Jupiter Ascending

The ultimate fan blog for Jupiter Ascending, featuring gifs,fanart, screencaps, photos and analysis galore. Be cautious, since there will be copious spoilers herein.

[starwarsnonsense]

Top 10 Most Anticipated Films of 2020

Now I’ve got my embarrassingly late ‘Best of 2019′ list out of the way, I can finally proceed to the list that’s probably more exciting - my most anticipated films of 2020!

This list excludes films that have already been screened at festivals (otherwise, stuff like Saint Maud would be here). It’s also somewhat analogous to groping about for a light switch in the dark - these lists very rarely accurately predict my ultimate favourites for the year, so it’s more of a fun speculative exercise. Hopefully this puts some intriguing-looking films on your radar for the year ahead! 

1. Dune (dir. Denis Villeneuve)

Plot: The story of Paul Atreides (Timothée Chalamet), a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people.

Why be excited? The reasons to be excited about Dune should be pretty self-evident - it’s directed by one of the greatest filmmakers working today (Villeneuve’s Incendies and Blade Runner 2049 are all-timers for me), and is based on one of the best science-fiction novels ever written. The cast -  Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Javier Bardem, Charlotte Rampling, and more - is absolutely stacked with talent. There’s every reason to believe that this will be something special, and I couldn’t be more pleased that Villeneuve is the man responsible for filling that Star Wars-shaped hole in the December release schedule.

2. Annette (dir. Leos Carax)

Plot: A stand-up comedian (Adam Driver), and his opera singer wife (Marion Cotillard), have a two-year-old daughter with a surprising gift.

Why be excited? You may not have heard of him, but Leos Carax is one of the most exciting directors working - he only makes around one film a decade, but the films he does make tend to be very special. I’ve only seen one film of his - Lovers on the Bridge - but that was filled with such ecstatic romance and wondrous visuals that it made me tremendously excited for Annette. Annette is a top-to-bottom musical with songs by American duo Sparks (if you know them for anything, it will be ‘This Town Ain’t Big Enough for the Both of Us’), and said songs will be delivered by Adam Driver and Marion Cotillard. It goes without saying that both actors are extremely talented performers with great voices (see Driver in Marriage Story and Cotillard in Nine for evidence), and I’m looking forward to seeing how they demonstrate their talents here.

3. Last Night in Solo (dir. Edgar Wright)

Plot: A young girl (Thomasin McKenzie), passionate in fashion design, is mysteriously able to enter the 1960s where she encounters her idol, a dazzling wannabe singer (Anya Taylor-Joy). But 1960s London is not what it seems, and time seems to fall apart with shady consequences.

Why be excited? I’m not the biggest Edgar Wright fan, but I admire him greatly and the premise of Last Night in Soho is like cat-nip to me. Speaking to Empire, Wright explained the story as follows: “I’m taking a premise whereby you have a character who, in a sort of abstract way, gets to travel in time. And the reality of the decade is maybe not what she imagines. It has an element of ‘be careful what you wish for’.” I’m a sucker for a good, old-fashioned high concept, especially when said films play with genre and really challenge the viewer. The two female leads - Thomasin McKenzie (JoJo Rabbit, Leave No Trace) and Anya Taylor-Joy (The Witch, Emma) - are among the very best young actors working today, and the supporting cast features absolute legends such as Diana Rigg and Terence Stamp. Whether it’s successful or not, this film feels like a genuinely original prospect and I’m eager to see how it turns out.

4. The Green Knight (dir. David Lowery)

Plot: A fantasy re-telling of the medieval tale of Sir Gawain and the Green Knight.

Why be excited? There has been a sad lack of films based on mythology in recent years - or, to be more accurate, there has been a sad lack of films that attempt to honour what the myths were actually trying to convey. The stunning trailer for Green Knight promises a film that genuinely engages with its source material, and is just as interested in the psychological truths of the tale as the spectacle of its fantastical scenarios. Dev Patel is an extremely talented actor coming off another great movie in The Personal History of David Copperfield, and the supporting cast (Alicia Vikander!) appear to be fully committed to their parts. I’m excited to see a true myth on the big screen again, and David Lowery (A Ghost Story, The Old Man & The Gun) can be trusted to give an old tale a new sense of vitality. 

