'Thunderbirds are GO!' The rallying cry of many children's adventure games in the 1960s and 70s.

Thunderbirds is a British science-fiction television series filmed with electronic puppets, a process known as ‘supermarionation’. Set in 2065, it features International Rescue, a top-secret life-saving organization run by ex-astronaut Jeff Tracy.

Operating from a South Pacific island, International Rescue sends supersonic aircraft and high-tech vehicles to avert disasters and foil evil plots. The Thunderbirds are piloted by Tracy’s 5 sons – Scott, John, Virgil, Gordon, and Alan – supported by engineer Brains, London agent Lady Penelope, and her wily butler, Parker.

@ShoutStudios is a diversified multi-platform media company devoted to producing, uncovering, preserving, and revitalizing the very best of pop culture, Shout! Studios' entertainment offerings serve up first-run feature films, original, contemporary, and classic TV series, animation, live music, and comedy specials. Shout! Studios owns and operates Shout! Factory, Scream Factory, Shout! Kids, Mystery Science Theater 3000 @MST3K Timeless Media Group and Shout! TV.

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First up is Monkeybone. After a car crash sends repressed cartoonist Stu into a coma, he and the mischievous Monkeybone, his hilarious alter-ego, wake up in a wacked-out waystation for lost souls. When Monkeybone takes over Stu’s body and escapes to wreak havoc on the real world, Stu has to find a way to stop him before his sister pulls the plug on reality forever!

Next is the Mummy. Dashing legionnaire Rick O’Connell stumbles upon the hidden ruins of Hamunaptra while in the midst of a battle to claim the area in 1920s Egypt. It has been over three thousand years since former High Priest Imhotep suffered a fate worse than death as a punishment for a forbidden love—along with a curse that guarantees eternal doom upon the world if he is ever awoken.

We’ll start at 9PM EST on Hextube, right here: https://live.hexbear.net/c/movies

Be there, comrades!

Letterboxd links

• https://letterboxd.com/film/monkeybone/
• https://letterboxd.com/film/the-mummy-1999/

Doesthedogdie links

• Monkeybone: https://www.doesthedogdie.com/media/10574
• The Mummy: https://www.doesthedogdie.com/media/22993

CWs for Monkeybone

• Dog is drugged with nightmare serum
• The monkey is a sex pest
• Mild body horror

CWs for The Mummy

• Flesh eating scarabs
• Torture scenes but nothing is explicitly shown
• People melted / burned alive
• CGI body horror
• Person is hung but are cut down before they strangle

Links to the movies

• Monkeybone: https://tankie.tube/w/d9cNmBsj2hQMSJDZVB9R7Y
• The Mummy: https://tankie.tube/w/jbrWUVMmbWVhrzoM2enW9i

I have the opportunity to watch it in IMAX and I think it’s definitely something I want to do but I’m battling between doing it and not doing it.

The reason I don’t want to do it is, I piss a lot like when I watched the sequel the other week I used the bathroom 6/7 times but this was fine because the theatre was small. I don’t want to be getting up and getting lost every time I need to piss, the theatre layout is weird too and there’s hundreds of seats which puts me off. Another thing putting me off is it’s 30$ for watching a movie I have already watched.

I really liked the sequel and I was kinda disappointed with the quality of the picture at the theater I watched it at, but I think the sound and stellar picture IMAX offers would be something to remember.

The movie is gonna stop playing soon so I only have the next few weeks to do it, tickets sell out fast too even on weekdays so I have to make a decision within the coming week/s

link

guess i won't be seeing this, even just to laugh at how dumb it is

cross-posted from: https://lemmy.ml/post/12448364

• IMDB – https://www.imdb.com/title/tt16565742 – Follows the story of underground workers who risked their lives to send intelligence and defend the motherland, set after Japan's attack on Pearl Harbor when the Wang Jingwei regime declared war on Britain and the U.S. On December 7, 1941, Japan attacked Pearl Harbor. The following day, the Wang False Government followed Japan's declaration of war against Britain and the United States, and Japan symbolically occupied all of Shanghai. With the outbreak of the Pacific War, the situation of China's war effort changed completely. Members of the Chinese Communist Party underground risked sending out information to break the peace between Japan and Chiang and to defend the motherland.

