Hey, followers. Something to share with you.

This is a 90 minute documentary about The Goddess Bunny. You may be familiar with the name and face thanks to some eBaums World videos that went around back in early internet of Bunny doing one of her dance routines credited as being one of the “most disturbing videos ever”. She also appeared in a Marilyn Manson music video.

This is a pretty great documentary dealing with Bunny and the band of misfits she acquired out in Hollywood. Interviews, performance footage, etc. 

To those who aren’t familiar: Think of Bunny as a west coast Divine and Aes Nihil as a west coast John Waters. 

These days Bunny can’t get around so easily, but she’s still performing. 


posted 8 hours ago / ♥ 3 notes



Now Watching: V/H/S So, the first short is good. … No, that’s about it. VHS is a series of horror shorts, all told from the found footage/first-hand perspective. They also all feel about as well produced as a student film. As someone who has made a lot of student films, I’m pretty critical of shit released commercially that feels about as compelling or planned as a student film. There aren’t any “characters” really. Just fodder for killing. You will root very hard for most of the people in this movie to die. The only comfort I have to dispense to you is that most of them do end up dead. But I really liked the first short! The lsat short gets interesting but it takes its blessed time doing so. So, watch the beginning and the end. Okay.

Now Watching: V/H/S

So, the first short is good.

…

No, that’s about it.

VHS is a series of horror shorts, all told from the found footage/first-hand perspective. They also all feel about as well produced as a student film. As someone who has made a lot of student films, I’m pretty critical of shit released commercially that feels about as compelling or planned as a student film.

There aren’t any “characters” really. Just fodder for killing. You will root very hard for most of the people in this movie to die. The only comfort I have to dispense to you is that most of them do end up dead.

But I really liked the first short! The lsat short gets interesting but it takes its blessed time doing so. So, watch the beginning and the end. Okay.


posted 23 hours ago / ♥ 10 notes

• VHS • horror • film • now watching


Now Watching: REC 2 I really, really loved the first REC. I’m a sucker for found footage horror, and REC did it really well. The entire beginning of that film is focused on immersion so that when the shit finally hits the fan at the act switch, it’s unsettling and shocking and wonderful. REC 2 thinks that REC 1 was a pussy. REC 2 takes a pretty aggressive pace early on. It’s fun if you want splatter, but for a memorable horror experience—well, it’s just one exploding infected head after another. It gets a little wearing. There are some cool moments—like a very claustrophobic scene in a ventilation tunnel that harkens back to Alien—but overall the film feels fairly repetitive.  The third act tries to take it all back—to hamfist some story in there. I guess your mileage may vary—it just felt pretty forced to me. Traditionally, monsters and things that go bump in the night are more frightening if you just don’t know why they’re there. REC 2 seeks to clear some of that up for us, and in my opinion in kinda stumbles. Stick with the first one, in my opinion.

Now Watching: REC 2

I really, really loved the first REC. I’m a sucker for found footage horror, and REC did it really well. The entire beginning of that film is focused on immersion so that when the shit finally hits the fan at the act switch, it’s unsettling and shocking and wonderful.

REC 2 thinks that REC 1 was a pussy.

REC 2 takes a pretty aggressive pace early on. It’s fun if you want splatter, but for a memorable horror experience—well, it’s just one exploding infected head after another. It gets a little wearing. There are some cool moments—like a very claustrophobic scene in a ventilation tunnel that harkens back to Alien—but overall the film feels fairly repetitive. 

The third act tries to take it all back—to hamfist some story in there. I guess your mileage may vary—it just felt pretty forced to me. Traditionally, monsters and things that go bump in the night are more frightening if you just don’t know why they’re there. REC 2 seeks to clear some of that up for us, and in my opinion in kinda stumbles.

