-`annie´-

since it's the middle of the summer.. what be better way to spend your time then watching a bunch of movies.

I tag the following people to show your letterbox or just write what your favourite movies are.

The Phantom of the Opera (2004)

The Phantom of the Opera (1925)

Dracula (1931)

Frankenstein (circa 1930’s)

Arsenic And Old Lace (1942 I think)

IT (1927)

HE Who Gets Slapped (circa 1920’s)

The LOTR trilogy

The Hobbit trilogy

Lotr return of the king

Iron Man

Spiderman Homecoming

The amazing Spiderman

The life of Chuck

there are more but we don’t have time for that

This is difficult as I am more of a tv show person but here it goes—first ten movies that come to mind.

1. Princess Mononoke*

2. The Princess Bride

3. How to Train your Dragon

4. Treasure Planet

5. Wall-e

6. La la land

7. Project hail mary

8. Spirited away

9. Nice guys

1: Spider-man Across the Spiderverse

2: Ace Ventura Pet Detective

3: every single Tom Holland Spider-man movie

4: Spider-man Into the Spiderverse

5: all Toby Maguire Spider-man movies

6: Avengers Infinity Wars

7: The Truman Show

thats all i can think of haha

2. Saving Private Ryan

3. Castle in the Sky

4. Princess Mononoke

5. Howl’s Moving Castle

6. Ponyo

7. Nausicäa of the Valley of the Wind

8. My Neighbour Totoro

9. Spirited Away

10. LOTR Trilogy

Not necessarily in order but I tried

Tags: @iateyourshoe @forestvaleska @hooblerism @q-branch-official @hello-stars and open tags!!

Daniel Craig in »Road to Perdition« (dir. Sam Mendes, 2002)

But the question remains, what means of transport?

The classic, and even desired, answer is train (@imperiuswrecked "He hasn't even been on a train yet" post has 130K notes). Throughout mystery literature, trains are a classic setting, a subgenre in themselves.

But, when trying to speculate on the theme of the next mystery, there is another factor that must be taken into account: social commentary. The first three films have a general critique of the wealthy class and current power systems in general, but they are also obviously American.

This is not a surprise, Rian Johnson is an American screenwriter who famously discusses and criticizes American society (I'm not about to whatabout Rian Johnson) and the Knives Out trilogy is no exception. All three films address American problems and american people (Glass Onion takes place in Greece but with a 100% American cast).

The first film criticizes the rhetoric of the United States as a country of social mobility, without the rigid class systems of traditional Europe. The Thrombeys show how the descendants of self-made fortunes see themselves as deserving of wealth and those below as deserving of misery, because they did not earn more. They feel that in addition to the fortune, they also inherit the suffering and effort of those who actually created it. The film shows how entitlement and greed do not need the divine right of kings or the myth of good breeding to justify themselves, as they are completely illogical and selfish.

The second film goes a step further, destroying the "self-made rich" themselves. In Glass Onion, we are confronted with the fact that the current capitalist system rewards those who feed the system itself and not those who create things that truly benefit humanity. The powerful class remains in a closed circle of complicity and enablement, yes anding each other to the end. They are not only completely disconnected from the truth but willing to rewrite the truth for their own benefit. Creativity and intelligence are secondary to the ability to control the narrative and present oneself as the one who can distribute more power, not to mention how classic biases will remain and how the system maintains the status quo (I could write an entire post about Andi as an ambitious Black woman and how this is directly linked to her death)

Finally, in the third film, we move away from the super wealthy word famous class and see how "ordinary" powerfull people are affected by the current power dynamics and how religion is embedded in such a system. Although Wicks' fortune is a point of conflict throughout the film and hovers over the entire narrative, for most of the story it is a theoretical source of power that cannot be immediately used to physically affect reality. But it shows how those who were once seen as having power struggle to maintain it, using fear and tradition to keep their subjects subjugated.

All these films have undeniably American characteristics, Wake Up Dead Man takes a characteristically British setting, spring in the countryside (cozy British mystery being a genre of its own with Father Brown being an example that is cited in the film itself), and puts an American twist on it.

Then the question arises of how Rian Johnson will put an American twist on the mystery of a means of transportation and connect it with a recent social commentary.

Currently, the train is not a common and efficient form of transportation in the United States, which in itself could be a source of commentary, but this is due to the much-discussed situation of America as being centered on cars due to the heavy lobbying of the fuel and automotive industry. Personally, I don't see how it would be possible to run a murder investigation in moving cars; at least not in a way that maintains the classic themes and situations of the genre and the large cast model. But also, there's a reason I'm not the critically acclaimed director, so maybe Rian Johnson will find a way to make it work, I think that would be my preferred scenario, even if it's the most unlikely.

If we were to go the boat route, (the transatlantic cruise beeing one of the first althernatives of the means of transportation mystery) one way to incorporate the winter theme would be through an Arctic cruise, a less common but existing practice among the more privileged American classes. It would also be an opportunity to delve deeper into the environmental themes presented in Glass Onion with Kear fuel; addressing both the melting ice caps and the environmental impact of cruises as a whole. Cruises are also a great narrative tool to discuss the dynamics of foreign labor in the service industry.