• Trailer – https://yewtu.be/watch?v=yzZ_oHR5wRE

• Watch – https://moviesjoy.is/movie/hidden-blade-98590

Yewtube is down. Trailer - https://www.youtube.com/watch?v=yzZ_oHR5wRE

Additional Mirror. Watch - https://on.fmoviesto.site/hidden-blade

I watched this last night, took me a little work to catch on to what was going on, but I was very happy with it.

The options are:

• Dune 2 (rewatch)

• Monkey Man

• Late night devil

• Love Lies Bleeding (rewatch)

• Problemista

Hurry I have to buy tickets

Also watch X-Files it's so good.

The sand should be orange! Why isn't the sand orange?

Most of the exterior desert scenes look so. fucking. boring. These scenes are so devoid of color because they were shot in the most beige landscape imaginable. The sand is white, the sky is white, Timothée Chalamet is white. There is no saturation, no contrast. It looks so dull and flat and lifeless.

The landscapes themselves look pretty cool but imagine how much cooler they'd look with even a little bit of color instead of this shit:

It's especially confusing because many of the other scenes in the film make excellent use of the monochromatic color scheme. The interior and nighttime shots have this stunning contrast with predominantly vibrant yellow-orange hues which really stand out. So having orange sand would have visually tied the whole film together. But instead we're stuck with beige for the majority of Part 2.

I had assumed they shot where they did due to logistical restrictions (it probably wouldn't have been practical to shoot in the Sahara desert) but I looked up Wadi Rum, the desert in Jordan where they filmed, and it's orange as hell!

This place looks like fucking Mars, so how did they mess this up? They found the most boring section in the whole desert and filmed there instead?

My best explanation is that this was a very intentional and deliberate choice, so that when the film actually does use color it's more impactful. But... I still don't like it, I think it sucks. The sand should be orange.

This movie is garbage

IMPORTANT NOTE: please use a VPN whenever visiting Hextube, or anywhere else on the internet, for that matter. Protect your privacy.

For this Sunday Kino Night, we’re starting with In Cold Blood (1967), the highly-acclaimed film adaptation of Truman Capote’s novel of the same name, which was pretty much the launchpad for the entire genre we now know as “true crime”. A pair of thieves botch a house robbery and end up committing murder; they then go on the run and must come to terms with what they have done. Will they get away with their crimes? No, no they won’t. This is generally considered the best film of director Richard Brooks, who is otherwise best-known for Cat on a Hot Tin Roof (1958).

After that is Welcome Back, Mr. McDonald (1997), a Japanese screwball comedy about a housewife who manages to get her radio play performed on a national station; everything looks like it’s going great, until the star demands to change the name of her character, at which point everyone else starts altering their parts, too. Chaos and hilarity ensue. Will they still manage to perform the play successfully? I guess we’ll find out. This is the best-known and best-regarded work of director Koki Mitani, and was nominated for a bunch of awards in Japan at the time. Looks cool; let’s watch.

We’ll start at 8PM EST on Hextube, right here:

https://live.hexbear.net/c/movies

Be there, comrades!

Letterboxd:

• In Cold Blood: https://letterboxd.com/film/in-cold-blood/
• Welcome Back, Mr. McDonald: https://letterboxd.com/film/welcome-back-mr-mcdonald/

Doesthedogdie.com links:

• In Cold Blood: https://www.imdb.com/title/tt0061809/parentalguide?ref_=tt_stry_pg
• Welcome Back, Mr. McDonald: Sorry, nothing on DTDD or IMDB.

CWs for In Cold Blood:

• Prostitution.
• Hanging.
• Implied sex.
• Reference to sexual assault (not depicted.)
• Blood.
• Gun violence.
• A man hits a woman with a belt.
• Hanging.
• Smoking.
• Alcohol.
• Child abuse.
• Homophobic slurs.
• Profanity.

