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My Ranking Of The Live-Action Star Wars Films Part 2

Here is the conclusion to “My Ranking Of The Live-Action Star Wars Films Part 1

6. Solo: A Star Wars Story

Going into Solo: A Star Wars Story, I only knew that it was a prequel concerning the character of Han Solo and that it had the dubious honour of being the first Star Wars film to be a box office bomb. So colour me surprised on how enjoyable the film itself was with a cast of likable characters, plenty of great action and humour and a few ways that the film played with the prior knowledge that Star Wars fans knew about Han Solo’s past. If there’s anything holding the film back from being higher on my list, it’s that many of the emotional moments fall flat. Characters are killed off and they receive only the briefest of sorrow before the rest of the characters move on. What this results in is a film that you’ll probably enjoy watching but that lacks enough substance to stick in your mind as often as many other Star Wars movies.

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My Ranking Of The Live-Action Star Wars Films Part 1

After playing Star Wars Jedi: Fallen Order recently, I found myself in the mood to keep experiencing Star Wars. Having seen eight Star Wars movies at the time, I decided to order the other three that I hadn’t seen and make a marathon of it, watching the eleven films with some friends of mine. Having done so, I thought it’d be interesting to do a ranking of the live-action Star Wars films (the animated film Star Wars: The Clone Wars is basically a pilot for the TV series so I decided to exclude it for this list).

11. Star Wars: Episode II – Attack of the Clones

The prequel trilogy gets a bad rap and, as you’ll see in this ranking, I consider the majority of the hate to be unwarranted. However, there is no doubt that some of the bad reputation is well-deserved and, as far as I’m concerned, Star War: Episode II – Attack of the Clones is my least favourite of all the live-action Star Wars films. There are some decent moments in the film such as discovering the world of Kamino, the chase sequence on Coruscant and the Battle of Geonosis (excluding the lightsaber segments) but the film is dragged down by poor dialogue and character interactions and nothing exemplifies this more than the awful execution of the romance between Padmé Amidala and Anakin Skywalker. It comes off as embarrassingly cliché with the worst moment, for me, being where they are literally running through a field which ends with them rolling through the grass in an embrace. Interestingly, unlike the other two prequel films, lightsaber combat is surprisingly uninteresting with poor editing and stiff choreography. It must also be said that Hayden Christensen doesn’t give a particularly good performance in this film, coming off as emotionless for most of the film with any scene requiring emotion from him resulting in a sudden outburst of emotion that has him whining like a child.

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The Interesting Question Of When An Anime Is Not An Anime?

This question may seem silly. “Obviously I know when an anime isn’t an anime!” I hear you shouting at me but I want to say that this interesting question is more complicated than it may first seem. It isn’t as easy as saying that anime is simply animation that is produced in Japan with a Japanese crew and Japanese money. Instead, particularly in the modern age, we’re seeing more and more animation produced that blurs the line of what anime is. Therefore, I thought it might be interesting to share my thoughts on the question of when an anime isn’t an anime.

The first thing I should clarify is whose definition of anime I’m looking at. As I mentioned before, the word “Anime” in Japan simply refers to animated media, meaning all animation is considered anime in Japan. However, outside of Japan, anime is defined as “Japanese film and television animation“. This seems like a cut and dry definition but, as you start to dig deeper and deeper, you start to realise that this isn’t as simple as it first seems.

I think it’s fair to say that The Boondocks is anime-inspired animation rather than an actual anime.
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My Love For The Films Of The Soska Sisters

When I was getting back into horror films, I remember looking for movies that I’d either missed or had been released during my break and I would frequently pick up films that I could find cheaply while doing minimal research. One of those films was American Mary which I found on Blu-ray for relatively cheap and, when I decided to watch it, knew little about. I was truly stunned by how much I adored the film and I immediately began looking into who was behind the movie. Given that, I thought it would be interesting to share my newfound love for the films of the Soska Sisters, who they are, which ones I’ve seen and haven’t seen and why you should check out their filmography.

The Soska Sisters consist of Jen Soska and Sylvia Soska, identical twins who were born in North Vancouver on the 29th of April, 1983. After initially attempting acting and being dissatisfied, the Soska Sisters ended up directing, writing, acting and producing their own film called “Dead Hooker in a Trunk”. Made for a paltry sum of $2500, Dead Hooker in a Trunk ended up catching the attention of Eli Roth, director of films such as Hostel and Cabin Fever, who advocated for them, gave them encouragement and advice during the production of American Mary (interestingly, he got the film dedicated to him in the credits). Since then, they’ve continued to write and direct films while also working on comics and as hosts for a horror game show called “Hellavator” and running their own shop on Etsy.

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Don’t Just Look To America And Japan For Animation

When one thinks of the medium of animation, it’s quite likely that you’ll think of American animation or perhaps anime. I certainly think it’s fair to say that the animation industries of America and Japan tend to dominate global animation but I really want to emphasise that there are loads of wonderful animated movies that are produced all around the world. Therefore, I thought it might be interesting to take a look at animation that isn’t from America or Japan and why these works should be supported.

Outside of America and Japan, I’ve probably seen more French animated films than from any other country. Despite a large film industry and a long history of animation, the French animated film industry is rather underdeveloped. However, this doesn’t take away from the fact that they produce a great number of wonderful animated movies. Some of my favourites have been Ernest and Celestine, Persepolis, Long Way North and The Illusionist and I’m eagerly looking forward to watching some classics such as Fantastic Planet and The King and the Mockingbird.