Stick with the first one, in my opinion.


posted 1 day ago / ♥ 11 notes

• REC 2 • horror • now watching • film


Now Watching: Excision The only thing I knew about this movie going in was that John Waters is in it. Turns out, he plays a priest. I could have enjoyed the movie based on that little caveat in itself.  Turns out, the film itself is pretty excellent. Excision is the story of a troubled young girl named Pauline. Her mother is controlling, her father doesn’t seem to care and her sister is slowly dying due to complications with cystic fibrosis.  The film is intercut with Pauline’s dark, erotic fantasies about becoming a surgeon—something that is quietly and creepily realized in waking life by taking apart dead birds and the like. Her conflicts with religion, her parents and her peers—things which could be mundane and overdone—are really pretty entertaining. It’s a funny flick. I won’t say much, I don’t want to risk spoiling anything—but I do recommend the flick in a big bad way. The cast alone is reason to watch. Traci Lords, John Waters, Marlee Matlin, Malcolm McDowell, Matthrew Gray Gubler, Ray Wise? Godadamn. 

Now Watching: Excision

The only thing I knew about this movie going in was that John Waters is in it. Turns out, he plays a priest. I could have enjoyed the movie based on that little caveat in itself. 

Turns out, the film itself is pretty excellent.

Excision is the story of a troubled young girl named Pauline. Her mother is controlling, her father doesn’t seem to care and her sister is slowly dying due to complications with cystic fibrosis. 

The film is intercut with Pauline’s dark, erotic fantasies about becoming a surgeon—something that is quietly and creepily realized in waking life by taking apart dead birds and the like. Her conflicts with religion, her parents and her peers—things which could be mundane and overdone—are really pretty entertaining. It’s a funny flick.

I won’t say much, I don’t want to risk spoiling anything—but I do recommend the flick in a big bad way.

The cast alone is reason to watch. Traci Lords, John Waters, Marlee Matlin, Malcolm McDowell, Matthrew Gray Gubler, Ray Wise? Godadamn. 


