Thoughts on Celluloid — Apocalypse leading the x-men, a woman thor, afro...

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Sounds perfect Wahhhh, I don’t wanna
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richardterrones-blog-deactivate asked:

Apocalypse leading the x-men, a woman thor, afro American captain america, miles morales, ms. Marvel the Carol Corps and a villain ironman ..... Damn it's so exciting to be a fan of marvel right now.

brevoortformspring answered:

Happy that you feel that way!

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Len Wein took the visages of Gods and monsters and used them to create characters who were achingly human. He brought the X-Men back after 6 years on the shelf, and he turned them into the cultural behemoth they are today by injecting their tales...

Len Wein took the visages of Gods and monsters and used them to create characters who were achingly human. He brought the X-Men back after 6 years on the shelf, and he turned them into the cultural behemoth they are today by injecting their tales with necessary diversity of race, culture and viewpoint. That bar we’re still trying to raise? He helped set it in the first place. RIP.

OKJA and THE LOST CITY OF Z were both shot by Darius Khondji. They’re also two of the best films this year, and that’s no coincidence. . In Z, Khondji makes watching James Gray’s period adventure feel like discovering a relic, marrying light with fog...

OKJA and THE LOST CITY OF Z were both shot by Darius Khondji. They’re also two of the best films this year, and that’s no coincidence.
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In Z, Khondji makes watching James Gray’s period adventure feel like discovering a relic, marrying light with fog and trees to make it feel like more than just reflection. It’s a living part of the celluloid, like a dream of a past life unfolding at 24 frames per second.
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In contrast, for Bong Joon-ho’s OKJA he paints with shadow, punctuating the emotional heft of what is, for the most part, the loopiest dark comedy this side of BURN AFTER READING. It’s a deeply uncomfortable film, but its intermittent rays of hope are allowed to stand out amidst an intentionally drab palette like candles in absolute blackness, as he obscures even the lush greens of rural Korea in favour of moral and narrative uncertainty.
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Khondji’s name received the loudest cheer after Z’s premiere at last year’s New York Film Festival, and rightly so. I wasn’t at OKJA’s Cannes debut this past May, but I wouldn’t be surprised to learn the reaction was similar.
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Both films are streaming now.

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