#bit 2020

[satanachia666]

“We’re made to be monsters, so let’s be monsters.” - Duke in Bit (2020)

[malepresentingleg]

Bit 2020 starred by transgender actress Nicole Maines is a movie with everything i could ever ask for-

Kick ass women vampires, queerness all around, sexist-assholes-hunting, social and political justice shit and just the right amount of twilight references ("well that was fun! I hope they make more of these, and i promise there's no way I'd get pregnant in the fourth one.")

[winonaa]

Kutladık di mi?

[grigori77]

Summer 2020′s Movies - My Top Ten Favourite Films (Part 1)

20.  THE OUTPOST – it’s been a great year for war movies already, but summer was definitely where the genre really blew up, showering a TRIO of crackers on us, starting with this intensely rugged actioner about the Battle of Kamdesh in 2009 Afghanistan, in which a small group of American soldiers fought against an overwhelming Taliban force in extremely hostile terrain.  Director Rod Lurie (The Last Castle, The Contender) hasn’t had the most impressive career so far, but he shines here, as does a powerful ensemble cast which includes Scott Eastwood, Caleb Landry Jones and Orlando Bloom.

19.  BIT – the first notable feature from indie director Brad Michael Elmore is an enjoyably offbeat little vampire flick in which small-town transgender teen Laurel (Supergirl’s Nicole Maines) moves out to Los Angeles and gets swept up in the strictly girls-only revolution of local head vamp Duke (Goliath’s Dianna Hopper) and her feminist pack. Maines and Hopper are both phenomenal, while Elmore does wonders with his tiny budget and really pays off on his film’s intriguing ideas.

18.  DA 5 BLOODS – Spike Lee’s latest joint must be the most tripped-out and subversive Vietnam War movie since Apocalypse Now, letting his politically-charged mixture of reportage and personal drama run riot with particularly colourful results as we follow a group of ageing black Vets on their journey to retrieve the remains of a fallen comrade and a fortune in illicit gold. The cast are uniformly excellent, particularly Delroy Lindo as traumatised hothead Paul, while there’s a magnificent turn from Chadwick Boseman in one of his final roles.

17.  THE LOVEBIRDS – director Michael Showalter reunites with Kumail Nanjiani, star of his indie hit The Big Sick, for this riotous screwball comedy in which lovers Jibran and Leilani (Nanjiani and Insecure’s Issa Rae) find their faltering relationship tested to breaking point when they’re forced to prove their innocence after being framed for murder by a corrupt cop.  The laughs come thick and fast, but there’s an endearing warmth that adds emotional heft to the story, bolstered by the leads’ palpable chemistry.

16.  UNHINGED – Russell Crowe brings every motorist’s worst nightmare to life as Tom Cooper, a deranged psychopath who harasses struggling divorcee Rachel (Slow West and Mortal Engines’ Caren Pistorius) and her son to increasingly terrifying extremes after one bad day leads to a road-rage misjudgement.  The overblown revenge thriller plot works best if you don’t think about it too much, but the incredibly game cast give their all and director Derrick Borte (The Joneses) keeps the tension cranked up to breaking point.

15.  THE NEW MUTANTS – the last ever Fox-based X-Men movie slumps into cinemas with little fanfare after a series of increasingly lamentable delays with an inevitable sense of Marvel Studios going through the motions out of mere obligation to what was once the franchise that MADE them.  It’s truly criminal treatment because this is a CRACKING film, the property taking an intriguing swerve into horror movie territory as five young mutants trapped in a shadowy government institute are terrorized by their own worst fears.  The Fault in Our Stars’ director Josh Boone shows a surprisingly sure hand with the superheroics AND the scares, but the film really belongs to its uniformly excellent young cast, particularly Game of Thrones star Maisie Williams as shapeshifter Rahne Sinclair and Anya Taylor-Joy as fan favourite Illyana Rasputin.  It’s another worthy mutant-fest, which makes it all the more heartbreaking watching with the knowledge that, now that the X-Men and their ilk have been officially folded into the all-encompassing behemoth of the MCU, it’s the opening chapter of a new franchise we’ll never get to see …

14.  BECKY – ambitious indie directing duo Jonathan Millott and Cary Murnion have been on my ones-to-watch list for a while now (ostensibly after their horror comedy Cooties but mainly thanks to supercharged single-shot action thriller Bushwick), but they’ve really outdone themselves with this left-field survival horror, in which a pack of neo-Nazi prison-breakers led by brutal genius Dominick (a cannily cast-against-type Kevin James) find themselves up against something they never bargained for – Anabelle: Creation star Lulu Wilson’s eponymous, unexpectedly lethal 13 year-old girl.

13.  THE VAST OF NIGHT – despite its far more understated, super-low budget origins, there’s a strong dose of Super 8 in the DNA of this astounding debut from writer-director Andrew Patterson, an intriguingly ambitious first-contact sci-fi thriller set in small town America in the 1950s.  Some Kind of Hate’s Sierra McCormick and newcomer Jake Horowitz are the endearingly sparky core of the film, putting the rich quick-fire screenplay through its paces while Patterson displays uncannily sophisticated flair behind the camera.  I can’t wait to see what he’s going to deliver in the future …

12.  IN SEARCH OF DARKNESS – not just the best feature I’ve watched so far in what’s already been an unusually strong year for documentary films, but one of the best I’ve watched in a good long while, this epic examination of ALL the key horror cinema releases of the 1980s and their enduring cultural impact makes for undeniably engrossing viewing.  Despite clocking in at OVER FOUR HOURS, it never outstays its welcome, with writer-director David A. Weiner’s fascination for the subject proving overwhelmingly infectious.

11.  GET DUKED! – four wayward teenage boys are pursued by gun-toting aristocratic psychopaths in the Scottish Highlands while doing their Duke of Edinburgh Award (well, it was that or Borstal) in this gleefully OTT comedy masterpiece from debuting writer-director Ninian Doff.  One of last year’s major festival hits, it’s an absolute riot, a blissfully unapologetic non-PC laugh-fest powered by a quartet of astonishing turns from its young leads and brilliant support from Eddie Izzard, Kate Dickie and James Cosmo.

[buffyseasonsix]

Bit, ginger snaps, raw

They're all the same movie they're all about fucked up little siblings passing a curse onto each other BECAUSE they're family and they become closer and farther apart through that

[malepresentingleg]

WHY DID NOBODY FUCKING TOLD ME ABOUT BIT 2020

[pretty-macabre]

There's a common problem in feminist horror lately...

[thundergrace]

Bit was SO GOOD!

I'm gonna be honest, I didn't expect it to be but damn. See, this is why I don't just hype up all wlw content just because it's wlw content. I hype up quality. I want y'all to know I mean that shit when I say it's good!

It was fun, indulgent but had some good messaging, too. Like the leader of the group goes on and on and on about how men can't handle power and how abusive and manipulative they are but you're watching her be the same way. I love the new progress of checking these 'bad bitches' who think feminism is women gaining the power to act like men.

Also, just some great stuff from Nicole who I am desperate to see in more projects, she did a great job leading this. SHE READY!

Something else that was nice, I counted FIVE times they extremely subtly expressed/mentioned/got across that Nicole's character was transgender without explicitly saying the words. I think there might be some power in that. We want to normalize queerness and all gender identities with representation but it often comes across as tokenism or preachy using familiar language but if nothing is acknowledged, it's not representation. So this was an interesting compromise. You had to catch it and it felt so good when you did. By the second or third time everyone would know and it is what it is, we didn't need to get into it. Laurel is transgender but that's not what this movie is about, it's just a fact about her as a person.