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BOT's Top 100 Movies of All Time - Hindsight is 2020 Edition

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4 hours ago, The Panda said:

 

 

229.    The Young Girls of Rochefort
230.    The Music Man
236.    Fiddler on the Roof
247.    The Battle of Algiers

Waaaaaah. Was girls like only me and jake? 😬

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2 hours ago, Cap said:

Waaaaaah. Was girls like only me and jake? 😬

Gotta start somewhere. Watch this delightful classic musical, people! (And I'm happy to hear you didn't just like it, but top-100 liked it).

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8 hours ago, The Panda said:

Making its debut in the top 100!

 

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"Baby, you are gonna miss that plane."

 

About the Movie

 

Synopsis

 

"Jesse, a writer from the US, and Celine, a Frenchwoman working for an environment protection organization, acquainted nine years ago on the train from Budapest to Vienna, meet again when Jesse arrives in Paris for a reading of his new book. As they have only a few hours until his plane leaves, they stroll through Paris, talking about their experiences, views and whether they still love each other, although Jesse is already married with a kid."

 

Its Legacy

 

"Think of this as time travel.” So goes one of the great pickup lines in all of cinema, arriving mere minutes into Richard Linklater’s Before Sunrise (1995) and inaugurating a screen romance unlike any other. Jesse (Ethan Hawke), a young Texan on a train in eastern Europe, has just struck up a conversation with Celine (Julie Delpy), a young Parisienne who’s heading home from a visit with her grandmother in Budapest. A strong mutual attraction is evident from their effortless banter, which darts from whimsical (Jesse riffs on his idea for a yearlong, real-time public-access cable experiment) to solemn (Celine reveals that she’s constantly terrified of death) to confessional (they share childhood memories and discuss the burden of parental expectations). When the train pulls in to Vienna, where Jesse will catch a flight home the next morning, he persuades Celine to hop off and continue talking as they explore the city. He pitches this as a way to forestall doubt: when her future self looks back, she won’t have to wonder if that interesting guy she once met on the train was a missed opportunity.


The shifting meaning of a moment—as it is anticipated and then experienced, as it is remembered or misremembered, as it gains or loses luster in a year, a decade, or more—is the existential question that animates the story of Jesse and Celine, which has now played out over three films spanning nearly two decades. Before Sunrise depicts the charmed brief encounter of this bright, self-conscious, hyperverbal, sometimes maddening, mostly endearing pair; Before Sunset (2004) stages the rueful deferred reunion that characters and viewers alike long yearned for; and Before Midnight (2013) catches up with them on the cusp of middle-aged domesticity, in medias res, as they go about the business of living.

 

Each film is a window onto a stage of life, sharply attuned to the possibilities and disappointments of one’s twenties, thirties, and forties. Taken together, they have become something much larger and more radical: an ongoing collective experiment in embodying the passage of time. Such decade-spanning endeavors are hardly unprecedented in cinema: obvious analogues include Michael Apted’s Up documentaries and François Truffaut’s Antoine Doinel series. But The Before Trilogy gains its unique emotional force from being, in the fullest sense, a love story, a rare, knowing engagement with both the fantasies and the realities of romance. Especially for those who have aged along with them, these films ask to be read reflexively, which is to say personally. Watching them entails a very particular form of viewer participation: as Celine and Jesse openly wrestle with the transience of love, the deceptions of time, and the specter of mortality, we are obliged to do so as well, in ways that relate to our own lives.

- Dennis Lim

 

From the Filmmaker

 

" "I'm very interested in the reality of these actors on the screen, so I know you can't just say lines that are written by someone else. The script, the text, has to work its way through the person, and so by having Julie and Ethan kind of work with me in rewriting that script, and personalizing it and demanding they give a lot of themselves, I thought that was the only way that film could ultimately work the way I wanted it to. The script was really a first step, but for it to give the effect that I wanted, I was looking for the two most creative young actors to fill those shoes, because I knew what would be asked of them.

 

"She kind of echoes through the film. I always felt I would see her, like she would show up at a screening. When you make a film, you're in public quite a bit. You do screenings, festivals. I run into a lot of old friends, and I figured, just in my mind, 'I have a screening in Philadelphia; maybe she'll be in New York. ... ' And she never showed up. Even in the second film, I think that, in a way, works into the idea of the novel [that Hawke's character, Jesse, writes] and it's sent out as a beacon, you know, in some way, what Jesse admits to, that was swirling around. And I don't want to exaggerate: [My experience] wasn't as intense of a relationship, obviously, as Celine and Jesse have; it was just something swirling around in my mind. The new film is dedicated to her." [Linklater learned from a mutual friend that the woman died in a motorcycle accident shortly before Before Sunrise began filming.]"