CWs for Welcome Back, Mr. McDonald:

• Anxiety.
• High-pressure situations.
• Shouting.

Links to movies:

• In Cold Blood: https://tankie.tube/w/fDKapwrJ4LnszV9Hvn4Y2e
• Welcome Back, Mr. McDonald: https://tankie.tube/w/w14pGAXP836bekq4yDgsjN

Hoping it's not too woke

Q&A with the director afterwards!

Edit: it was woke . They forced me to buy this T-shirt

It's good.

That's it.

That's the post.

Could have done a lot more with it IMO. And by "it" I mean both the film itself and the entire premise.

IMPORTANT NOTE: please use a VPN whenever visiting Hextube, or anywhere else on the internet, for that matter. Protect your privacy.

For this Friday Movie Night, the people demanded more Chinese films, and so, we’ll watch one of the all-time classics of Chinese cinema: Farewell, My Concubine (1992), the magnum opus of Chen Kaige, who is otherwise best-known for The Battle at Lake Changjin (2021). It centers on a boy raied to play female parts in Chinese operas, and his rise and fall from the 1930s through the 1960s, as well as his romantic entanglements with both men and women. It won the Palme d’Or at Cannes in 1993 and is currently ranked #154 on Letterboxd’s Top 250 films of all time.

After that is German stop-motion fairy tale The Adventures of Prince Achmed (1926), the oldest surviving animated feature film, as well as the earliest feature of note directed by a woman (Lotte Reiniger). Inspired by the Arabian Nights, it tells the story of a young prince with a flying horse who battles an army of demons to win the heart of a princess. The entire movie unfolds via silhouettes of paper cutouts, a style rarely used since. This film is pretty much universally acclaimed and considered the apex of silent-era animation, so let’s check it out.

We’ll start at 8PM EST on Hextube, right here:

https://live.hexbear.net/c/movies

Be there, comrades!

Letterboxd:

• Farewell, My Concubine: https://letterboxd.com/film/farewell-my-concubine/
• The Adventures of Prince Achmed: https://letterboxd.com/film/the-adventures-of-prince-achmed/

Doesthedogdie.com links:

• Farewell, My Concubine: https://www.doesthedogdie.com/media/12819
• The Adventures of Prince Achmed: https://www.imdb.com/title/tt0015532/parentalguide?ref_=tt_stry_pg

CWs for Farewell, My Concubine:

• Death of dog.
• Child abandonment.
• Domestic violence.
• Gaslighting.
• Opium abuse.
• Alcohol abuse.
• Someone is physically restrained.
• Sexual assault: at about 40 minutes in, a perverted older man wrestles a young boy onto a bed. No sex acts are shown and the scene cuts away, but the implication is clear.
• Someone struggles to breathe.
• Finger mutilation.
• Hanging,
• Suicide.
• Genital trauma.
• Torture.
• Infant abduction.
• Death of child.
• Sexualization of minor (by other characters.)
• Shower scene.
• Spitting.
• Suicidal ideation.
• Crying baby.
• Obscene language.
• Babies.
• Miscarriage.
• Misgendering.
• “Man in a dress” jokes.
• Homophobic slurs.
• Death of LGBT person.
• Sex.
• Nudity.
• Objectification of female characters.
• Male character ridiculed for crying.
• Homelessness.
• Blood and gore.
• Gun violence.
• Sad ending.

CWs for The Adventures of Prince Achmed:

• Silhouetted nudity.
• Kidnapping.
• Bath scene.
• Orientalism.

Links to movies:

• Farewell, My Concubine: https://tankie.tube/w/7ntGtMS8Fa6v6k9Tv92qNr
• The Adventures of Prince Achmed: https://tankie.tube/w/k6jh1L3gydZfpuQ7jXBeJQ

Folks, it's good! Incredibly violent with some fairly decent (tho not perfect) politics.

Filmmaker Radu Jude’s Do Not Expect Too Much From the End of the World follows a production assistant on a long day’s drive to screen injured Romanian workers for a workplace safety video — painting a bleak, darkly funny portrait of a hollowed-out world.