5. The French Dispatch (dir. Wes Anderson)

Plot: The staff of a European publication decides to publish a memorial edition highlighting the three best stories from the last decade: an artist sentenced to life imprisonment, student riots, and a kidnapping resolved by a chef.

Why be excited? It’s a Wes Anderson movie! Of course I’m excited! In all seriousness, the trailer was all I needed to get hyped about this. It’s clearly Anderson’s quintessential style, but it also shows flashes of some very bold and striking compositions (yes, I’m thinking of Chalamet on the back of that motorcycle) that you wouldn’t necessarily think of in relation to him. I’m intrigued by the prospect of there being stories nested within a story, which feels like the perfect choice for the structure of a film about a newspaper. The cast features all of Anderson’s old favourites (Swinton! Murray! McDormand!), as well as some exciting new additions (Timothée Chalamet, Elisabeth Moss, Christoph Waltz, among others) that feel so well-suited to his style it’s surprising they haven’t worked together before. Bring on all those immaculately composed shots and exquisite colour palettes.

Keep reading

[fuckyeahjupiterascending]

‘Matrix 4’ Officially a Go With Keanu Reeves, Carrie-Anne Moss and Lana Wachowski (EXCLUSIVE)

Get ready to re-enter the Matrix. Lana Wachowski is set to write and direct a fourth film set in the world of “The Matrix,” with Keanu Reeves and Carrie-Anne Moss reprising their roles as Neo and T…

While I’m sad that Lilly won’t be involved, I’m super excited about this news. It really did look like Hollywood might be done with the Wachowskis after the (deeply unjust, but undeniable) critical and financial failure of Jupiter Ascending, so I’m thrilled to see Lana get another chance to share her vision on a grand scale. 

It’s wonderful that Keanu and Carrie-Anne are back, of course, but I’m also super excited by the involvement of David Mitchell - the prospect of a script driven by his and Lana’s creative vision is tremendously thrilling. 

Who’s as hyped for this as I am!?

[starwarsnonsense]

Best Films of 2019 (So Far)

It’s that time of year again! As most of my followers probably know, I’m an avid cinema-goer beyond Star Wars. I also quite enjoy making lists, so what’s better than a combo of the two? Below, I run down my top 10 films of 2019 so far - please note that this list is based on UK cinema release dates, so some of these films were 2018 releases elsewhere.

What are your favourites so far from this year? Let me know in replies/asks!

Honourable mentions: Toy Story 4, Long Shot, Aladdin, Alita: Battle Angel & The Kid Who Would Be King

1. The Favourite, dir. Yorgos Lanthimos

This completely wowed me - it features a trio of magnificently compelling female characters (played by Olivia Colman, Rachel Weisz and Emma Stone) operating at the court of Queen Anne (Colman is Anne, Weisz and Stone are courtiers), and is focused solely on the shifting sands of the power dynamics between them. The script is savage without sacrificing poignancy, witty without ceasing to be genuine. And while I’ve seen some react to this film as a comedy (and it certainly has laughs, most of which are closely tied to shock), for me it was very clearly a drama about the inscrutable and complicated relationships that exist between women. Specifically, it is about how those relationships run the gamut from sincere affinity to ruthless manipulation. This is an amazing movie, and it also has the best use of an Elton John song in 2019 (sorry, Rocketman!).