- Richard Linklater, an Interview with NPR

 

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Why It's the Greatest

 

Critic Opinion

 

"Few American films have the courage to rely entirely on dialogue and subtext for story. These filmmakers make certain they have nothing else to fall back upon.  To be sure, the two actors are pleasing to watch; indeed, a brief flashback to the first movie establishes they may be better looking now than then. And Delpy does sing a song she wrote late in the film. Otherwise, it's just two people chatting merrily away, asking questions and searching replies for clues as to where they now stand as a couple.

 

There are unexpected revelations. Both lived in New York at the same time and did their own version of Sleepless in Seattle but never encountering the other. (Tantalizingly, Jesse once thought he saw Celine and is further crushed to realize he just might have.) Jesse also has a wife and son, while Celine has a boyfriend she likes. Now where does that leave them as a couple? While it is clear they are as easy with each other as ever, it is not at all clear this won't be just another chance encounter.  The trio has made a wise film about how age works on people. Life has taught each a few things in the intervening years, so they look at people and options in a different light. That's why Jesse wrote a book and Celine a song about their one night together. It was more of a rare thing than either of them had realized.  Shot in just 15 days on a tight budget, Before Sunset is an accomplished bit of guerrilla filmmaking. Cinematographer Lee Daniel's long camera takes are smooth and unobtrusive, the actors appear relaxed, and the chemistry between them is excellent. Even Delpy's songs are not bad at all. 

 

User Opinion

 

"At this point I'd name it as one of my ten favorite films of all time. Much as I love the other parts of the trilogy, this is the only one where I think every single conversation scene is as strong. and endlessly rewatchable, as any other (on the other hand, I become much less attentive when they meet the fortune teller and the street poet in Sunrise, or when Hawke starts talking about his premises for novels in Midnight). The theme of dealing with passed time hits me the most here, and consequently the resolution, where they finally - after almost a decade! - regain control over their lives and relationship to the sounds of "Just In Time" is one of the most triumphant and deliriously happy, yet not a tiny bit fake or forced, endings I've ever seen." - @Jake Gittes

 

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Factoids

 

Placement on Prior Lists

 

2012 - Unranked, 2013 - Unranked, 2014 - Unranked, 2016 - Unranked, 2018 - Unranked

 

Director Count

 

Richard Linklater - 1

 

Franchise Count

 

Before Trilogy - 1

 

Decade Count

 

2000s - 1

 

 

 

Wasn't this just a couple of points from making it into the top 100 in 2018 version of this list? I guess me joining in for this year's version and putting this at 1st place on my list helped it. Really hoped this would be higher though. 

Edited by lorddemaxus
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40 minutes ago, lorddemaxus said:

Wasn't this just a couple of points from making it into the top 100 in 2018 version of this list? I guess me joining in for this year's version and putting this at 1st place on my list helped it. Really hoped this would be higher though. 

Yeah, and Midnight fell more than 100 spots from 2018. Guess among the couple dozen people who participated then but not now we may have lost some fans of these movies. The point structure is also so tight that it's a real fight for a lot of movies to take and keep their positions.

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1 hour ago, Jake Gittes said:

Yeah, and Midnight fell more than 100 spots from 2018. Guess among the couple dozen people who participated then but not now we may have lost some fans of these movies. The point structure is also so tight that it's a real fight for a lot of movies to take and keep their positions.

Gotta hold out hope for Sunrise to show up

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2 hours ago, lorddemaxus said:

Wasn't this just a couple of points from making it into the top 100 in 2018 version of this list? I guess me joining in for this year's version and putting this at 1st place on my list helped it. Really hoped this would be higher though. 

Our other Linklater Stan, @aabattery has been missing in action recently, so there was that

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Featuring my first haiku of the countdown, I'll go edit some in for the prior five later... *help*

 

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About the Movie

 

Synopsis

 

"Set in Hong Kong, 1962, Chow Mo-Wan is a newspaper editor who moves into a new building with his wife. At the same time, Su Li-zhen, a beautiful secretary and her executive husband also move in to the crowded building. With their spouses often away, Chow and Li-zhen spend most of their time together as friends. They have everything in common from noodle shops to martial arts. Soon, they are shocked to discover that their spouses are having an affair. Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates."

 

Its Legacy

 

"At the turn of the twenty-first century, Wong Kar-wai was the most exciting director in the world, and 2000’s In the Mood for Love is his greatest movie. Like the other Hong Kong directors of his time, Wong imbues everything the West regards as film cliché with a new glamour and fervor; but whereas in the cinema of John Woo and Tsui Hark this romanticism lurks behind an operatic violence, in Wong’s films love is never merely a distraction or a motivation or a fleeting promise of redemption but the dominating conflict. Even at their most melodramatic, Wong’s love stories are sometimes funny but rarely ironic, played out against a psychically adrift cityscape where lovers don’t have the luxury of irony.