**D |**o Not Expect Too Much From the End of the World, the latest film by Romanian writer and director Radu Jude, opens with a phone alarm going off at the ungodly hour of 5:50 a.m. As the overworked, underpaid film production assistant (PA) at the center of the story reaches out to silence the alarm, we see her nightstand, littered with the detritus of a hazy night in: an overturned beer bottle, a mostly empty glass of wine, and Marcel Proust’s In the Shadow of Young Girls in Flower. Call it greeting the day with a grimace.

Throwing on a sequined dress, Angela Răducanu (Ilinca Manolache) stumbles to her van to start an unending day of driving around Bucharest. As is so often the case in the industry, the hours of driving will go on interminably, stretching well into the night. Jude himself was once a PA, and he has said that the death of a fellow PA in a car crash — a stunningly frequent occurrence in the industry — was part of the film’s inspiration.

Angela’s route is determined by a local production company that has been tasked with making a workplace safety film for an Austrian conglomerate that is seeking to polish its reputation and reduce its liability. The conglomerate wants to have a worker who was injured in its Romanian factory appear in the video, and Angela’s task is to prescreen the many candidates. She goes from one shabby apartment to another, filming the borderline-destitute disabled workers as they audition, hoping for the 500 euros that come with the role. Their desperation is palpable, the anxiety radiating off the thin walls. Some of the workers’ families plead with Angela to put in a good word, but the decision is up to the Austrians; after all, she’s just another worker being exploited by the wage differential between her country and that of the corporate overlords.

In crowded homes, workers recount their misfortunes for the screen. One fell off a platform in the factory, but because she had taken a sip of alcohol handed to her in celebration of a coworker’s birthday, the corporation claims it was her fault. Ditto for a worker with a disturbing facial scar who lost the ability to speak following his accident; Angela breaks the news that the corporation is unlikely to choose someone who is mute. Then there is Ovidiu (Ovidiu Pîrșan), the worker who the Austrians ultimately choose, a family man who was hit in the head with a rusty piece of metal being used as a barricade in the company parking lot: the impact put him in a coma, then paralyzed him from the waist down.

This is not a safety video; it’s pure propaganda. The conglomerate clearly shares some of the blame for the injuries, yet the most important part of the script, as Angela tells one worker, is when they implore employees to wear the company’s protective gear and not take irresponsible risks, as if it were their own mistakes that left them injured.

About half an hour into Jude’s film, it occurred to me that I was in for a nearly three-hour car ride with Angela. Claustrophobia threatened as I watched her listen to pounding club music and heavy metal, sucking down energy drinks to try to keep from falling asleep at the wheel. (“I can’t go on like this,” she tells a doorman at one point, to which he responds, “That’s what you think.”) That her driving is only ever interrupted by phone calls, usually from her employer, which her phone announces with the “Ode to Joy” (the European Union’s official anthem), only made the atmosphere ghastlier. Much like Jude’s 2021 Berlinale-winning Bad Luck Banging or Loony Porn, Do Not Expect Much From the End of the World has some trying moments. Spending all day stuck in traffic does suck.

Thankfully, Angela’s deliriously scattered dialogue pulled me back down another rabbit hole before my dread could take hold. She’s a magpie, as familiar with Karl Marx and Jean-Luc Godard as she is with celebrity gossip and raunchy jokes (one story she tells, about a porn star who had to pull up PornHub on his phone mid-scene to stay hard, is especially memorable). The jumble of referents evokes social media: specifically TikTok, with its jump cuts and chaotic juxtapositions. And as it turns out, Angela is big on TikTok.

Or rather, her alter ego, Bobiţă — an Andrew Tate–like figure who tells ludicrously pornographic, deeply offensive anecdotes — is big on TikTok. Angela uses a filter to become Bobiţă, though she betrays no concern that her blond hair and body are often visible in frame, overrunning the bounds of the unsettling filter (at the press screening I attended, we received cutouts of Bobiţă’s face; when I texted a photo of the bald, bushy-browed visage to a friend, he informed me that he had immediately deleted the picture).

read more: https://jacobin.com/2024/04/radu-jude-romania-film-review/