2. Midsommar, dir. Ari Aster

I went into this film with reservations, since I wasn’t a huge fan of Hereditary (by the same director), which I found to have extraordinary moments but iffy execution overall. This movie, however, wowed me, and I am still uncertain as to whether this or The Favourite is my top film of 2019 so far (fortunately, this gives me a good excuse to watch Midsommar three or four times in cinemas). While marketed as a freaky cult horror film, the director has described it as a fairy tale, which is the level on which is spoke to me. Midsommar follows Dani (an incredible Florence Pugh), a young woman who has suffered a terrible loss, as she travels with her boyfriend and his friends to a pagan festival in the Swedish countryside. Dani is painfully isolated, and her grief is hers to shoulder alone since her boyfriend is un-receptive and distinctly unprepared to help her. Over the course of the film, destruction and creation are conflated in ways that are frequently beautiful and horrific at the same time - this film spoke to me on a profound level, and the way it ended gave me a sense of incredible catharsis. This won’t be for everyone, for I found it to be a deeply special film and I can’t recommend it enough.

3. One Cut of the Dead, dir.  Shinichirou Ueda

While I went into The Favourite with high expectations given the talent involved, I went into this with no expectations whatsoever - and what a treat it was! One Cut of the Dead is easily one of the funniest movies I’ve seen in ears, taking what initially seems like a trite concept (a crew is filming a zombie movie at a desolate location … only to discover that the zombies are real!) and twisting it in a truly ingenious way. The comedy is often of the broad variety, but it is consistently delightful and always manages to avoid becoming crass - the movie even has some really sweet family dynamics at the centre of it, which gives it some real emotional heft. The success of this film is heavily reliant on a major twist that occurs part-way through, so the best advice I can give you is to stay as far away from spoilers for this one as possible - go in blind, and you will be amply rewarded for your faith.

4. The Farewell, dir. Lulu Wang

I saw this following a wave of festival hype, so while I was excited I was also a bit apprehensive (since I have been burned by the aforementioned festival hype before). Thankfully, my doubts were blown away as this turned out to be just as wonderful as the early reviews had suggested. It’s a personal story about a young Asian-American woman (Awkwafina) struggling to reconcile her heritage with her current situation and values - specifically, she is tested when her grandmother is diagnosed with terminal cancer and the wider family make the decision to hide the truth from her. The Farewell does a fantastic job of generating empathy for all the different perspectives and positions in play, but it’s truly anchored by Awkwafina’s amazingly nuanced and tender performance - basically, anyone who’s ever loved a grandparent should leave this feeling incredibly moved and inspired. The themes of The Farewell are both specific to the Asian-American experience and general to anyone who has struggled with maintaining bonds over a vast distance, whether physical or cultural.           

5. Booksmart, dir. Olivia Wilde

God, how I wish I’d had this movie as a teenager! While Booksmart has a cliched premise - two high-achieving teens decide to have one wild night before graduation - it tells the story in an incredibly charming and impressively creative way (I won’t spoil it, but let me just say this - that scene with the Barbies!). As someone who was an awkward nerd with no discernible social life in high school (as you Americans call it), I found this portrayal of that peculiar limbo period very sensitive and thoughtful - it doesn’t mock or shame its heroines for being studious, and it allows them to have limits and step back from situations that make them uncomfortable. It also serves as a beautifully honest portrait of a friendship, depicting the qualities that bring people together in friendship together in the first place, as well as the forces that can break people apart. This is a very accomplished debut from Wilde, and it makes me very excited to see where she goes next as a director.

Keep reading

[shesnake]

45/? costume design: Jupiter Ascending by Kym Barrett

[fuckyeahjupiterascending]

JUPITER ASCENDING - The Prince Charles Cinema

Fri 1 Mar

The Prince Charles Cinema in London is showing Jupiter Ascending this Friday (1 March) and I’m really tempted to go! I really hope this gets a good turn out and a worthy crowd.

[starwarsnonsense]

Top 10 Films of 2018

This is rather delayed (mainly on account of an extended bout of laziness on my part), but I was still determined to get it out there! While I don’t think 2018 quite reached the heights of 2017 (nothing matched The Last Jedi or Blade Runner 2049, for example), there was still a lot of great cinema. 