 

Praising a particular work in an ever-growing oeuvre as “mature” is as condescending as it is meaningless, so let’s say that, Wong’s psychedelic noirs having peaked with Chungking Express (1994) and Fallen Angels (1995), In the Mood for Love is distinctive for its quieter classicism and looming sense of history. Occupying next-door apartments, Chow Mo-wan (Tony Leung Chiu-wai), a newspaperman, and Su Li-zhen (Maggie Cheung Man-yuk), an executive secretary, notice that their respective spouses are always out of town at the same time, and soon these forsaken partners of two adulterers flirt with the possibility of their own affair. “We won’t be like them,” they vow to each other, even as they take a hotel room—not to consummate anything but to collaborate on scenes they imagine from the other affair, as well as a series Chow is writing for his newspaper. Rehearsing illicit overtures and responses in the winding streets and throbbing corridors and pulsing stairways of a cloistered Hong Kong—as ravishingly shot by Christopher Doyle and Mark Lee Ping-bin—the two remain no more sure than we are of whose desire is being expressed; they’re compelled by the constraints they’ve imposed on themselves out of both a fragile honor and moral vanity, and they waver but not to the point of succumbing. Of course, this only turns up the temperature between them; sometimes nothing is more erotic than repression. Like many who’ve been cheated on, Chow and Su blame themselves, and deny themselves what they’re confident they don’t deserve.

 

For much of its filming, what would become In the Mood for Love was called Secrets, and without divulging too much to those who haven’t seen it yet, the movie ends with a secret, whispered into a hole in a wall and then, with the mud of the earth, sealed off from what we can hear or know. In the Mood’s two lovers are bound by the conviction that what divides them is the same sensual inertia that drove their spouses into each other’s arms. But watch Cheung walk to and from the noodle shop and you know this isn’t possible. There is nothing sensually inert about that walk. It would be lascivious, that walk, were it by any actress other than Cheung, or from any director other than Wong Kar-wai. Su’s body may keep a secret from Su but not from anyone who watches her, and long after the wounds of betrayal pretend to heal, long after she and her coconspirator in an eluded passion have separated, long after this serenely delirious movie is over, the secret of that walk haunts us as much as whatever it is that Chow has murmured in the dark."

- Steve Erickson, National Editor of Black Clock Journal

 

From the Filmmaker

 

"We started the film in a different way. At first, we called the film “A story about food.” The story of “In the Mood for Love,” in fact, is actually one of the stories about these two people, neighbors, who are buying noodles all the time. Later on, I realized that the reason I wanted to make this project is only this story, so I expanded it. It was supposed to be a quick lunch and then it became a big feast.  At the beginning, I thought this is an easy film, because we had two characters and the whole film is about these two persons, and then I realized it was much more difficult than my previous films with 10 characters, because we had to put a lot of details in it. We shot the film [following the characters from] 1962 to 1972 and in the editing room, I think the film stopped at 1966, which is the film you see now.

 

I always wanted to make a film about this period, because it’s very special in the history of Hong Kong, because it is right after 1949 and a lot of people from China are living in Hong Kong and they still have their dreams about their lives back in China. So like the Chinese communities in the film, there are people from Shanghai and they have their own languages and they don’t have contact with the local Cantonese. And they have their own movies and music and rituals. That is a very special period and I’m from that background. And I want to make a film like this, and I want to recreate that mood.   I always wanted to call this film, “Secrets” or something about secrets, and Cannes said, “No, there’s already so many films with Secrets.” So we had to find a title. We were listening to the music of Bryan Ferry, called “In the Mood for Love,” so we call it “In the Mood for Love,” why not? Actually, the mood of the film is what drives these two people together.

 

We all need stories. What happens in our daily lives changes our stories. You can see the Italian cinema and the French new wave, in the 60s, the first generation after the second world war, so they have a lot of things to say and a new perspective. For these two years, Asian cinema, like Korean cinema, and even Thai cinema, they’ve become very, very strong, because they have their problems and new stories in their life. So they are not repeating the same old stories. I think the young filmmakers, their thinking is more global, so their films are more accessible to the Western audience.   In Hong Kong in the ’60s, going to cinema was a big thing. We have cinemas for Hollywood films, local productions, European cinema, but there was no [label of] art film at that time. Even Fellini was treated as a commercial film. So as a kid, I spent a lot of time with my mother in the cinemas. And we didn’t know which is an art film, which is a commercial film; we just liked to watch the cinema. At that time, we went to cinemas because of the film itself. As far as influences, we like what we see. And the sensations just stay."