The art for Ernest and Celestine is absolutely gorgeous!
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I Wish Streaming Services Released Their Content On Home Video

If you’ve been reading my blog for even a small amount of time, you’ll know that my preferred format in general is physical. However, as part of my passion for horror, I ended up subscribing to a streaming service called “Shudder” last year and have been making use of it for horror films that I either can’t get or are too pricey in their physical release. However, an interesting discovery I made recently was that Shudder do actually release some of their exclusive content on DVD/Blu-ray. I was quite stunned and overjoyed but, upon thinking about it further, it reminded me how much content is becoming locked behind streaming. Therefore, I thought it might be interesting to take a look at streaming services, their relationship to DVD/Blu-ray and how I wish that they released their content on home video.

Let’s begin by looking at the history of arguably the most notable of all streaming services, Netflix. Interestingly, Netflix actually started out as a rental service for DVDs. Subscribers originally were able to pick from a catalogue of DVDs which would be sent via a package whose return was already paid for. Once Netflix actually began to produce original content, a smattering of their initial releases eventually found their way to DVD such as House of Cards and Orange Is the New Black. However, as time has gone on, we’ve seen less and less of these series make their way over. That’s not even mentioning that hardly any of their original films have made their way over! It would be one thing if this issue merely applied to Netflix but we’ve seen other streaming services such as Disney+ and Amazon Prime take a similar approach.

The logo for Netflix.
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The Wonderful Genius Of Horror Effects, Tom Savini

As a massive fan of horror films, I’m always showing some of my favourites to people. Interestingly, as I watched more and more horror with others, one of them began to take note of a name that appeared in the opening credits, Tom Savini. He’d often be credited as a “Special Makeup Effects Artist” and, whenever she saw his name, she’d turn to me and say “This is going to be a gory one isn’t it?” I immediately became fascinated with Tom Savini and his wonderful horror effects so I thought it’d be great to take a look at the history and career of this genius.

As Tom Savini himself tells it, he first began his interest in developing a career in film when, at the age of 12, he saw a film called “Man of a Thousand Faces” which is a dramatisation of the life of Lon Chaney, an actor and makeup artist from the silent film era. He was so inspired by the film that he soon began to create his own makeup effects which he’d practise on both himself and his friends. He later ended up serving in Vietnam where he coped by imagining that the violence he was seeing were special effects. He later encountered legendary filmmaker George A. Romero and ended up doing stuntwork and other effects for the 1978 film “Martin”.

Tom Savini
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Why I Believe That “Gratuitousness” Isn’t Necessarily A Bad Thing

When I was watching the films of Lars von Trier recently, I made the bold decision to watch Nymphomaniac with someone else. All I and they knew about the film, besides its runtime of close to five and a half hours, was that it had real sex scenes that were created by digitally compositing the actor/actress’s upper half with the lower half of porn actors/actresses. After we’d finished the film, we had plenty to discuss but one thing they said that really struck me was “I don’t think the real sex was necessary. It was gratuitous.” I understood what they were saying but I also had the thought “Why not?” and so I decided that I’d express my thoughts today on why I believe that gratuitousness isn’t necessarily a bad thing.

Let’s start off by defining what gratuitousness is and, in particular, what it means to the greater population. The term itself, gratuitousness, is defined as “the state or quality of being unnecessary or with no cause” which can be quite general. For instance, I could describe a story arc in a film as gratuitous if I think it didn’t contribute to the work. However, with regards to the general population, I’ve often heard the term gratuitous applied to film, TV and video games with graphic violence or sex. When I ask why they consider those things to be gratuitous, I’m often met with the response “Because I don’t need to see it”. While I understand that seeing these things might not strictly be important when it comes to story, I do think they can be very important when it comes to themes and impact.

The poster for Nymphomaniac.
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My Thoughts On The Films Of Lars Von Trier

I’ve heard of the name “Lars von Trier” with relation to films such as Antichrist and Nymphomaniac but it wasn’t until recently that I ended up watching his films. As I perused the Disturbing Movie Iceberg for the few films that I was actually interested in seeing, I noticed an interesting title called “The House That Jack Built”. I found the film on Blu-ray for a respectable price and eventually watched it. While not a perfect film by any means, I still found The House That Jack Built to be fascinating and I was immediately curious about the rest of his filmography. Eventually I managed to order the majority of his filmography and, having recently finished watching them, I thought it would be interesting to share my thoughts on the films of Lars von Trier.

Lars von Trier typically splits his films into thematic trilogies so I’ll be taking a look at each trilogy and what I think of each film that make them up. The first trilogy that Lars von Trier created was the Europa trilogy which is made up of The Element of Crime, Epidemic and Europa. Since I ended up watching the Lars von Trier films that I had in production order, I started with The Element of Crime which I found to be a very odd film that I felt quite mixed about. The lighting and cinematography are excellent but the colour scheme, sepia, ended up frustrating me after a while. The plot was quite confusing on first watch but I did end up watching it a second time and felt more capable of understanding the plot. Epidemic may be my least favourite film that I’ve seen from Lars von Trier which I think is a shame as the film does have a clever premise. However, I found the pacing poor and I ultimately ended the film feeling “Why did I watch that?”. Thankfully, Europa proved to easily be the best of the trilogy with a wonderfully intriguing story, an interesting main character and an ending that proved to be incredibly memorable. While Lars von Trier’s first trilogy proved to be quite rough, it’s clear that, by the end, he’s finding his style and improving as a director.

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My Ranking Of The Gamera Franchise Part 2

Here is the conclusion to “My Ranking Of The Gamera Franchise Part 1“.

6. Gamera vs. Gyaos

Gamera vs. Gyaos is quite an important film in the franchise as it introduced Gyaos, the only monster to make appearances across multiple films while also establishing that children would serve as the protagonists throughout the rest of the Showa era Gamera movies. However, the kid protagonist in this film is actually not annoying and there’s some great fights between Gamera and Gyaos. While the transition of Gamera from monster to ally isn’t smooth, Gamera vs. Gyaos is quite entertaining.

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