As always, keeping this list at 10 meant I had to omit some great titles. Just so you get an idea of what I had to leave out, here are some honourable mentions: Eighth Grade, Lady Bird, Revenge, Phantom Thread, Thoroughbreds, Lean on Pete and Game Night.

1. Roma, dir. Alfonso Cuarón

Roma is a deeply special film, and I’m very fortunate in having got to see it in the best possible circumstances - projected on a huge cinema screen, with its gorgeous, silvery cinematography a marvel to witness. This film takes the kind of life that would usually be forgotten and turns it into an epic, interweaving the story of a loving, resilient housemaid with the seismic political events unfolding in Mexico in the early 1970s. The shots are highly symmetrical and geometric, with characters passing in and out of pre-established frames. But this is clearly intentional, and - to me at least - the story felt no less personal for it. There are several all-time great scenes in this film, and while I don’t want to spoil any of them with extended descriptions, I will say that there’s a sequence in a hospital that balances the mundane and the monumental in an extraordinary and heartbreaking way. This is breathtaking, masterful filming, and I felt it did justice to Cleo’s life without ever attempting to claim her experience. The film is quiet and the dialogue is almost perfunctory, relying heavily on its visuals - it’s cinema at its purest.

2. Annihilation, dir. Alex Garland

True story: I was so desperate to see Annihilation in a cinema that I flew to New York for it. Of course Annihilation wasn’t my sole reason for travelling to New York, but you can be damn sure I made a point of tracking down an Alamo Drafthouse that was showing it. And boy was it worth it. This movie does a magnificent job of fulfilling the potential of sci-fi, taking otherworldly concepts and ideas and using them to interrogate some of the most profound and frightening truths of what it means to be human. This movie has a quietly hypnotic quality to it, and Natalie Portman continues to prove that she is one of the finest modern actors - she says so much with her face and her movements that lines are hardly necessary. I will continue to follow Alex Garland’s career with great interest…

3. Beast, dir. Michael Pearce

Beast was probably my biggest surprise in film in 2018 - I went in expecting nothing, and was bowled over by it to the point that I rushed out to see it again at the first opportunity. This film follows lonely outsider Moll and her ardent love for the mysterious Pascal. There is a heightened, almost supernatural, quality to their romance, and the actors - Jessie Buckley and Johnny Flynn - have electric chemistry. This film delights in playing with the viewer’s fears and suspicions, constantly adjusting them as the characters evolve over the course of the movie. It’s a great fusion of genres - mystery and romance - that also functions as a superb character piece, and it is entirely worth your time.

4. Bad Times at the El Royale, dir. Drew Goddard

This film is bonkers in an amazing way. A bunch of seemingly random strangers gather at a hotel that’s far from its glory days, and it isn’t long before all hell breaks lose. The ensemble here is terrific, with all the cast members playing off each other in a succession of utterly delightful ways. Every character conceals a secret history and motive, with their layers gradually being peeled back as the movie plays out. Special mention must go to Cynthia Erivo, who is simply stupendous as a session singer who I wound up considering the film’s real hero - she’s marvellously charismatic and complex, and her voice is a complete wonder. This film is a messy tangle of mysteries, and I had a wonderful time unravelling them.

Keep reading

[fuckyeahjupiterascending]

As always, here's my top 10 movies of the year! Enjoy - I'd love to hear what you think of my picks, and the films that you chose as your best of the year!

[fuckyeahjupiterascending]

To all followers of this blog

I just wanted to say thank you to everyone who follows this blog for being such fantastic champions of Jupiter Ascending. The recent posts I’ve put up - on the ballet version and Eddie Redmayne’s latest comments on his performance - have been tremendously well received. More than anything, they show me that people’s enthusiasm for Jupiter Ascending remains as strong as ever. 

(As a side node, it’s particularly wonderful to see so many names I recognise adding their fantastic, thoughtful commentary to my own lazy attempts at content - you’re all awesome.)

