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Here's a list of tons of leftist movies.

AVATAR 3

Perverts Guide to Ideology

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

For this Special Thursday Cinema Night, 8PM EST, there’s no special theme, just two more good flicks. First up is Climax (2018), which centers on the worst party ever, a French dance-rave that turns into a nightmare after everyone’s drinks are spiked with LSD. A whole lot of drug-addled revelry and excess follows while some of the partiers try to find the culprit. Oh, and did I mention there’s dancing? Director is French auteur Gaspar Noe, whose films we have not watched yet, but he is a good buddy of Harmony Korine, whose Gummo (1997) was a hit on Hextube.

After that is Fury (1936), a crime drama from renowned director Fritz Lang, the guy behind Metropolis (1927) and M (1931). In this, the most-acclaimed film of his Hollywood phase, a man (Spencr Tracy) goes to visit his girlfriend in a small town, at which point he is arrested and accused of being a fugitive kidnapper. Drama ensues as he tries to secure justice and avoid being lynched by the irate townspeople.

BONUS: We will also watch the 22-minute short The Private Life of a Cat (1947), an up-close-and-personal look at a cat’s birth and upbringing from avant-garde duo Alexander Hammid and Maya Deren. It looks adorable.

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

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

Be there, comrades!

Letterboxd:

Doesthedogdie.com links:

CWs for Climax:

  • Abusive parents.
  • Child abandonment.
  • Nudity.
  • Sex.
  • Sexual assault: everyone s is on drugs when they have sex, so consent is compromised.
  • Drugs.
  • Stalking.
  • Gaslighting.
  • Drug addiction.
  • Unstable reality.
  • Flashing lights.
  • Alcohol abuse.
  • Slapping of woman.
  • Spiked drinks.
  • Mention of sexual assault.
  • Bullying.
  • Someone is physically restrained.
  • Cutting of flesh.
  • Throat mutilation.
  • Someone struggles to breathe.
  • Someone’s hair is burned.
  • Body horror.
  • Unconsciousness.
  • Seizure.
  • Torture.
  • Stabbing.
  • Death of child.
  • Drug overdose.
  • Cheating.
  • Death of parent.
  • Shower scene.
  • Someone pees on themselves.
  • Vomiting.
  • Spitting.
  • Audio gore.
  • Bisexual cheating.
  • Self-harm.
  • Suicide attempt.
  • Meltdown.
  • Misophonia.
  • Suicidal ideation.
  • Anxiety attacks.
  • Claustrophobia.
  • Suicide.
  • Sudden loud noises.
  • Crying baby.
  • Screaming.
  • Profanity.
  • Abortion.
  • Miscarriage.
  • Swastika.
  • Homophobic slurs.
  • Incest.
  • Death of LGBT person.
  • Blood and gore.
  • Sad ending.

CWs for Fury:

  • Smoking.
  • Alcohol.
  • Racial slur.
  • Lynching.
  • Someone is burned alive.

Links to movies:

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Watching it for the first time just I watched Prometheus a week ago and kinda liked it.

And so far I'm liking it but, damn, sending your whole crew down to an UNKNOWN PLANET with not protective equipment? Like wtf, just cuz the atmosphere is breathable doesn't mean there won't be, I dunno, SOME WEIRD ALIEN DISEASE??? As well as several other potentially deadly things, like idk psychic plants or aliens that say hello by ripping your genitals off.

Do characters in SciFi stories ever read SciFi? Come on this is like 101 shit bro.

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tweet link

If Beyond the Spider-Verse was hitting theaters next summer, we would’ve heard about it by now, as Sony would’ve assigned it a release date.

2026 seems perfectly doable, but I’m told that it would be extremely unlikely that Sony would want to release an animated Spider-Man movie and a live-action Spider-Man movie in the same calendar year, as the studio is better off staggering those two franchises.

So not only is 2027 more likely for that reason alone, but over Labor Day Weekend, I heard that Sony scrapped most of Beyond the Spider-Verse for creative reasons, and because of that decision, the movie would be unlikely to debut before 2027 given the detailed animation it requires.

