|32||Some Like It Hot||87.28||95.30||82.11||83.73||1959||Billy Wilder|
|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|
|38||Sunrise: A Song of Two Humans||87.02||93.95||82.23||84.02||1927||F. W. Murnau|
|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|
|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|
|47||The 400 Blows||86.70||96.70||83.14||82.60||1959||François Truffaut|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|122||The Shop Around the Corner||84.40||94.43||80.85||82.37||1940||Ernst Lubitsch|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|198||The Elephant Man||83.00||83.00||82.10||81.87||1980||David Lynch|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|272||Mr. Smith Goes to Washington||82.09||80.83||81.78||81.15||1939||Frank Capra|
|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|
|284||Finding Nemo||82.01||92.60||80.13||78.76||2003||Andrew Stanton, Lee Unkrich|
|286||The Phantom Carriage||81.96||95.00||80.01||80.32||1921||Victor Sjöström|
|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|
|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|
|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|
|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|
|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|
|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|
|329||Life of Brian||81.47||82.98||80.78||79.81||1979||Terry Jones|
|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|
|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|
|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|
|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|
|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|
|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|
|385||Die Hard||80.93||79.58||81.11||79.43||1988||John McTiernan|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|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|
|484||Stalag 17||79.95||87.13||79.62||77.79||1953||Billy Wilder|
|486||The Secret in Their Eyes||79.95||82.49||81.27||77.67||2009||Juan José Campanella|
|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|
|491||A Hard Day's Night||79.93||93.73||76.82||77.08||1964||Richard Lester|
|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|
|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|
2020.09.21 11:42 makeitlovely- Daily song discussion 31: Medicine
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.
2020.09.19 23:03 SuburbanCloth exploring how religions are formed: scientology & the prison of belief
2020.09.14 04:57 Twisted-Razor Twisted-Razor #20 - La Roue (1923)
2020.09.13 01:46 PaulWesNick PaulWesNick #16: Black Girl (1966)
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
2020.09.11 18:49 PaulWesNick PaulWesNick #13: Sorceress (1982)
2020.09.09 07:08 SmolTexas SURVEY RESULTS
Miami Marlins Black BlackBerry Curve Cashmere Silicone Case $29.99 Regular, $3.99 Reduced Price Almost Gone!bgro:
couldnt find anything bad, but i did order this while looking: Men's Baltimore Orioles Fanatics Branded Navy Banner Wave Pullover Hoodie $64.99congratulations on the hoodie bgro!
Chicago Cubs Kris Bryant 24" Studds Plush $29.99 or Chicago Cubs Kris Bryant Pro Bros Plush Toy $19.99the 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
azula describes her fursona https://www.youtube.com/watch?v=CITrqyliiUMi am sorry ben it DID NOT make me laugh
over a minute but the actual content is a small portion repeated https://www.youtube.com/watch?v=cvx_zuTR1Xcfunny but it does still break the rules
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.Cory:
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.Des:
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.dylan:
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 coolRuairi:
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.jiggy:
i moved to a new city and made new friends that's pretty nicebnav:
got kissed it was pretty hypepole:
my friend gave me a sirfetch'd just so i didn't have to bother evolving my ownlbon:
i have become very close with one of my friends i met online and i am very excited to end up meeting himpjd:
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 Christmasiama:
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!
I was convinced that my parents were wrong and I was not depressed. Turns out I was lol.Cory:
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 onedes:
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.pjd:
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 possiblerelationships 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 postiama:
I really didn't want to eat my vegetables. I probably should have eaten the vegetables.lbon:
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.dylan:
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
Zapdosfeel 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 answerCory:
Poliwratha nice but not fantastic gen one pokemon feels like a good tenth favorite pokemon choice
AmbipomEXTREME tenth favorite pokemon energy. love this choice
Gengargreat pick, probably a top 5 favorite for me but right in the range
Golisopod, good Bug/Water type that i love using competitively i appreciate the competitive aspect, but unfortunately it is also fuck uglylbon:
Squirtlegotta go with Blastoise imo
Archeopsyeah that's fine
i relistened to clairo's album and holy shit that girl can sing. shit rocks.Cory:
Lianne La Havas's newest album - definitely my AotY pick for 2020 so far. I just love everything about it.desmond:
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.bgro:
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.Ruairi:
the 5th season of Lucifer. Nobody I know has watched it so I haven’t been able to talk about itpjd:
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.pole:
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 agoT:
fucking selling sunset man it's sublime i love trash reality tv and discounted it immensely for some reasoniama:
I watched Inferno (https://www.imdb.com/title/tt0080923/?ref_=tt_sims_tt) 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.dylan:
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.lbon:
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
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 notiama 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 nicepjd 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 allRuairi 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
Nothing, I don't like coffee and I'd rather make tea at home.dylan:
ice waterthe people who understand starbucks has other things:
Hot chocolate, I don't drink coffee.lbon:
dont drink coffee but if i go to starbucks i get some kind of iced tea, depends on the daypjd:
Dragonfruit Lemonde, i dont drink a lot of Starbucks because of how pricey it is herethe people who order coffee:
Venti mocha, no whipbgro:
Vanilla latte (dont really drink coffee)iama:
usually I just get regular coffee but if i feel fancy, then a mocha latte probablyRuairi:
Chocolatey thingy. A large frapKeith:
venti iced caramel macchiato with 4 shots of blond and an extra shot of caramel syrup due to being a childcold brewnavis:
cold brew, black+3 jiggy, +2 cory, +1 bgro -3 dylan, -2 desmond, -1 pole
I can pronounce the name of that really long welsh town, LlanfairpwllgwyngyllgogerychwyrndrobwllllantysilogogogochGlenwood:
i can tie cherry stems in knots with my tongue i guesslbon:
i can sleep equally as well on both sides of the bedis this not normal
Does being a disappointment count as a talent? Because i am great at thatthe only thing disappointing about you is this answer
Idk I guess I'm good at memorization?bnavis:
i can remember really vague and useless trivia for things that are super irrelevantRuairi:
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.iama:
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 memorydes 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 anyonedylan:
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
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 rainlbon:
sleepign until 10 am, then sitting outside eating yoplait yogurt listening to the birdsbnavis:
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.dylan:
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 streetbgro: 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 baseball.comhttp://www.baseball.com/
I do not wake up until the afternooncory:
Wake up with no alarm, make some coffee, make a delicious brunch, go for a little walk down to the Point.pjd:
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 builti am really deep into this however Patrick, dinner and falling asleep for the night are not a part of Sunday Morning
2020.09.09 01:56 VonBraun12 Making a CGI Short - Day 1 "Slow and steady"
Hello there,submitted by VonBraun12 to blender [link] [comments]
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.
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,
2020.09.07 23:54 PaulWesNick PaulWesNick #6: A Talking Cat!?! (2013)
2020.09.06 22:40 trillykins Doctor Sleep