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My Life AMOVIE...#lifequotes #lifestyle #movie #movieman #tvpilot #chicago #actor https://www.instagram.com/james_lett_iii_the_actor/p/BthrX5BlwPK/?utm_source=ig_tumblr_share&igshid=g7663bcdk8al

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@Regranned from @estrenosurbanos - 🔘 ESTRENO 🔘 @deezypr Ft @guelosuperstar #GucciGang (Spansh Verdion) ↘ Buscalo Por↙ @urbanconnexion_net & Por @Estrenosurbanos Link En mi Biografia @estrenosurbanospr @maicyramossantiago @elbufeton @trapmansionpr @warnermusicpr #urbanconnexion #Estrenosurbanos #PuertoRico #Colombia #Mexico #Spotify #YouTube #SoundCloud #armyman #TrapLatino #greenarmy #greeneyes #movieman #urbanconnexion #Urban #LaNuevaCasaDelGenero - #regrann (en Urbanconnexion Office)

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Back in the day... no really just kidding. My #MovieMan #setlife #moviemagic #BalanceOfPower #LeadingLady

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Doktor Who - Cyberslave Helmet

Doktor Who – Cyberslave Helmet

Cyberslaves were humans converted into shambling cyborgs by a Nanoform infection from Cybermats. Their bodies were human in shape but metallic, completed with a Cyber Helmet. They were able to attack by firing lightning out of their hands. The Cyberslave conversion process took at least fifty minutes. As they were only slaves, they weren’t as intelligent as other races, making them similar to…

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Doctor Who - Silence Mask

Doctor Who – Silence Mask

The Silence are a religious order in the British science fiction television programme Doctor Who, represented by humanoids with alien-like physical characteristics. Executive producer Steven Moffat created the Silence, intending them to be scarier than past villains in Doctor Who. Though the phrase “Silence will fall” recurred throughout the 2010 series of Doctor Who, the Silence were not seen…

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20th Century Women! the BEST!

SO GOOD! 1000 stars! ----- more serious tone 2 follow -----

On January 20th, 2017, the day of Donald Trump’s Presidential Inauguration (first time typing that wow!), and the eve of the emphatically responsive Women’s March on Washington, production house A24 quietly made a politically charged announcement. The distributor behind recent indie films including Spring Breakers, Moonlight, The Lobster, and most of the other great films of the last five years, declared that all of the opening weekend earnings of its newest film, 20th Century Women, would be donated directly to Planned Parenthood. At a time when bigotry and misogyny have found new footing in popular discourse, this gesture of compassion to women across America came as a striking reminder of the pragmatic potential of artists for aiding social justice. It is also emblematic of writer-director Mike Mills’ uncompromisingly feminist, remarkably empathetic mission in 20th Century Women.

Mills’ most recent venture, 2012’s Beginners, starred Christopher Plummer as a fictionalized version of his father. It was well-received largely due to the powerful tenderness and warmth Mills imbued on his characters, but suffered occasionally from some overly sentimental indie-romance quirks (see: “Why are you at a party if you’re sad?”). This year’s first classic film, 20th Century Women, takes a similar quasi-autobiographical tact, however it forgoes conspicuous quirk in favour of genuine feeling and laughter. Annette Bening stars as Dorothea, representing Mills’ single mother, who, along with Abbie (Greta Gerwig) and Julie (Elle Fanning), attempts to raise her fifteen year old son, Jamie (Lucas Jade Zumman, for whose performance a Wikipedia page has definitely been earned) in 1979 Santa Barbara.

The real life inspiration for 20th Century Women is evident in every component of Mills’ film. From the colourful, lush set designs, to the early post-punk soundtrack, to the candid, poignant dialogue, Mills’ deep, personal connection to his subject is readily apparent. He writes his female characters with a deep seated admiration and understanding, which never reads as presumptuous. As women they are flawed, but never condescended to; not fully understood, but admired all the more in their inscrutability.

Of course, none of this is possible without the magnetic performances from across his ensemble cast. This is a film that will you searching everyone involved’s IMDB profile for anything you haven’t already seen (also check out Mike Mills’ 90s punk band, Butter ‘08 on the Beastie Boys’ old Grand Royal label!). Annette Bening exudes a remarkably assured liveliness each time she enters the frame. With a cigarette perpetually perched between two fingers, her superbly expressive face breathes volumes into the pause of her frequent, “Yeah . . . no,” response. Clad in silk floral pajamas, or the bluest bell bottoms you could imagine, her emotionally honest, collective approach to parenting conveys emotional depths far exceeding her role as a mother. Her work is complemented by the inimitable mumble-core alum Greta Gerwig, supporting here as the art school graduated, cervical cancer survivor Abbie, boarding in Dorothea’s home, and Elle Fanning as Julie, the infinitely perplexing and unattainable girl next door, who frequently sleeps in Jamie’s bed.

While these three characters could be read at first glance as essentially the same California woman at different times in her life, as the film progresses, we are privileged deeper insight into their particular anxieties. Particularly revealing is a dinner party scene following a viewing of Jimmy Carter’s “a crisis of confidence” speech. Varying perspectives of radical feminism butt heads over supper, culminating with Abbie confronting each male guest with their reluctance to utter the word “menstruation”, and Julie unflinchingly detailing the painful loss of her virginity.

The sexual focus of second wave feminism in the 1970s is integral to 20th Century Women. We watch as Dorothea, Abbie and Julie grapple with their unique concepts of femininity, each shaped by circumstance, literature, and society. Only a few years removed from puberty, Jamie is given Susan Lydon’s Politics of the Orgasm by Abbie. As he embraces the tenets of radical feminism, he struggles to understand the women in his own life, outside of their relation to him. While both Lucas Jade Zumman and Billy Crudup (as William, an aging California hippie brought in by Dorothea to help raise Jamie) give stirring performances, the spotlight is cast definitively on the three female leads, constructed with careful attention to detail and a surplus of affection.