While I can’t promise to return to the frequency I maintained in the first year this blog was running, I definitely intend to make a more concerted effort to keep this blog active. If there is any news related to the film or anything fun going on in the fandom, please don’t hesitate to get in touch - I want to know what’s going on, and am happy to share any decent Jupiter Ascending-themed content.

[fuckyeahjupiterascending]

Eddie Redmayne concedes that he gave "a pretty bad performance" in Jupiter Ascending

Here’s a fun piece of movie trivia: At the same time Eddie Redmayne was winning the Academy Award for Best Actor for The Theory Of Everything, he had a film in theaters in which he gave what some consider to be the worst performance of the entire year. That film was Jupiter Ascending—a truly bonkers movie in which Redmayne manages to stand out as particularly bonkers. Recently, in an interview with GQ, the actor offered an explanation for his pouty, whispery portrayal of space autocrat Balem Abrasax, which he acknowledges is pretty fucking weird.

“My character had had his larynx ripped out by this wolf man, and so I made the slightly bold choice—which I thought was right—of talking like this,” Redmayne says, putting on the breathy, choked affectation he uses throughout the film. He adds that at the time he thought the voice suited the costume and elaborate sci-fi world of the film, but in retrospect can see that it may have been a bit much. “I won a prize for it for the worst performance of the year,” Redmayne adds, referring to his 2016 Razzie award for Worst Supporting Actor. “So, yeah, it was a pretty bad performance by all accounts.”

Eddie, sweetie - you’re breaking my heart. You’ve got to ignore the basics. You’ve got to know that you gave a tremendously OTT and dialled up performance in a tremendously OTT and dialled up film (which I continue to love from the depths of my being). You gave no fucks and threw yourself into it, and because of that people love your performance. I can confidently guarantee that you gave the best performance as a vocally impaired intergalactic overlord with monumental mother issues and stomping lizard servants ever committed to film. Own it!

[bemusedlybespectacled]

okay but we’re ignoring the most important part of this interview

“My character had had his larynx ripped out by this wolf man, and so I made the slightly bold choice—which I thought was right—of talking like this,” Redmayne says, putting on the breathy, choked affectation he uses throughout the film.

THE ENTITLED WHOSE THROAT CAINE RIPPED OUT WAS BALEM THE WHOLE TIME

LONGTIME CONSPIRACY THEORY #CONFIRMED FUCK YEAH

[evilroachindustrial]

D-Did they ever say in the movie that Redmayne’s character had had his throat ripped out in the backstory?

Cause I feel like that voice/performance immediately becomes less bizarre once you fill in that particular detail.

[bemusedlybespectacled]

okay so you’ve unlocked one of my top five special interests just be aware

so jupiter ascending actually goes hard on the infodumping (which is why I get really annoyed by criticism that it’s hard to follow - if anything, the criticism should be that too much is explained and not enough is left to the audience), but there is one thing that’s never fully resolved (but it’s not plot relevant so it’s not the biggest deal)

anyway, this is what we know about caine:

he was born genetically defective and was sold to the Skyjackers (like, Space Air Force? with rocket boots and angel wings?) by his creator for cheap

he managed to rise to be a great Skyjacker anyway, despite his genetic deficiency

~something~ happened where he ripped the throat out of an Entitled. WHY he did it or WHO the Entitled was is never explained in canon.

he himself has no idea why he randomly went berserk and tried to kill someone, but everyone blamed it on his genetic defects and he believes them

his belief in his own inferiority and inherently violent nature is why he tries to avoid a relationship with jupiter. this is the context for the “I have more in common with a dog than I do with you”/ “I love dogs, I’ve always loved dogs” scene and THAT’S WHY IT ACTUALLY MAKES SENSE IN THE TEXT, FOLKS

also there’s that whole romantic scene after jupiter becomes an entitled where she’s like “so I’m an entitled now, does that mean you want to bite me?” and caine’s like “uhhh no? ….actually maybe” and she’s like “go ahead ;) ;) ;)”

for this he was stripped of his angel wings and exiled to a hostile prison colony planet until the events of the movie

so the fan theory for a long time was that balem was the entitled who caine attacked, and there’s an extension of that fan theory where one of his siblings - either kalique or titus, probably kalique because she’s way smarter - somehow mind-controlled or otherwise forced caine to attack balem as an assassination attempt, which is why he doesn’t remember why he did it

but ultimately it doesn’t actually matter to the plot? so it’s not a bad thing that it’s never resolved. but FAN THEORY #CONFIRMED.