posted 1 day ago / ♥ 7 notes

• excision • horror • film • now watching


Now Watching: Star Trek Into Darkness Star Trek II: The Wrath of Khan is, to me, a perfect movie. “Jessi, this isn’t about Wrath of Khan.” Shut up, tiny voice—let me set this up.  Wrath of Khan is an exquisitely crafted as a narrative, as a part of the Star Trek universe, as a character study, as a piece of film history. Perhaps even more than the original series itself, it has set up the precedent by which we are familiar with the crew of the Starship Enterprise, even if the actors themselves were arguably past their prime. It is one of my favorite movies.  A lot of people feel that way. A lot of people hold Star Trek itself as an unreachable ideal. It is something perfect, outstanding and unthinkable for its time and unspeakably impacting even now. A lot of people hate the direction the new series is taking—that the action sequences cheapen the philosophy behind it, that the direction or casting or something just-isn’t-right. It’s a problem that every fan runs into now and then.  Things change, though. Comic books used to be 80% dialogue bubbles. Things look considerably different now. It stands to reason that a new Star Trek—for a new generation—would handle things very differently. What works in 1966 (or 1982) doesn’t necessarily work now.  Star Trek Into Darkness works.  The original cast assembles once more, along with newcomer Alice Eve as Carol Marcus, and Benedict Cumberbatch as (spoiler) Khan.  I’m going to go ahead and get out of the way the thing that I unfortunately have to address: I think Benedict Cumberbatch did an outstanding job. The fact that he is a part of a larger, societal, nebulous problem—the limiting of representation in Hollywood film—is gross, unfortunate, angering. But he, as a person has nothing to do with that. JJ Abrams, as a person, has nothing to do with that. Singling out individual people, part of a long-in-place way of thinking and operating is easy to do—but this is a much larger problem than “Abrams just wanted a surprise twist” (he did not write the script) or “ah yes this man is perfecting his aryan enterprise crew” (benecio del toro was originally cast, and dropped out, if I had to guess the last minute-casting of Cumberbatch had more to do with securing an overseas market as well as the man’s talent). There are fiscal implications that are probably much more on-point, but I do not feel like discussing that now. The truth is that, within the narrative, it works. If I can deal with a man named Hikaru Sulu played by a Korean actor, then I can deal with a man named Khan played by an anglo actor. Within the narrative, Spock Prime confirms the existence of Khan prime—Ricardo Montalbon, just as ethnically muddled, as we know him. Perhaps you see the alternate timeline as an excuse, I see it as a narrative tool.  Representation in media is a problem and it always has been. Pinning it on one director, one actor or one film it far from the point. It this a problematic film? In terms of the way the story is presented, as an alternate reality it gets a lot of slack, in my opinion. But, ultimately, yes. But I am not interested in splitting these hairs here. I’m more interested in the text of the film itself, and within the text of the film itself I have no complaints. Bottom line: I I think Cumberbatch did an exceptional job as the villain in this film. He is an exceptional actor. His Khan was scary-good.  Moving on. So, as I said—Wrath of Khan is one of my favorite movies. It’s about a man at a crossroads, a man who finds himself perhaps outmoded—past his prime. Star Trek Into Darkness meets Kirk in his prime, learning to become the Captain that the Enterprise needs.  Spoiler: He does.  Into Darkness pays heavy homage to Wrath, but it never feels forced or for the sake of fanservice. There is heart there—and the film effectively utilizes the notion of alternate realities to explore a scenario wherein Kirk is not the stalwart Admiral that we know in Wrath. He’s the brash, noble idiot that should be on his five-year-mission. Narratively, it’s pretty beautiful.  I mean I cried like a fucking bitch, okay?  I don’t want to get too deep into the details of the plot, but I will say this: This film hit all the right notes for me. It got to me because of what these characters mean to me (and have meant to me for like two decades) and what the franchise as a whole means to me.  I’ve exhausted myself with an admittedly awesome review (so far) so let me address a few things at bulletpoint: Klingons!  Did you see how much shit Scotty got to do? Scotty did so much! Uhura got to be badass motherfucking diplomat and badass motherfucking gunsmith okay, I came.  We get to see Bones taken down from “emphatic anger” a few notches and see some of the heart behind that character. He’s very easily dismissible as a comedic sidekick, but some of the heart shone through in this film and that’s all i really could ask for. The FILMS, not the series but the FILMS have always been about Spock and Kirk. I get that, I accept that. I’m still a little bit upset that he was used primarily as comedic relief when I feel like there’s a lot more for that character to do and there always has been. Yes I’m speaking from a fangirl’s perspective. But, as I said, Wrath is one of my favorite films—and that film postured Bones as Kirk’s constant. This movie is much more about Spock and Kirk. I would have really enjoyed to see more of the Spock/Kirk/Bones dynamic or the Bones/anyone dynamic, but I feel like that got whittled down in editing.  I was really pleased to see Sulu sitting in the Captain’s chair for a bit.  I’d have liked more from Carol Marcus, I feel like her role got trimmed a lot in the editing room, which is unfortunate but necessary for the film to sustain itself.  The death that occurs in the film is rough—but honestly, I was expecting to lose a lot more. I cannot explain my relief that the main character came through unscathed. And by main character, I do mean our lady Enterprise.  Tribbles!  The Christine Chapel reference was satisfying. Glad she washed her hands of that good-for-nothin’ Kirk (:  The lampshading of proverbs by Spock made me laugh Bones, you dirty old flirt. I KNEW that Khan was a conniving piece of shit but the movie even had me going for a moment, okay, that’s some powerful suspension of disbelief. That either means that it was executed VERY well or that I’m a fucking asshole/idiot. The jury’s out.  Okay, back to pretending to be a legitimate writer.  I’ve been involved with Star Trek in some fashion ever since I was a little girl. To me, the thing that has always been the focus of Star Trek is the characters and their interactions with one another. It doesn’t matter that they’ve just beamed down onto a world of silly-painted hippies. It matters how the characters react to this environment and how they resolve whatever problems arise.  In that regard: Into Darkness is pretty kosher for me.  There are some larger implications brought on by the actions of this movie that make me furrow my brow—the implication of war with the Klingons, the destruction of San Francisco—that will perhaps be addressed in movie 3, perhaps not.  Altogether, though—I’m a fan of this cast. It is evident to me that there is a reverence about these characters that feels very right to me. At the same time, this is indisputably something new. If you don’t want something new—if you want to sit stagnant and hold the original series dear and label this as a sell-out or an attempt at cheapening the franchise—well, fine. The originals will always be there for you. They are not going away.  For a new group of people though—kids, folks who did not have the pleasure to grow up with this series and these movies—this is a very, very powerful commercial for the characters that can only truly be known through years of dedication and involvement. The people that want to really know these characters will make the effort. Netflix has made it easy. For the people who aren’t interested—well, it’s a hell of a popcorn film.  But, to me, Into Darkness works in all the ways I needed it to. I’m a happy Trekkie. LLAP. 