- Excerpts from IndieWire interview with Wong Kar-Wai

 

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Why It's the Greatest

 

Critic Opinion

 

"In the Mood for Love was released when I was living in Hong Kong, albeit a very different city to that of the film's 1962 setting. Like Tony Leung's Chow Mo-wan, I was also working there as a journalist. Sadly, that's where my resemblance to his almost absurdly handsome, mournfully dapper character begins and ends.  My tenuous geographical connection to Wong Kar-Wai's 2000 masterpiece is, ultimately, a bit immaterial. Unlike many contributors to this series, my favourite film doesn't reflect something particular in my own life. On the contrary, In the Mood for Love's glory is its universality. A seemingly slight plot – man and woman move into the same cramped apartment building, gradually realise their respective spouses are having an affair and develop their own halting romance – is the platform for profound and moving reflections on life's fundamentals. It's a film about, yes, love; but also betrayal, loss, missed opportunities, memory, the brutality of time's passage, loneliness – the list goes on.

 

Deliberately limited in scope, the plot, supposedly worked out over a year of part-improvised filming, is hugely clever, not least for what it leaves out. We never see the cheating spouses, just feel their impact. The few other characters – mahjong-mad landlady Mrs Suen, Chow's buffoonish friend Ah Ping, and Su's philandering boss, feel abrasively coarse against the lead pair's quiet grace. Chow and Su's relationship, in particular, is wonderfully ambiguous. Do they simply choose not to take the relationship further ("We will never be like them," Su's character says, bitterly, of their spouses), or are they both waiting for the other to act? For all the heartbreaking decisions and coincidences which, ultimately, keep them apart, could their romance even have thrived outside the counterpoint of their shared betrayal? In lesser hands, the finale, where Chow whispers his unheard regrets and feelings into a stone hollow at Cambodia's Angkor Wat temple complex, before sealing them inside with mud, could be absurd, melodramatic. Wong makes it heartbreaking.  In the Mood for Love is so good that it's baffling how hapless Wong has seemed since. The half-follow-up, 2046, was similarly lustrous but terribly thin. Then came My Blueberry Nights, starring (God help us) Norah Jones, Natalie Portman and Jude Law. Here's hoping his next film, bringing back Leung, is a return to form."

- Peter Walker, The Guardian

 

User Opinion

 

"One of my favorite films of the past 25 years. So heartbreaking. And, fantastic scenario from Wong. Right up there with his own 2046 and Chungking Express. Awesome, awesome writer/director. And, yeah, Doyle's a freak talent as director of photography. Any time I come across the word melancholy, I think first of Wong Kar Wai and then of this film. He captures it ease.

 

"He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct."

 

I love that captioned moment in near the end of film. Just perfection."

- @JohnnyGossamer

 

The Panda's Haiku

 

In the mood for love

 

A woman walks in a room

 

Hungry, mood of love

 

Mxdwn-Movies-In-the-Mood-for-Love.1-770x

 

Factoids

 

Placement on Prior Lists

 

2012 - Unranked, 2013- Unranked, 2014- Unranked, 2016 - Unranked, 2018- Unranked

 

Director Count

 

Mel Brooks - 1, Rian Johnson - 1, Akira Kurosawa - 1, Richard Linklater - 1, Kar-Wai Wong - 1

 

Franchise Count

 

Before Trilogy - 1, Star Wars - 1, Studio Ghibli -1 

 

Decade Count

 

1970s - 1, 1980s - 2, 2000s - 2, 2010s - 1

 

 

 

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Here’s how you can watch the films listed in the top 100.   I’ll try to update this post as more entries come in.   Also apologies I only have access to the American services


 

Spoiler

100 https://www.justwatch.com/us/movie/before-sunset
 

99 https://www.justwatch.com/us/movie/star-wars-the-last-jedi

 

98 https://www.justwatch.com/us/movie/ran


97 https://www.justwatch.com/us/movie/blazing-saddles


96/https://www.justwatch.com/us/movie/my-neighbor-totoro


95 https://www.justwatch.com/us/movie/hua-yang-nian-hua

 

94 https://www.justwatch.com/us/movie/coco
 

93 https://www.justwatch.com/us/movie/avengers-infinity-war

 

92 https://www.justwatch.com/us/movie/spider-man-into-the-spider-verse

 

91 https://www.justwatch.com/us/movie/the-bridge-on-the-river-kwai


90 https://www.justwatch.com/us/movie/predator
 

89 https://www.justwatch.com/us/search?q=Children of men


88 https://www.justwatch.com/us/movie/fight-club

 

87 https://www.justwatch.com/us/movie/wolf-of-wall-street-the
 

86 https://www.justwatch.com/us/movie/eternal-sunshine-of-the-spotless-mind

 

85 https://www.justwatch.com/us/movie/boyhood-2014

 

84 https://www.justwatch.com/us/movie/toy-story-3-3d

 

83 https://www.justwatch.com/us/movie/gravity
 

82 https://www.justwatch.com/us/movie/whiplash

 

81 https://www.justwatch.com/us/movie/unforgiven

 

80 https://www.justwatch.com/us/movie/die-hard-1988

 

79 https://www.justwatch.com/us/movie/the-terminator

 