[fuckyeahjupiterascending]

I'm reblogging this since @bemusedlybespectacled provides an A+ summary of the known facts surrounding Caine’s history and his attack on the no-longer-so-mysterious Entitled.

[fuckyeahjupiterascending]

Eddie Redmayne concedes that he gave "a pretty bad performance" in Jupiter Ascending

Here’s a fun piece of movie trivia: At the same time Eddie Redmayne was winning the Academy Award for Best Actor for The Theory Of Everything, he had a film in theaters in which he gave what some consider to be the worst performance of the entire year. That film was Jupiter Ascending—a truly bonkers movie in which Redmayne manages to stand out as particularly bonkers. Recently, in an interview with GQ, the actor offered an explanation for his pouty, whispery portrayal of space autocrat Balem Abrasax, which he acknowledges is pretty fucking weird.

“My character had had his larynx ripped out by this wolf man, and so I made the slightly bold choice—which I thought was right—of talking like this,” Redmayne says, putting on the breathy, choked affectation he uses throughout the film. He adds that at the time he thought the voice suited the costume and elaborate sci-fi world of the film, but in retrospect can see that it may have been a bit much. “I won a prize for it for the worst performance of the year,” Redmayne adds, referring to his 2016 Razzie award for Worst Supporting Actor. “So, yeah, it was a pretty bad performance by all accounts.”

Eddie, sweetie - you’re breaking my heart. You’ve got to ignore the basics. You’ve got to know that you gave a tremendously OTT and dialled up performance in a tremendously OTT and dialled up film (which I continue to love from the depths of my being). You gave no fucks and threw yourself into it, and because of that people love your performance. I can confidently guarantee that you gave the best performance as a vocally impaired intergalactic overlord with monumental mother issues and stomping lizard servants ever committed to film. Own it!

[bemusedlybespectacled]

okay but we’re ignoring the most important part of this interview

“My character had had his larynx ripped out by this wolf man, and so I made the slightly bold choice—which I thought was right—of talking like this,” Redmayne says, putting on the breathy, choked affectation he uses throughout the film.

THE ENTITLED WHOSE THROAT CAINE RIPPED OUT WAS BALEM THE WHOLE TIME

LONGTIME CONSPIRACY THEORY #CONFIRMED FUCK YEAH

[fuckyeahjupiterascending]

Haha you're absolutely right - I should have paid more attention to that bit. This further demonstrates why we need and deserve a Jupiter Ascending novelization.

[fuckyeahjupiterascending]

Eddie Redmayne concedes that he gave "a pretty bad performance" in Jupiter Ascending

Here’s a fun piece of movie trivia: At the same time Eddie Redmayne was winning the Academy Award for Best Actor for The Theory Of Everything, he had a film in theaters in which he gave what some consider to be the worst performance of the entire year. That film was Jupiter Ascending—a truly bonkers movie in which Redmayne manages to stand out as particularly bonkers. Recently, in an interview with GQ, the actor offered an explanation for his pouty, whispery portrayal of space autocrat Balem Abrasax, which he acknowledges is pretty fucking weird.

“My character had had his larynx ripped out by this wolf man, and so I made the slightly bold choice—which I thought was right—of talking like this,” Redmayne says, putting on the breathy, choked affectation he uses throughout the film. He adds that at the time he thought the voice suited the costume and elaborate sci-fi world of the film, but in retrospect can see that it may have been a bit much. “I won a prize for it for the worst performance of the year,” Redmayne adds, referring to his 2016 Razzie award for Worst Supporting Actor. “So, yeah, it was a pretty bad performance by all accounts.”