While the Beyond the Spider-Verse team was taken aback by the change in direction, I’m told they’re relieved to have more time to work on the sequel, as it’s important to all involved that they stick the landing on this Oscar-winning franchise.

i wouldnt fully blame sony for this if you remember that the directors had the worst working conditions

Spider-Verse Artists Say Working on the Sequel Was "Death by a Thousand Paper Cuts"

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For this 9/11 edition of Super Slop Night, by popular demand, it’s the long-awaited screening of the fifth and six Project A-ko movies, the final entries in the series, which transplant the characters into a completely new setting and otherwise have nothing to do with the previous installments. They’re still fun.

After that is Teenage Mutant Ninja Turtles: Mutant Mayhem (2023), the latest version of the neverending franchise. It follows a quartet of four anthropomorphic turtle brothers who emerge from the sewers of New York City at 15 years old and interact with humans for the first time. Also, they fight stuff. This is animated in a style similar to Spider-Man: Into the Spiderverse (2018) and Puss in Boots: The Last Wish (2022). Many are calling it the best version of TMNT ever. I guess we’ll find out. It is the debut feature of director Jeff Rowe, who was previously a writer for The Mitchells vs. the Machines (2021).

BONUS: we will also watch The Red Balloon (1956), a short film about a French boy searching for his beloved balloon on the streets of Paris. It is widely considered one of the best short films of all time, even winning the Oscar for Best Original Screenplay. It is the only film of note by director Albert Lamorisse, who is better-known as the creator of the board game Risk. Small world.

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

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

Be there, comrades!

Letterboxd:

Doesthedogdie.com links:

CWs for Project A-ko 5 & 6:

  • “Man in a dress” jokes. The aliens look like men who dress as women. The characters barely acknowledge this fact directly, but the depiction is still problematic.
  • Bugs.
  • Stalking.
  • Mention of sexual assault (but no depiction).
  • Someone struggles to breathe.
  • Kidnapping.
  • Bath scene.
  • Flashing lights.
  • Plane crash.
  • Gun violence.
  • Nuclear explosion.
  • Objectification of female characters. -Panty shots of high-school-aged girls.

CWs for Teenage Mutant Ninja Turtles: Mutant Mayhem:

  • Someone leaves without saying goodbye.
  • Abusive parents.
  • Stalking.
  • Deaths of animals.
  • Animal abuse.
  • Sad animals.
  • Alligators.
  • Bugs.
  • Someone is physically restrained.
  • Someone struggles to breathe.
  • Someone is crushed to death.
  • Choking.
  • Body horror.
  • Tooth damage.
  • Unconsciousness.
  • Broken bones.
  • Torture.
  • Eye mutilation.
  • Stabbing.
  • Kidnapping.
  • Death of parent.
  • Natural bodies of water.
  • Trypophobia.
  • Vomiting.
  • Spitting.
  • Audio gore.
  • Electrotherapy.
  • Needles.
  • PTSD.
  • Anxiety attacks.
  • Sudden loud noises.
  • Shaky cam.
  • Screaming.
  • Flashing lights.
  • Someone is watched without their knowledge.
  • Babies.
  • Car crash.
  • Screeching tires.
  • Someone is hit by a car.
  • Gun violence.

Links to movies:

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Low budget TV movie that I found recommended on Twitter in the wake of the news breaking on James Earl Jones.

What starts out like what you'd expect of a movie adapting a real alleged abduction actually ends up unfolding into an extremely effective relationship drama as the alleged abduction puts a strain on their mental health and already tenuous social standing as not just a mixed couple but also one featuring a divorced black man, all in the early 60s.

Genuinely top class romantic acting from both James Earl Jones and his co-star Estelle Parsons, with James also turning out some really great acting of panic and terror during the hypnosis scenes.

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A young Donald Trump (Sebastian Stan), eager to make his name as a hungry second son of a wealthy family in 1970s New York, comes under the spell of Roy Cohn (Jeremy Strong), the cutthroat attorney who would help create the Donald Trump we know today. Cohn sees in Trump the perfect protégé—someone with raw ambition, a hunger for success, and a willingness to do whatever it takes to win.

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No thoughts whatsoever on the film but I love this line of the review.

spoiler

When Robbie Williams told an interviewer that he felt like a performing monkey, he didn’t mean it literally. But that’s exactly how “The Greatest Showman” director Michael Gracey interprets the remark in “Better Man,” an off-the-wall musical biopic that surely would have seemed banal — as opposed to downright bananas — had it featured a flesh-and-blood actor in the Robbie Williams role.