78 https://www.justwatch.com/us/movie/the-apartment

 

77 https://www.justwatch.com/us/movie/captain-america-the-winter-soldier


76 https://www.justwatch.com/us/movie/aladdin

 

75 https://www.justwatch.com/us/movie/avengers-endgame

 

74 https://www.justwatch.com/us/movie/north-by-northwest

 

73 https://www.justwatch.com/us/movie/spiderman-2
 

72 https://www.justwatch.com/us/movie/before-sunrise

 

71 https://www.justwatch.com/us/movie/frank-capras-its-a-wonderful-life

 

70 https://www.justwatch.com/us/movie/monty-python-and-the-holy-grail

 

69 https://www.justwatch.com/us/movie/dr-strangelove-or-how-i-learned-to-stop-worrying-and-love-the-bomb


68 https://www.justwatch.com/us/movie/mulholland-drive

 

67 https://www.justwatch.com/us/movie/inglorious-basterds


66 https://www.justwatch.com/us/movie/rocky

 

65 https://www.justwatch.com/us/movie/indiana-jones-3
 

64 https://www.justwatch.com/us/movie/thing-the

 

63 https://www.justwatch.com/us/search?q=A clockwork orange

 

62 https://www.justwatch.com/us/movie/finding-nemo

 

61 https://www.justwatch.com/us/movie/ratatouille

 

60 https://www.justwatch.com/us/movie/the-lion-king

 

59 https://www.justwatch.com/us/movie/citizen-kane

 

58 https://www.justwatch.com/us/movie/memento
 

57 https://www.justwatch.com/us/movie/toy-story-2
 

56 https://www.justwatch.com/us/movie/city-of-god

 

55 https://www.justwatch.com/us/movie/how-the-solar-system-was-won

 

54 https://www.justwatch.com/us/movie/beauty-and-the-beast-1991

 

53 https://www.justwatch.com/us/movie/wall-e

 

52 https://www.justwatch.com/us/movie/vertigo

 

51 https://www.justwatch.com/us/search?q=Once upon a time in the west

 

50 https://www.justwatch.com/us/movie/the-shining

 

49 https://www.justwatch.com/us/movie/psycho

 

48 https://www.justwatch.com/us/movie/alfred-hitchcocks-rear-window

 

47 https://www.justwatch.com/us/movie/seven-samurai


46 https://www.justwatch.com/us/movie/the-truman-show

 

45 https://www.justwatch.com/us/movie/the-social-network
 

44 https://www.justwatch.com/us/movie/pans-labyrinth


43 https://www.justwatch.com/us/movie/forrest-gump

 

42 https://www.justwatch.com/us/movie/toy-story

 

51https://www.justwatch.com/us/movie/saving-private-ryan

 

40 https://www.justwatch.com/us/movie/singin-in-the-rain
 

39 https://www.justwatch.com/us/movie/man-with-no-name-3-the-good-the-bad-and-the-ugly

 

38 https://www.justwatch.com/us/movie/princess-mononoke

 

37 https://www.justwatch.com/us/movie/apocalypse-now-redux


36 https://www.justwatch.com/us/movie/the-lord-of-the-rings-the-two-towers

 

35 https://www.justwatch.com/us/movie/heat-1995

 

34 https://www.justwatch.com/us/movie/the-incredibles

 

33 https://www.justwatch.com/us/movie/taxi-driver

 

32 https://www.justwatch.com/us/movie/aliens

 

31 https://www.justwatch.com/us/movie/the-wizard-of-oz

 

30. https://www.justwatch.com/us/movie/alien
 

29. https://www.justwatch.com/us/movie/inception

 

28. https://www.justwatch.com/us/movie/pulp-fiction
 

27. https://www.justwatch.com/us/movie/parasite-2019

 

26. https://www.justwatch.com/us/movie/the-silence-of-the-lambs

 

25. https://www.justwatch.com/us/movie/the-shawshank-redemption

 

24. https://www.justwatch.com/us/movie/e-t-the-extra-terrestrial

 

23  https://www.justwatch.com/us/movie/inside-out-2015

 

22 https://www.justwatch.com/us/movie/lawrence-of-arabia

 

21. https://www.justwatch.com/us/search?q=The matri

 

20 https://www.justwatch.com/us/movie/the-godfather-part-ii

 

19 https://www.justwatch.com/us/movie/casablanca

 

18 https://www.justwatch.com/us/movie/jurassic-park-i

 

17 https://www.justwatch.com/us/movie/the-return-of-the-king

 

16 https://www.justwatch.com/us/movie/spirited-away

 

15. https://www.justwatch.com/us/movie/do-the-right-thing

 

14 https://www.justwatch.com/us/movie/12-angry-men

 

13. https://www.justwatch.com/us/movie/terminator-2-judgment-day

 

12. https://www.justwatch.com/us/movie/star-wars-episode-iv-a-new-hope

 