Eddie, sweetie - you’re breaking my heart. You’ve got to ignore the basics. You’ve got to know that you gave a tremendously OTT and dialled up performance in a tremendously OTT and dialled up film (which I continue to love from the depths of my being). You gave no fucks and threw yourself into it, and because of that people love your performance. I can confidently guarantee that you gave the best performance as a vocally impaired intergalactic overlord with monumental mother issues and stomping lizard servants ever committed to film. Own it!

[lizteph]

Jupiter Jones aka the space princess

[fuckyeahjupiterascending]

Film Composer Michael Giacchino to Premiere Ballet in Seattle

Pacific Northwest Ballet will premiere a new work with music by film composer Michael Giacchino on Nov. 2 at Seattle Opera House’s McCaw Hall. Designed and choreographed by PNB company dancer…

Giacchino, an Oscar winner for “Up” and an Emmy winner for “Lost,” said the ballet will feature five dramatic movements drawn from his music for The Wachowskis’ 2015 space opera “Jupiter Ascending.”

“The Wachowskis have epic ideas and characters who traverse large landscapes and seek all kinds of adventures that aren’t really bound to the linear world,” the composer said. “The idea of having Kyle Davis choreograph dance pieces to the movements that were inspired by their work is another way to explore those grand themes. It’s gratifying to have the music take on another art form.”

The score of Jupiter Ascending has been adapted into a ballet, which has premiered in Seattle! Man, this is so exciting! The music of the film is incredible and so deserving of this sort of treatment. I wish I could have seen this!

[jasecretsanta]

Welcome Back! 2018′s Jupiter Ascending Secret Santa Has Begun!

This is old hat to you lot, though I’m hoping there might be some newbies around too! If this is your first time be sure to check out the participation page as well as the FAQs. That done, you can send your sign up to

[email protected]

and remember to include

1. Your tumblr username / URL.

2. A 5 word (maximum) prompt for your Santa.

3. Are you willing (but not guaranteed) to create AND receive porn? YES SMUT or NO SMUT.

4. Are you willing to be a pinch hitter?

5. A list of any triggers/things your Santa cannot mention/show in their gift to you.

Sign ups end November 10th, so get your info in quick! 💜

[fuckyeahjupiterascending]

I'm so happy to see life in this fandom yet! Thanks for organising this :).

[starwarsnonsense]

Top 10 Films of 2018 (So Far)

Since I quite like continuing old traditions, I wanted to do a post rounding up what I consider to be the ten best films of 2018 so far. This list includes a few films that came out in 2017 in the US, since they were only released here in the UK this year.

Have you seen any of the films I cover below? Have I piqued your interest in a title you might not have heard before? Let me know, and do share your favourites too!

1. Annihilation, dir. Alex Garland

This was my most anticipated film of the year, and my hype for it was more than rewarded. This is a marvellously rich and transporting science fiction film that isn’t afraid of taking the viewer to some very weird places. However, Annihilation doesn’t simply rely on its strangeness to succeed - it is also firmly rooted in its characters and themes, which has made it incredibly rewarding to return to. Natalie Portman is fantastic as Lena, and Annihilation is a brilliant showcase for her - Lena is a complex and frequently self-destructive character, riddled by guilt and regrets that shape the pulsating, luminescent world of the mysterious ‘Shimmer’ that she has to venture into. The Shimmer might seem like an environmental phenomenon at first, but it’s really more psychological, being a space that adapts according to the people who enter into it. This film overflows with fascinating and thought-provoking ideas, and it was entirely worth the hike I made over to Brooklyn to catch one of the final showings at the theatre (since Annihilation was denied a theatrical release in the UK, I made a point of seeing it while I was on holiday in New York). I think it will go down as one of the great science fiction films, and it belongs in the same conversations as 2001: A Space Odyssey and Solaris.