Gracey takes audiences through all the expected beats of Williams’ career, from his breakthrough as a member of Take That to his record-breaking solo concert at Knebworth, but does so with a CG chimpanzee standing in for the Britpop bad boy. Against all odds, that gimmick works, distinguishing the project from so many other cookie-cutter pop-star hagiographies. If you want to fawn over this boy-band backup singer-turned-solo superstar for four hours, check out the “Robbie Williams” doc series on Netflix. But if you want to see a chimp doing coke with Oasis, or getting a fateful hand job in front of manager Nigel Martin Smith (Damon Herriman), this is your movie.

By inserting what looks an awful lot like Caesar from the new-and-improved “Planet of the Apes” franchise in Williams’ place, Gracey dodges the main question folks have about musical biopics — namely, “Who’s gonna play him?” So if you worry whether the whole chimp thing could be distracting, don’t forget how barmy it felt pretending that Elton John’s life would have turned out the same if he’d looked anything like Taron Egerton, or that a pair of false teeth could transform Rami Malek into the strutting sex symbol that was Freddie Mercury.

Recently, “Stardust,” “Back to Black” and even “Elvis” were undermined by the chasm we felt between those films’ lead actors and the pop icons they were portraying. By contrast, “Better Man” falls squarely in that uncanny valley, and for once, that’s a good thing. First off, Americans don’t really know who Williams is, making it easy to accept whatever Gracey puts in his place. Better still, his simian CG counterpart proves far more expressive than most human actors, meaning the movie is built around an animated performance powerful enough to wring tears.

With “Better Man,” the musical maestro adds ridiculously complicated technical challenges to his résumé — like the jaw-dropping “Rock DJ” number staged in London’s busy Regent Street, shot over four days and stitched together to look like a single unbroken take, or the “Come Undone” sequence where he speeds away from the boy-band breakup, nearly smashes his car into an oncoming bus and plunges into a sea of paparazzi. These numbers deliver essential emotional information in unimaginably dynamic ways, leaving traditional tuners in the dust.

And yet, “Better Man” suffers from the same issue that afflicts nearly all pop-star portraits: Instead of picking a significant chapter from their subjects’ lives, these biopics typically take the cradle-to-the-grave approach (or cradle-to-rehab, as the case may be). That works for docs, but when it comes to dramatic retellings, the strategy forces the world’s most fascinating characters into familiar arcs: First they demonstrate natural talent, then they’re discovered, then they become insanely rich and famous, only to sabotage it all with addiction, infidelity and ego. If they’re lucky, they don’t OD, assuring normies everywhere they’re better off not being famous.

“Better Man” wants to be “All That Jazz,” but it falls back on the redemptive life-story formula, introducing Robbie as a boy — or in this case, an adolescent chimp, looking scrawnier (and a great deal hairier) than his peers. Little Robbie’s bad at sports, worse at school, but a natural clown, as he learns during a school play. Robbie gets that cheeky streak from his father, a cabaret comedian (stage name Peter Conway, played here by Steve Pemberton) who leaves home to pursue his own showbiz dreams when Robbie is just a lad.

The truth is more complicated, but a stunted man-child searching for Dad’s approval makes Williams relatable. Gracey extensively interviewed the superstar about his life, then constructed the narrative he wanted to tell with co-writers Simon Gleeson and Oliver Cole. His angle is frustratingly familiar, though the execution is downright astonishing — we’re talking Wachowski-level ingenuity as Gracey fashions sophisticated montages where you can’t even spot the cuts.

Consider the scene where Williams learns his most unconditinoal supporter has died, just before playing his biggest show. The camera starts with a tight close-up on Robbie’s eyes, then pulls out to reveal him suspended upside down above the stage, rotating 180 degrees as it flies over the heads of several thousand fans. His eyes are the best thing about that scene — and every scene. They make all the difference: dazzling green and stylized to look more human than chimp-like. Gracey’s visual effects team (led by Wētā whizzes Luke Millar and Andy Taylor) studied hours of archival footage to get the singer’s facial expressions just right, so every squint, wink and scowl corresponds to the real Robbie.