11https://www.justwatch.com/us/movie/jaws

 

10 https://www.justwatch.com/us/movie/mad-max-fury-road

 

9  https://www.justwatch.com/us/movie/goodfellas

 

https://www.justwatch.com/us/movie/titanic-1997

 

https://www.justwatch.com/us/movie/back-to-the-future-part-i

 

6. https://www.justwatch.com/us/movie/the-godfather-part-i

 

https://www.justwatch.com/us/movie/lord-of-the-rings-i-the-fellowship-of-the-ring

 

4. https://www.justwatch.com/us/movie/schindlers-list

 

3. https://www.justwatch.com/us/movie/batman-the-dark-knight

 

2. https://www.justwatch.com/us/movie/star-wars-episode-v-the-empire-strikes-back

 

1  https://www.justwatch.com/us/movie/indiana-jones-and-the-raiders-of-the-lost-ark

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

 

 

 

 

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"Recuérdame, hoy me tengo que ir mi amor"

 

 

About the Movie

 

Synopsis

 

Despite his family's baffling generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector, and together, they set off on an extraordinary journey to unlock the real story behind Miguel's family history.

 

Its Legacy

 

"For Latinos, “Coco” is not just a visually resplendent animated film with a poignant story about the importance of family. It’s also a rallying cry.  “I am certain that Disney/Pixar did not set out to make this a political film, but that is exactly what they have done,” said Benjamin Bratt, who provides the voice of Ernesto de la Cruz, the musical star idolized by the film’s central character, 12-year-old Miguel. “‘Coco’ inspires love around the world, and for Latinos in particular. It’s a reminder that we are worthy of loving ourselves. And if this ain’t a revolutionary act, I don’t know what is.”  The movie is not only a box office hit — amassing $731 million worldwide — and an almost certain Oscar winner — but it’s also been a timely and soothing tonic for a community that has felt attacked and disrespected, particularly by President Trump’s rhetoric and eagerness to erect a border wall between the U.S. and Mexico.  “Where our country might be wanting to put up a wall, Pixar built a beautiful marigold bridge,” said Kristen Anderson-Lopez, who wrote the movie’s Oscar-nominated song “Remember Me” with her husband, Robert Lopez. (The film, which is centered on the Mexican tradition of the Day of the Dead, features a bridge between the land of the living and the land of the dead decorated with marigold petals.)

 

“Coco,” which opened Nov. 22 and is also nominated for an Oscar for animated feature — could not have come at a more opportune moment.  “The timing is healing, given the open hostility toward our people by the current administration,” said Bratt, whose mother is Peruvian. “The thing I am most proud of is that Latinos instantly developed a proprietary relationship with the film. They have claimed it as their own, visiting it in theaters on multiple occasions, like they would a close family member.”  One of those visitors is writer Carlos Aguilar, who has seen it three times, twice in English and once in Spanish.

 

“My family back in Mexico City was shocked and moved by how truthfully the film captured traditions and Mexican idiosyncrasies,” he said. “They couldn’t believe that an American studio had made the film, as it felt like an authentically Mexican work of art.”  Aguilar was born in Mexico and has spent most of his life in the U.S.  “The film came out just a couple months after Trump had dismantled DACA [the Deferred Action for Childhood Arrivals immigration policy], at a moment in which we’re being attacked and called lazy and our identities are portrayed in a negative light by the president and other people,” said Aguilar. “To have a film that bridges that cultural gap is very important.”  Since Aguilar cannot return to Mexico because of his immigration status, the film resonated all the more powerfully.  “For many of us Dreamers who haven’t been back to Mexico, we have this memory of a place we used to know,” he said of Dreamers, immigrants who as children were brought to the U.S. without visas. “You can lose that along the way living in the U.S.”"

- Claudia Puig, LA Times

 

From the Filmmaker

 

"I work in production, so our time on films can be super short – like, a couple months – to four years, depending on what department you work on. So I heard about it, and I had to work on the Mexican Pixar film. My family is Mexican. But it took a while to get there. I actually only worked on the film for two years because I was working on Inside Out and The Good Dinosaur after that. But I knew it would lead me to Coco and everyone who places you – because it’s about availability and timing – they all knew I was going to go on it eventually.  So I started off as a layout manager. That’s camera and staging. And then I transitioned into the animation manager position. So basically what I do is I work within the teams and I make sure the artists have everything they need to do their work, and I’m constantly communicating updates and keeping them informed. At the same time, I’m also a liaison between departments and the producers if priorities change. If all of a sudden, we need a shot for a commercial, I need to know this and communicate this. Just making sure the team is happy as well, having a good time.

 

We see the finished product, and I’m super proud and I’m hearing the audience reactions, and I can get into the movie, but then that one troubling shot comes up and you’re like, ‘Ohh!’ All that history and baggage behind it comes back. So it is hard to be really streamlined and just watch the film."

