#richard ayaode

[crookedjackdaw]

YIPPY NEARLY 50 ... I'm seeing him on tour at the end of June 😎

[lornrocks]

Okay but. Has tumblr seen this? Like I know how much we love Matt Berry and Richard Ayaode so have y’all seen this??

Also: watch Darkplace if you can, it’s so good.

[denizeyuruyen]

🎬 Submarine (2010)

"Richard Ayaode’nin 2010 yapımı filmi Submarine, “Çoğu insan kendisini yeryüzünde benzeri olmayan bireyler olarak görür. Bu düşünce, onları her şey yolundaymış gibi yataklarından kalkmaları, yemek yemeleri ve boş boş gezinmeleri için motive eder. Adım Oliver Tate.” sözleriyle açılış yaparak ergenlik dönemindeki Oliver’ın karmaşasından çok daha fazlası olacağını ve bizi derinden etkileyeceğini hissettiriyor."

"Tate’lerin parçalanma arefesinde olan evlilikleri, Anne Tate’in eski sevgilisinin ortaya çıkışıyla başka bir boyuta taşınırken Oliver özel hayatıyla ilgili sorunlar da yaşamaktadır. Ona göz koymuş olan Jordana’ya dünyadaki en iyi sevgili olduğunu ispatlamaya çalışmak, aşkın getirdiği kaos durumunu deneyimlemek gibi."

"Submarine, kendi küçük ama kalbi kocaman bir çocuk olan Oliver’ın, değişime ve etrafındakilere karşı verdiği bir mücadeleyi anlatıyor. (...) yaklaşmakta olan büyük değişimlerden korkan bir çocuk fakat bunların üstesinden gelmekte pek başarısız değil. Keyifli vakit geçirirken biraz duygulanmak için birebir olan bu filmi ne kadar anlatsam az diye düşünüyorum, bu yüzden vakit kaybetmeden izlemelisiniz."

- Alıntı Kaynağı: https://www.themagger.com/takili-kalacaginiz-bir-film-submarine/

[sloshed-cinema]

The Bad Guys (2022)

We all know that there exists a vast Hollywood conspiracy to indoctrinate unsuspecting viewers into furrydom, releasing a new product every few years that gives one pause, makes one wonder “…but why are those tigers so sexy?” It’s becoming increasingly unsubtle. Sure the Disney Robin Hood was an awakening for some. But you could pass that off as a creative decision by the art department. If you’re naïve. Fast forward to Zootopia and we’ve got Shakira making her own fucking fursona (What hell it must be for commuters coming in from the train, weary and under-caffeinated, only to have a large video projection of a random pop star declaring “I’m Gazelle, welcome to Zootopia” every fucking morning.) and Nick Wilde a veritable stone cold fox. By this point, the jig is up. The Bad Guys opens on some weird vore fixation, there are jumpsuits aplenty, and Mr Wolf fucking looks down the barrel of the camera and asks to be handcuffed. There are going to be impressionable youths swarming like mind-controlled guinea pigs to their nearest furry convention. Society is doomed. But seriously. Move aside, Mr Snake. Mr Wolf is mine.

Sony Animation have really come out swinging in recent efforts. While not as flashy and diverse as Into the Spider-Verse, this is still slick and confident in its art direction. Animation feels very textured, the Looney-Toons slapstick packing some weight to it. A lot of the humans have a very Laputa: Castle in the Sky energy to them.  Police Chief Misty Luggins feels like a sister to the archetypal Miyazaki Large Adult Son, and the definitely not Eggman henchman of Marmalade has that Ghibli untrustworthy spindly quality. I’m a big sucker for teeth becoming sharp or sharp teeth becoming blocky to help the character emote, rendering the police chief predatory in her drive or Shark a big old softie goof. Mr Snake is ripe for both comedy (the vestigial arms on all of his disguises) and clever workarounds (of course cartoon logic dictates he can play the guitar). And Foxington and Wolf… well… I could melt in their gaze. All this comes together in a crisply realized fantasy LA ripe for fast action.

It’s just too bad that this is all in service of a story that’s boilerplate to a fault. The opening is perfection, introducing the characters, the tone, and the brand of comedy in a slick hat trick that knowingly doles out exposition. After this initial heist, it becomes a basic James Gunn type lovable rogues romp, and speed-run of it at that. We get all the beats, but the film doesn’t really allow anything to develop in a natural way. Stakes rarely match up with the payoff. After the most notorious criminals ever agree to reform and then botch their first attempts, it really only takes one video of Mr Wolf literally saving the cat for everyone’s perception to turn on a dime? Public opinion can be a fickle thing, but jeez… I’m not going to claim any credit for immediately calling the two identity twists, but the Foxington reveal was so blatantly telegraphed from second one that I’m not even sure it was supposed to be a twist. The typical start of third act low point and breakup of the group lasts all of five seconds before the inevitable reunion. I knew all of those beats were going to happen, and that’s fine, but it’s just that things weren’t paced out in a way to develop a satisfying narrative outside of the fun setpieces.

THE RULES

SIP

Someone says ‘guy(s)’.

Marmalade DEFINITELY doesn’t have ulterior motives.

The movie makes a reference to another film.

Can we as a society just collectively move onward from fart and butt jokes please?

Mr Wolf or Foxington make you think... unclean things...

BIG DRINK

The crater is mentioned.

A heist begins.

Repto-lupine homoeroticism.

[goodepithet-blog]

Richard Ayaode's fantastic rant on big fat quiz of the year

[lilliliiiilllllllil]

Richard Ayoade

[heckoffmate]

I made Miis of Noel Fielding, Julian Barratt, Rich Fulcher, Mike Fielding, Tom Meeten, Dolly (can't remember her last name), Richard Ayaode and Matt Berry. Just 'cause I love British comedy.

[alloverthegaf]

if I could briefly direct your attention to one of the most iconic moments in British television