Disarmingly unfiltered at times, Williams swears up a storm, dropping expletives (and trou) without warning — an irreverent trait Gracey slyly re-creates here, placing the chimp in familiar photo shoots. He even offers a version of the “Rock DJ” music video, in which Williams strips down to his insides. The star’s ape avatar goes through a staggering range of emotions over the course of the movie, from being smitten with fellow pop star Nicole Appleton (Raechelle Banno) to feeling devastated by her decision to abort their child for a No. 1 hit. Even his bisexuality is fair game, making “Better Man” a better movie than “Bohemian Rhapsody.” Same goes for his clinical depression — though the death match between all of his different personas (which plays out like “War for the Planet of the Apes”) takes his self-destructive tendencies a step too far.

No matter how dark Williams gets, he remains an undeniably charming character, rendered more so by the monkey thing. Frankly, Gracey’s chimpanzee conceit was always a stretch, since the “performing monkey” put-down really only applies when Williams is doing someone else’s bidding. Behind the CG ape is a real actor, Jonno Davies, who performed his trickiest scenes on set, including much of Ashley Wallen’s inventive choreography. While it’s hard to say how much of Davies’ work survives, the finishing-touch animation is so good, the Academy needs to find the right category in which to acknowledge it.

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@@@@This comes from above: it's strongly recommended to use a VPN for cytube. @@@@ There was a thread recently about vpns and a few you should explicitly avoid.

The visual cuisine for this Monday night consists of - due to popular demand - the next 3 episodes of the Harley Quinn Anime, Godzilla vs Mothra 1992, and Pickpocket.

The Harley Quinn anime is a popular anime from 2019 about Harley Quinn embarking on her own adventures after finally dumping Joker.

Pickpocket is about a man committing petty theft and consequently feeling guilty about it, from the director of the donkified movie.

Godzilla vs Mothra is about Godzilla, Mothra, and Battra fighting for Earth and its plastic.

8 pm est

content warnings:

Harley Quinn

https://www.doesthedogdie.com/media/21892?index1=-1&index2=-1

  • Cartoon violence, gore, and death
  • Profanity
  • An episode has a few slurs
  • Domestic violence/abusive relationships
  • Gaslighting
  • Child abuse
  • Frequent mentions of sex
  • Objectification of women
  • A dog dying is mentioned
  • A cat dies
  • Drugs and alcohol
  • Addiction
  • Animal death
  • Giant spiders
  • Implied SA
  • Cutting, e.g knife fights
  • Eye mutilation
  • Death of children
  • Kidnapping
  • Death of a parent
  • Cheating in a relationship
  • Clowns
  • Electro-therapy
  • Needles and syringes
  • Scenes in a mental institution
  • A mentally ill person is violent, most notably the protagonist as well as multiple recurring characters
  • Flashing lights
  • Fat shaming
  • Antisemitism
  • Ableism

https://tankie.tube/w/fqijtSjTXyEawBzUUo4d7J

https://tankie.tube/w/rTkX3tWJviHbssyrp72TiB

https://tankie.tube/w/jUirhV5AYzBpizemdY566Z

Pickpocket:

  • French "people"
  • Smoking
  • Cops

https://tankie.tube/w/a73gAgA9dteH3PA6fGjUUH

Godzilla vs Mothra 1992:

  • Mild violence and gore
  • Alcohol
  • Monsters
  • Bugs

https://tankie.tube/w/iHm3RB918bGuiq7v261pqF

8 pm est

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The X-Files is an American science fiction drama television series created by Chris Carter. The original television series aired from September 10th 1993 to May 19th 2002 on Fox. During its original run, the program spanned nine seasons, with 202 episodes. A short tenth season consisting of six episodes ran from January to February 2016. Following the ratings success of this revival, The X-Files returned for an eleventh season of ten episodes, which ran from January to March 2018. In addition to the television series, two feature films have been released: The 1998 film The X-Files and the stand-alone film The X-Files: I Want to Believe, released in 2008, six years after the original television run ended.