- Slashfilm Interview with Adrian Molina

 

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Why It's the Greatest

 

Critic Opinion

 

"Well, that’s more like it. As someone who has written at some length about the decline of Pixar Animation Studios since its acquisition by Disney, I am especially pleased to be proven wrong, even if only intermittently. The studio’s latest release, Coco, is one such occasion.  Though Pixar has never acknowledged as much publicly, its cinematic philosophy (and business model) has shifted notably: Where the studio once aspired to excellence with every single picture—Pixar president Ed Catmull wrote an entire book expressing this ideal, Creativity, Inc.—it now seems content to roll out a few profitable, hyper-merchandise-friendly sequels for every genuinely original feature it unveils. (To put it another way, the studio has shifted away from “creativity” and toward “inc.”)  But if Finding Dory and Cars 3 are the price we must pay for a film such as Coco, then so be it. Pixar’s latest is up there with Inside Out among the studio’s best features in years—less complex than Pete Docter’s 2015 film, but perhaps a tad more emotionally resonant.

 

Directed by longtime Pixarian Lee Unkrich (Toy Story 3), the tale that unfolds from these beginnings is not terribly innovative (less so, for instance, than 2014’s similarly themed though less well-realized The Book of Life). But it is a tale told with considerable wit—this is one of Pixar’s funniest films—and genuine tenderness. There are a few nice twists and reversals along the way. And while the movie’s conclusion is not difficult to see coming, anyone whose heart is not warmed by it may wish to consult with an cardio-therapist.  Befitting its subject, this is the most musical feature yet produced by Pixar, with songs co-written by Robert Lopez, of The Book of Mormon, Avenue Q, and Frozen fame. There are clever pop-cultural nuggets scattered throughout: a Mac Plus that is condemned as a “devil box” and smashed with a shoe; a gatehouse between the lands of the living and the dead that bears a distinct resemblance to the entrance to Disneyland; a hilariously avant-garde stage show put on by a deceased Frida Kahlo."

- Christopher Orr, The Atlantic

 

User Opinion

 

"One of Pixar's finest masterpieces. There are small quibbles here and there, but none of that matters because how real these characters are and how humanity can be found within this tale. An emotional rollercoaster and an utterly beautiful film. Easily one of the best of the year and a future animated classic. It will rightfully be remembered and cherished by generations to come." - @Blankments

 

The Panda's Haiku

 

"Recuérdame (me!)

 

If you have to say goodbye

 

Recuérdame (me!)"

 

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Factoids

 

Placement on Prior Lists

 

2012 - Unranked, 2013 - Unranked, 2014 - Unranked, 2016 - Unranked, 2018 - Unranked

 

Director Count

 

Mel Brooks - 1, Rian Johnson - 1, Adrian Molina - 1, Akira Kurosawa - 1, Richard Linklater - 1, Lee Unkrich - 1, Kar-Wai Wong - 1

 

Franchise Count

 

Before Trilogy - 1, Pixar - 1, Star Wars - 1, Studio Ghibli -1 

 

Decade Count

 

1970s - 1, 1980s - 2, 2000s - 2, 2010s - 2

 

 

Edited by The Panda
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"You should have gone for the head."

 

About the Movie

 

Synopsis

 

"As the Avengers and their allies have continued to protect the world from threats too large for any one hero to handle, a new danger has emerged from the cosmic shadows: Thanos. A despot of intergalactic infamy, his goal is to collect all six Infinity Stones, artifacts of unimaginable power, and use them to inflict his twisted will on all of reality. Everything the Avengers have fought for has led up to this moment, the fate of Earth and existence has never been more uncertain."

 

Its Legacy

 

"AVENGERS: INFINITY WAR was highly anticipated to rock the Marvel Cinematic Universe (MCU) — and it did. The film is the culmination of ten years worth of films and plot, developed bit by bit in mid-roll and end-credit scenes.  Starting with IRON MAN in 2008, INFINITY WAR’s legacy solidly established the MCU as the first successful superhero franchise to encompass multiple characters with unique stories and audience demographics. Each new installment of an AVENGERS film brings together seemingly disparate characters to achieve a common goal. As expected, the further along a franchise, the more increased the stakes.

 

Peter’s death’s compounded by the fact that just moments before, Thanos told Tony while stabbing him with a fragment of his own suit, “I hope they remember you.” On Earth, Tony Stark is a household name. If Thanos is to be believed, his name might even be known to the wider galaxy.  Over the course of the MCU, Tony Stark tries desperately to change both his personal and family legacy. His shift away from creating war weapons clearly demonstrates this. After getting on the alien ship, it seemed incredibly likely that Tony could die on Titan. God knows how many miles away from Earth. How sad would it be if, after everything, Tony Stark’s accomplishments ultimately meant nothing?  At the conclusion of INFINITY WAR, this is what Tony Stark leaves behind: a destroyed Earth, a fractured Avengers, and a dead teenager.