Mills succeeds in creating a world that feels at once foreign to the viewer and lived-in by his characters. The vividness of his pre-Reagan California is bolstered by his characters’ forays into California’s burgeoning underground music scene. Indeed, as much as 20th Century Women showcases Mills’ reverence for the women of his teenage years, it forefronts the music that made him. After questioning the legitimacy of a fellow skateboarder’s professed sexual exploits, Jaime is told, prior to being punched in the face, that “the Talking Heads are a bunch of fags,” (he later returns home to his mom’s Volkswagen spray painted with the words “ART FAG” and “BLACK FLAG”). In Dorothea’s never ending quest to better understand to her son, she and William try to dance to a few records from his shelf. While they struggle with the appeal of Black Flag’s “Nervous Breakdown”, the Talking Heads’ (or as Dorothea calls them, the “art fags”) “The Big Country” strikes a chord with both of them.

In 20th Century Women’s less than two hour runtime, very little happens. It would be difficult to discern any kind of teleological storyline carrying all the way through, or any easily summarized take-home message. This is strange, because watching 20th Century Women, one feels as if Mills is moving mountains. While this effect could be termed a lack of focus on the part of the filmmaker, I see it rather as an effective subversion of our narrative expectations. Although we’re tempted to look forward to Jamie’s losing his virginity to Julie as a sort of culmination of themes, the script is too insistently thoughtful and empowering of its female characters to allow for this familiar, male-centered coming-of-age tale ending to occur. Mills doesn’t want to sell us a neat, fictional resolution, because his story comes from lived experience.

Mills’ ever-mobile camera rarely strays far from close up shots of his leads. His tight focus allows for their facial expressions to do much of the dramatic heavy lifting. However, when the rare widescreen, outdoor shot fills the screen, one gets a scene of how vast the world is which continues to exist outside of these characters’ deeply personal struggles. Mills’ vision may be ambitious in terms of character depth, but he recognizes the limitations of his film’s scope, and thus his reach never exceeds his grasp.

Where he succeeds most resoundingly is in forging real emotional bonds between the characters onscreen and audience members. Mills never hits you over the head with emotional highs and lows, but rather presents a mixed bag throughout. One such bittersweet moment comes in a plainspoken heart to heart between Dorothea and Abbie. Dorothea informs Abbie, concerning Jamie, “You get to see him out in the world, as a person… I never will.” Abbie responds by presenting her an overexposed polaroid of Jamie at a punk show, with a goofy, probably inebriated expression on his face. The scene is heartrending and relatable, due to the multilayered connection we have to Mills’ characters. At once we feel for Dorothea, Abbie, and Jamie, all for different reasons.

Unlike Beginners, the believable emotional heft of 20th Century Women is never undone by questionable directorial choices. Although the kaleidoscope trail of cars cruising down coastal highways (a nod to the classic Czech New Wave film, Daisies) does feel a little heavy-handed the fourth time around, for the most part, Mills’ quirks feel entirely fitting and deserved by the unconventional script. The only time I questioned the world presented before me was when Jamie hopped into an acquaintance's car to head to L.A. for a DIY punk show, and I wondered if high school could actually have been this cool in 1979.

20th Century Women ends with a shot of Dorothea riding in the cockpit of a biplane, seemingly carefree, laughing exuberantly. The view is sumptuous and refreshing. We have already been given the details of her eventual death, as she states omnisciently, “I will prepare for Y2K before I die.” “As Time Goes By” starts playing, I cry, and we understand that as vivid and complete as the preceding two hours have felt, Mills’ film will not presume to be anything more than it is: a portrait of three women, a man, and a teenager living in Santa Barbara in 1979.

[buttboyfilms-blog]

ButtBoy Films TM (name subject to change) MANIFESTO

tumblr-browsing ~cinephiles~, facebook friends, twitter followers (who aren’t also facebook friends), my parents, maybe someday employers.......welcome to my page guys! Mr. Magorium’s Longwinded Amateur Film Criticism Emporium

Also known as ... ButtBoy Films TM! (name is subject to change)

Get stoked gang --- because I am about to lead you on your dream tour through all of my fav flicks! I’m talking flicks that make me do a big belly laugh... flicks that make me sob man-baby tears in the theatre... the fucking works man!

I (Dylan Adamson) have been watching flicks for a minute. I love them so much. Sometimes I like to think that I know a lot about them but I don’t really know that much. But i sure do <3 to write about em!

If I had to pick my favourite flick... of all time.... oh man. I don’t even know. Maybe Boogie Nights but also maybe McBain’s “Undercover Nerd” (as seen in my tumblr icon). 

I’ve been writing about music and movies for my school paper (the McGill Tribune) for a lil bit and I really do <3 it but a lot of the time I write way too many words! Like way more than I could reasonably expect them to print in a student weekly publication. SO the whole kind of thing with ButtBoy Films TM (name subject to change) is a platform for me to post the stuff that I would rather not chop in half to get published!

I’ll also post the stuff that does get published because I am nuts.

I don’t really have any kind of clear vision for what this tumblr is going to be like but I am having an OK time thus far. Designing the thing was fun anyways. Hopefully as I post more crap I will get better at straddling this strange line i’m currently stomping all over between super self-conscious irony and ~serious amateur film criticism~. It should be a wild ride for all of us.

ANYWAYS! that’s about all I’ve got to say! 

Thank you for reading!

BBFTM (name subject to change) ----- signing off.