The series revolves around Federal Bureau of Investigation (FBI) Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson), who investigate the eponymous "X-Files": marginalized, unsolved cases involving paranormal phenomena. Mulder is a skilled criminal profiler, an ardent supernaturalist, and a conspiracy theorist who believes in the existence of the paranormal, whereas Scully is a medical doctor and skeptic who has been assigned to scientifically analyze Mulder's case files. Early in the series, both agents apparently become pawns in a much larger conflict and so come to trust only each other and a few select people. The agents discover what appears to be a governmental agenda to hide positive proof of the existence of extraterrestrial life. Mulder and Scully's shared adventures initially lead them to develop a close platonic bond, which by series' end develops into a complex romantic relationship. Roughly one third of the series' episodes follow a complicated mythopoeia-driven story arc about a planned alien invasion, whereas the other two-thirds may be described as "monster of the week" episodes that focus on a singular villain, mutant, or monster.

The X-Files was inspired by earlier television series featuring elements of suspense, horror, and speculative science fiction, including The Twilight Zone, Night Gallery, Tales from the Darkside, Twin Peaks, and especially Kolchak: The Night Stalker. When creating the main characters, Carter sought to reverse gender stereotypes by making Mulder a believer and Scully a skeptic. The first seven seasons featured Duchovny and Anderson relatively equally. In the eighth and ninth seasons, Anderson took precedence while Duchovny appeared intermittently. New main characters were introduced: FBI Special Agents John Doggett (Robert Patrick) and Monica Reyes (Annabeth Gish), among others. Mulder and Scully's immediate superior, Assistant Director Walter Skinner (Mitch Pileggi), began to appear regularly. The first five seasons of The X-Files were filmed in Vancouver, British Columbia, before production eventually moved to Los Angeles, apparently to accommodate Duchovny's schedule. However, the series later returned to Vancouver with the filming of The X-Files: I Want to Believe as well as the tenth and eleventh seasons.

The X-Files was a hit for the Fox network and received largely positive reviews, although its long-term story arc was criticized near the conclusion. Initially considered a cult series, it turned into a pop culture touchstone that tapped into public mistrust of governments and large institutions and embraced conspiracy theories and spirituality. Both the series itself and lead actors Duchovny and Anderson received multiple awards and nominations, and by its conclusion the show was the longest-running science fiction series in U.S. television history. The series also spawned a franchise that includes Millennium and The Lone Gunmen spin-offs, two theatrical films, and accompanying merchandise.

Todays Mega is dedicated to all the old people that watched this show

Megathreads and spaces to hang out:

reminders:

  • 💚 You nerds can join specific comms to see posts about all sorts of topics
  • 💙 Hexbear’s algorithm prioritizes comments over upbears
  • 💜 Sorting by new you nerd
  • 🌈 If you ever want to make your own megathread, you can reserve a spot here nerd
  • 🐶 Join the unofficial Hexbear-adjacent Mastodon instance toots.matapacos.dog

Links To Resources (Aid and Theory):

Aid:

Theory:

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Rebel Ridge is fun (hexbear.net)
submitted 1 week ago* (last edited 1 week ago) by [email protected] to c/[email protected]
 
 

Ok so it's Netflix slop and it shows in the third act, but the journey is generally enjoyable and has a lot of good pigs being pathetic.

From the AV club review

spoiler

That’s really the genre Saulnier lands on here, complete with a moral clarity about its violence—Terry doesn’t kill, for reasons not precisely stated but perfectly in keeping with his background as well as his pragmatism—that might strike some as insufficiently radical, especially for a filmmaker who has knowingly flirted with exploitation-movie righteousness

Personally I wanted at least a few of the pigs to die, though there's definitely some fun wounding/injuring. I wonder if some of the tameness is due to the Netflix slop machine.

Still, I think even if the ending is a bit disappointing, the journey makes it clear how corrupt the pigs are and how irredeemable they are.

In short officer-down

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yesterday I made a post in c/chat lightly making fun of ICP, because I heard about this movie. ended up watching it last night and it honestly fucking blew me away

it's genuinely sincere and heartfelt while also being funny as fuck, like several parts got an audible laugh from me, and I watched it alone. it does get super dark towards the end and there's some gross, disturbing stuff that might not be for everyone, but it's never mean-spirited or cynical and knows just when to pull back and ease the tension with comic relief

it's also very ACAB, as the plot revolves around our two protagonists getting hassled by small-town cops on their way to the Gathering. I don't want to say too much more other than that you should watch it. my only regret was not grabbing a bottle of Faygo first

WHOOP WHOOP!

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