Now Watching: Star Trek Into Darkness

Star Trek II: The Wrath of Khan is, to me, a perfect movie.

“Jessi, this isn’t about Wrath of Khan.”

Shut up, tiny voice—let me set this up. 

Wrath of Khan is an exquisitely crafted as a narrative, as a part of the Star Trek universe, as a character study, as a piece of film history. Perhaps even more than the original series itself, it has set up the precedent by which we are familiar with the crew of the Starship Enterprise, even if the actors themselves were arguably past their prime. It is one of my favorite movies. 

A lot of people feel that way. A lot of people hold Star Trek itself as an unreachable ideal. It is something perfect, outstanding and unthinkable for its time and unspeakably impacting even now. A lot of people hate the direction the new series is taking—that the action sequences cheapen the philosophy behind it, that the direction or casting or something just-isn’t-right. It’s a problem that every fan runs into now and then. 

Things change, though. Comic books used to be 80% dialogue bubbles. Things look considerably different now. It stands to reason that a new Star Trek—for a new generation—would handle things very differently. What works in 1966 (or 1982) doesn’t necessarily work now. 

Star Trek Into Darkness works. 

The original cast assembles once more, along with newcomer Alice Eve as Carol Marcus, and Benedict Cumberbatch as (spoiler) Khan. 

I’m going to go ahead and get out of the way the thing that I unfortunately have to address: I think Benedict Cumberbatch did an outstanding job. The fact that he is a part of a larger, societal, nebulous problem—the limiting of representation in Hollywood film—is gross, unfortunate, angering. But he, as a person has nothing to do with that. JJ Abrams, as a person, has nothing to do with that. Singling out individual people, part of a long-in-place way of thinking and operating is easy to do—but this is a much larger problem than “Abrams just wanted a surprise twist” (he did not write the script) or “ah yes this man is perfecting his aryan enterprise crew” (benecio del toro was originally cast, and dropped out, if I had to guess the last minute-casting of Cumberbatch had more to do with securing an overseas market as well as the man’s talent). There are fiscal implications that are probably much more on-point, but I do not feel like discussing that now. The truth is that, within the narrative, it works. If I can deal with a man named Hikaru Sulu played by a Korean actor, then I can deal with a man named Khan played by an anglo actor. Within the narrative, Spock Prime confirms the existence of Khan prime—Ricardo Montalbon, just as ethnically muddled, as we know him. Perhaps you see the alternate timeline as an excuse, I see it as a narrative tool. 

Representation in media is a problem and it always has been. Pinning it on one director, one actor or one film it far from the point. It this a problematic film? In terms of the way the story is presented, as an alternate reality it gets a lot of slack, in my opinion. But, ultimately, yes. But I am not interested in splitting these hairs here. I’m more interested in the text of the film itself, and within the text of the film itself I have no complaints.

Bottom line: I I think Cumberbatch did an exceptional job as the villain in this film. He is an exceptional actor. His Khan was scary-good. 

Moving on.

So, as I said—Wrath of Khan is one of my favorite movies. It’s about a man at a crossroads, a man who finds himself perhaps outmoded—past his prime. Star Trek Into Darkness meets Kirk in his prime, learning to become the Captain that the Enterprise needs. 

Spoiler: He does. 