2. Beast, dir. Michael Pearce

This little British film - shot mostly on location in Jersey by a first-time director - was easily the biggest (and best) surprise I’ve had so far at the cinema this year. I literally had no idea this film existed until a day or so before I watched it, and that made the experience of viewing it even more wonderful. Moll (Jessie Buckley) is an isolated young woman who is stifled by her controlling family and quiet life on a remote island, as well as a secret sin that bubbles away underneath the surface. Her life is predictable - safe, repetitive and dull - until she meets Pascal, a mysterious local man who she finds she has an affinity with. However, there is a murderer haunting the island, taking the lives of young girls in the night. Who’s to blame, and what impact will the killings have on Moll and Pascal’s swiftly escalating romance? While that is a synopsis more than a review, I felt it necessary to explain the premise to try and compel you to seek this one out. Beast is raw, woozy and utterly absorbing - the love story between Moll and Pascal is one of the most passionate and gripping you’ll ever see on screen, and their chemistry is simply sensational. There’s a real gothic, fairy-tale edge to the story which appealed perfectly to my (admittedly rather niche) tastes. This is a real hidden treasure of a film - do yourself a favour and make it your mission to watch it.

3. Lady Bird, dir. Greta Gerwig

This film was so, so relatable, despite my not really having experienced an adolescence anything like “Lady Bird’s”. While the details of her life are very different from mine, I think anyone can relate to the sweeping brushstrokes - the tensions that can arise between parents and children, the thirst for freedom and independence that builds the closer you get to the final days of school, and the feelings of love and loyalty that are always there even when they’re unspoken. Greta Gerwig captures all of this and so much more with marvellous delicacy, balancing little moments that add colour and spark with more serious scenes so deftly that it’s amazing to think that this is her first feature. Lady Bird is a very specific and very beautiful film, and it’s special precisely because it feels universal even as it feels small and personal to its director. 

4. Eighth Grade, dir. Bo Burnham

This is the perfect double bill with Lady Bird, and the people who have dubbed this film “Lady Bird Jr” are right on the money. Elsie Fisher has a real star turn as the heroine Kayla, who is a very special child - she’s kind, sensitive and thoughtful, which basically means she’s my kind of superhero. But even as she is a good and sweet person, she is also going through all of the trials you’d expect a 13 year old to be facing in 2018, as she wrestles with acne, confusing feelings about super-dreamy boys, and the escalating anxiety that comes with a comment-free Instagram post. Like Lady Bird, this film succeeds in being both very specific and highly universal - the only social media I had to deal with as a teen were MySpace and Bebo, and I found that seeing Kayla wrestle with a whole kaleidoscope of feeds, devices and platforms made her strong grip on her integrity as a  funny and deeply warm-hearted individual all the more remarkable. Bo Burnham, as with Gerwig, made a pretty incredible film here - in particular you should watch out for the father/daughter dynamic, which is my favourite part. Eighth Grade is funny and generous, and the perfect medicine if you’re feeling demoralised by the state of the world right now.

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[fuckyeahjupiterascending]

I love you, my fellow JA fans! Just as proof of my continued existence on Tumblr, I present my top 10 favourite films of 2018 (so far). There's a lot of good stuff here, including some deliciously oddball films.

[scificinema]

[fuckyeahjupiterascending]

Can I just say that it's a blessing to see a Jupiter Ascending tumblr that's still active!?

Aww, thanks! My blog is nowhere near as active as I would like, but I definitely still love the film and its fans. The JA fandom is still my favourite - there’s so much love and enthusiasm for the film out there, and it’s super heartening.

[fuckyeahjupiterascending]

Do you know any blogs that post Kalique/Jupiter? I know it isn't anywhere near as popular as any of the other ships, but it's just a really interesting dynamic to me.

Hmm, I’m not sure if there are any active ones, off the top of my head. If you post this kind of content, could you make yourself known to the anon?