Into Darkness pays heavy homage to Wrath, but it never feels forced or for the sake of fanservice. There is heart there—and the film effectively utilizes the notion of alternate realities to explore a scenario wherein Kirk is not the stalwart Admiral that we know in Wrath. He’s the brash, noble idiot that should be on his five-year-mission. Narratively, it’s pretty beautiful. 

I mean I cried like a fucking bitch, okay? 

I don’t want to get too deep into the details of the plot, but I will say this: This film hit all the right notes for me. It got to me because of what these characters mean to me (and have meant to me for like two decades) and what the franchise as a whole means to me. 

I’ve exhausted myself with an admittedly awesome review (so far) so let me address a few things at bulletpoint:

  • Klingons! 
  • Did you see how much shit Scotty got to do? Scotty did so much!
  • Uhura got to be badass motherfucking diplomat and badass motherfucking gunsmith okay, I came. 
  • We get to see Bones taken down from “emphatic anger” a few notches and see some of the heart behind that character. He’s very easily dismissible as a comedic sidekick, but some of the heart shone through in this film and that’s all i really could ask for. The FILMS, not the series but the FILMS have always been about Spock and Kirk. I get that, I accept that. I’m still a little bit upset that he was used primarily as comedic relief when I feel like there’s a lot more for that character to do and there always has been. Yes I’m speaking from a fangirl’s perspective. But, as I said, Wrath is one of my favorite films—and that film postured Bones as Kirk’s constant. This movie is much more about Spock and Kirk. I would have really enjoyed to see more of the Spock/Kirk/Bones dynamic or the Bones/anyone dynamic, but I feel like that got whittled down in editing. 
  • I was really pleased to see Sulu sitting in the Captain’s chair for a bit. 
  • I’d have liked more from Carol Marcus, I feel like her role got trimmed a lot in the editing room, which is unfortunate but necessary for the film to sustain itself. 
  • The death that occurs in the film is rough—but honestly, I was expecting to lose a lot more. I cannot explain my relief that the main character came through unscathed. And by main character, I do mean our lady Enterprise. 
  • Tribbles! 
  • The Christine Chapel reference was satisfying. Glad she washed her hands of that good-for-nothin’ Kirk (: 
  • The lampshading of proverbs by Spock made me laugh
  • Bones, you dirty old flirt.
  • I KNEW that Khan was a conniving piece of shit but the movie even had me going for a moment, okay, that’s some powerful suspension of disbelief. That either means that it was executed VERY well or that I’m a fucking asshole/idiot. The jury’s out. 

Okay, back to pretending to be a legitimate writer. 

I’ve been involved with Star Trek in some fashion ever since I was a little girl. To me, the thing that has always been the focus of Star Trek is the characters and their interactions with one another. It doesn’t matter that they’ve just beamed down onto a world of silly-painted hippies. It matters how the characters react to this environment and how they resolve whatever problems arise. 

In that regard: Into Darkness is pretty kosher for me. 

There are some larger implications brought on by the actions of this movie that make me furrow my brow—the implication of war with the Klingons, the destruction of San Francisco—that will perhaps be addressed in movie 3, perhaps not. 

Altogether, though—I’m a fan of this cast. It is evident to me that there is a reverence about these characters that feels very right to me. At the same time, this is indisputably something new. If you don’t want something new—if you want to sit stagnant and hold the original series dear and label this as a sell-out or an attempt at cheapening the franchise—well, fine. The originals will always be there for you. They are not going away. 

For a new group of people though—kids, folks who did not have the pleasure to grow up with this series and these movies—this is a very, very powerful commercial for the characters that can only truly be known through years of dedication and involvement. The people that want to really know these characters will make the effort. Netflix has made it easy. For the people who aren’t interested—well, it’s a hell of a popcorn film. 

But, to me, Into Darkness works in all the ways I needed it to. I’m a happy Trekkie.

LLAP. 


posted 1 week ago / ♥ 16 notes



Now Watching: Iron Man 3 Talking about superhero movies of any ilk is, for me, an exercise in masturbation. Obviously I love them—they exist. I’m just going to tell you in what ways they excel, even if that movie is Elektra. But, the movie isn’t Elektra—it’s Iron Man 3. First, let me say—jesus fucking christ there’s three Iron Man films how did this happen oh my god.  Now that that’s out of the way: I do love Iron Man 3. It’s a film that’s primarily about Tony Stark, but with enough armor porn to satiate the casual movie goer lookin’ for some fun. FROM HERE ON OUT, THERE BE SPOILERS. Iron Man 3 is a film that seeks to get to the core of Tony Stark, which is an interesting task considering the fact that the MCU Stark that has been built up since 2008 is probably way, way more interesting than most of the comic book Tony Stark. I’m not a big Iron Man reader, I’m familiar with him mostly through team-ups and Avengers. That character never stuck for me in the big bad way it does for some folks. I like him, but I’m not frothing about it. Know what else is way, way more interesting than the comic alternative? Aldrich Killian and the Mandarin.  The Mandarin switcheroo is one of the funniest, most ballsy things I’ve seen in a  movie recently. I’m sure there are a lot of people that are trying very hard to be upset about the whole thing, because the weird oriental caricature meant a lot to them as comic book readers and making him something other than a bundle of stereotypical, racially fueled evil really upsets them.  … … … I’m giving you a minute to drink in the cynicism I lathered over that.  All right. Similarly, Aldrich Killian—a dude who straight up kills himself in the comics before ever becoming a proper character—turns into some insane rage-monster from Dragon Age and the whole effect is pretty badass. This is the thing that I LOVE about Iron Man movies and about Marvel films in general—they are so accepting of what they are. Can you imagine ever seeing a fire-breathing motherfucker in a Nolan film? No, man—he’s terrified to put a dude in a bat costume for more than ten minutes at a time. I love the Batman films, but they seems to be pretty ashamed of being a part of this hyperbolic comic book world that Marvel totally celebrates.  Now, Iron Man 3 does take a lot of time to strip Tony of the armor and of his confidence. The anxiety subplot seems like a small way to touch on “Demon in a Bottle” without actually having to weigh down the plot with the alcoholism story that, on the page, is pretty cut and dry. Only through years of development and re-visiting has that become the revered storyline that it’s considered today. Using the anxiety/PTSD relating to Avengers is a brilliant way to tie up loose ends and acknowledge that this is happening in a coherent universe—another thing that is so dope about Marvel. Obviously this dude would be out of his mind after seeing the other end of eternity. Hell, he’d have a hard enough time coping with Thor and Loki on their own.  Showing that Tony is a capable person without the armor makes sense, although I would have liked for there to be more connectivity between him, Pepper and Rhodey throughout. That raises all kinds of issues as to why-not-just-call-Rhodey-all-the-goddamn-time but whatever, nothing’s perfect. My biggest complaint for the movie is that there isn’t nearly enough Rhodey, but hopefully Phase II will see more of his beautiful mug later on. That’s the thing about Iron Man movies—it’s awesome because, hey, Iron Man! But at the same time, it’s limiting. In a post-Avengers world, I think it’s very easy to look at this movie and take for granted what it’s trying to do. I think it’s important to remember that we’re all a bunch of spoiled brats after Avengers, and rightfully so. This isn’t a movie that’s trying to be Avengers—it’s a story about Tony Stark.  I was going to break down the various plots and characters and tell you why you’re wrong for hating them but at this point I’m just kind of bubbly thinking about how well put together the film is, so nevermind. It is a film that benefits from re-watching, I’ll say that much. So, you know—go see it again.

Now Watching: Iron Man 3

Talking about superhero movies of any ilk is, for me, an exercise in masturbation. Obviously I love them—they exist. I’m just going to tell you in what ways they excel, even if that movie is Elektra. But, the movie isn’t Elektra—it’s Iron Man 3.

First, let me say—jesus fucking christ there’s three Iron Man films how did this happen oh my god. 

Now that that’s out of the way: I do love Iron Man 3. It’s a film that’s primarily about Tony Stark, but with enough armor porn to satiate the casual movie goer lookin’ for some fun.

FROM HERE ON OUT, THERE BE SPOILERS.

Iron Man 3 is a film that seeks to get to the core of Tony Stark, which is an interesting task considering the fact that the MCU Stark that has been built up since 2008 is probably way, way more interesting than most of the comic book Tony Stark. I’m not a big Iron Man reader, I’m familiar with him mostly through team-ups and Avengers. That character never stuck for me in the big bad way it does for some folks. I like him, but I’m not frothing about it.

Know what else is way, way more interesting than the comic alternative? Aldrich Killian and the Mandarin. 

The Mandarin switcheroo is one of the funniest, most ballsy things I’ve seen in a  movie recently. I’m sure there are a lot of people that are trying very hard to be upset about the whole thing, because the weird oriental caricature meant a lot to them as comic book readers and making him something other than a bundle of stereotypical, racially fueled evil really upsets them. 

… … …

I’m giving you a minute to drink in the cynicism I lathered over that. 

All right.

Similarly, Aldrich Killian—a dude who straight up kills himself in the comics before ever becoming a proper character—turns into some insane rage-monster from Dragon Age and the whole effect is pretty badass. This is the thing that I LOVE about Iron Man movies and about Marvel films in general—they are so accepting of what they are. Can you imagine ever seeing a fire-breathing motherfucker in a Nolan film? No, man—he’s terrified to put a dude in a bat costume for more than ten minutes at a time. I love the Batman films, but they seems to be pretty ashamed of being a part of this hyperbolic comic book world that Marvel totally celebrates. 

Now, Iron Man 3 does take a lot of time to strip Tony of the armor and of his confidence. The anxiety subplot seems like a small way to touch on “Demon in a Bottle” without actually having to weigh down the plot with the alcoholism story that, on the page, is pretty cut and dry. Only through years of development and re-visiting has that become the revered storyline that it’s considered today. Using the anxiety/PTSD relating to Avengers is a brilliant way to tie up loose ends and acknowledge that this is happening in a coherent universe—another thing that is so dope about Marvel. Obviously this dude would be out of his mind after seeing the other end of eternity. Hell, he’d have a hard enough time coping with Thor and Loki on their own. 

Showing that Tony is a capable person without the armor makes sense, although I would have liked for there to be more connectivity between him, Pepper and Rhodey throughout. That raises all kinds of issues as to why-not-just-call-Rhodey-all-the-goddamn-time but whatever, nothing’s perfect. My biggest complaint for the movie is that there isn’t nearly enough Rhodey, but hopefully Phase II will see more of his beautiful mug later on.

That’s the thing about Iron Man movies—it’s awesome because, hey, Iron Man! But at the same time, it’s limiting. In a post-Avengers world, I think it’s very easy to look at this movie and take for granted what it’s trying to do. I think it’s important to remember that we’re all a bunch of spoiled brats after Avengers, and rightfully so. This isn’t a movie that’s trying to be Avengers—it’s a story about Tony Stark. 

I was going to break down the various plots and characters and tell you why you’re wrong for hating them but at this point I’m just kind of bubbly thinking about how well put together the film is, so nevermind. It is a film that benefits from re-watching, I’ll say that much. So, you know—go see it again.


posted 2 weeks ago / ♥ 13 notes




posted 3 weeks ago / ♥ 227 notes



What are your experiences with the movie Carrie? 

My thesis for my feminist film paper, which I’m writing now, deals with the different feminist issues addressed in Carrie, the 1976 Brian de Palma film.

My focus more narrowly, however, is on the empathetic role Carrie takes on. She elicits an emotional reaction—horror and pain for her bullying and her mother’s abuse—vitriolic joy at seeing her finally snap at the prom.

If you’re familiar with the film, what are some of your memories in terms of emotional reaction—good or bad?

Feel free to fanmail me or reblog this if you want to get wordy. 


posted 3 weeks ago / ♥ 3 notes

• Carrie • horror • film



posted 1 month ago / ♥ 28 notes



The incredibly inspiring training montage from The Calamari Wrestler (2004) for oakiee.


posted 1 month ago / ♥ 31 notes