 

After Thanos’ fatal snap, several characters disintegrated into dust who audiences are pretty certain will come back to life. For example, Spider-man, Black Panther, the Winter Soldier, nearly the entire Guardians of the Galaxy, and more disappeared. Audiences criticized the decision to kill off these characters, but the isolation of the original Avengers team presents a unique storytelling opportunity.  The majority of heroes killed in the snap make up the MCU’s newest and freshest wave of superhero films. Nearly all of them have confirmed sequels and/or appearances in future films. The Avengers left behind now must fight for the restoration of the half the universe, as well as the opportunity for those they have lost to grow and surpass them. The disintegrated heroes represent the potential of a new legacy — both within the MCU and the world outside of it."

- Marissa Cortes, ComicVerse

 

 

From the Filmmaker

 

"“We had a [creative] retreat. I initiated [them] in the summer of 2008—after Iron Man had come out and succeeded and we had announced Iron Man 2 and Thor, Captain America, and Avengers—where we just get away from everything, away from the phones, and away from the daily schedule to just focus creatively on the stories. We were on our third retreat perhaps, [around 2014] when we started talking about what would become Infinity War and Endgame, and in particular how do we pay off this purple guy that Joss [Whedon] set up at the end of Avengers 1 and start to intertwine him with these awesome Infinity Stones that we have that provide wonderful MacGuffins in these individual films, and when you put them together, we thought could be more. It was on that retreat, that was the first time we thought of doing two movies at the same time. Which has its pros and cons.”

 

“We announced [in 2014] Infinity War Part 1 and Part 2. Very soon after that, as we started talking about it, we realized that’s not really what we were doing, and that’s not really what we wanted to do. We didn’t wanna do half a movie and then half a movie. We wanted to do two distinct movies, and we can talk about is it a cliffhanger or not at the end of Infinity War—and it’s semantics perhaps—but we always looked at it as not a cliffhanger. Thanos won and the movie is over. And now that you’ve seen Endgame it’s a tonally very different movie than Infinity War and stylistically very different than Infinity War, which again was always the intention, so very soon after calling them Part 1 and Part 2, we said, ‘Oh we’re not gonna do that.’”

 

“We talked about that ending for years and years and years. It was the reason to adapt Infinity Gauntlet. What was the most shocking thing we could do? End the movie with The Snap.”  “I was a hundred percent confident in that ending, until about the Monday before release. Then I started to get really nervous. It was like, ‘Wait a minute: what have we done?’ For years, leading up to the release of that ending, people were going, ‘These movies are predictable. The good guy always wins.’ And for years I was thinking, ‘Just wait.’”"

- Kevin Feige

 

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Why It's the Greatest

 

Critic Opinion

 

"Marvel has raised the pressure for itself on Infinity War, widely touting it as the endgame of three phases of the Marvel Cinematic Universe and promising earth-shattering – or at least, judging by the trailer, moon-shattering – consequences to this two-part story, which will finish with next year’s untitled Avengers 4. It would be hard for any film to live up to the level of sky-high hype that has resulted, and to satisfy the fans of every single one of these characters. Miraculously, this smashes right through your expectations and delivers shock after shock.  The film opens without the traditional Marvel fanfare, instead throwing itself into full-throated operatic drama. The opening minutes are designed to jolt you out of any complacency you may have felt about Thanos’ effectiveness, or the threat posed even by his minions in the Black Order. Ebony Maw (Tom Vaughan-Lawlor) and Proxima Midnight (Carrie Coon) and the rest make themselves instantly hissable. They may look like Lord Of The Rings rejects, and they boast little in the way of redeeming qualities, but that’s all to the good. They are big, they are powerful enough to test the Avengers independent of their boss, and that’s about all we need to know.

 

Everyone is tested. Hulk (Mark Ruffalo) comes up against obstacles he can’t smash, and Steve Rogers (Chris Evans) — relatively underused — has to reckon with his own personal worst-case scenario. Thanos’ genius is to repeatedly use our heroes’ mutual ties against them. Thanos is willing to sacrifice half the universe to achieve his ends, but he knows that others are not so determined. Over and over again, the film tries to force one character to make concessions to save a life, and over and over again they try to live up to Vision’s claim that “We don’t trade lives, Captain”. They may not, but Joe and Anthony Russo, evil genius screenwriters Stephen McFeely and Christopher Markus, and producer Kevin Feige, have no such mercy.  Brace, then, for noble self-sacrifice, senseless tragedy and straight-up murder. The good news is that it’s also really, really funny. Tony Stark is briefly reduced to speechlessness. Thor gives an account of his family history that is accurate and also hilarious. Groot (Vin Diesel), Rocket (Bradley Cooper) and Drax (Dave Bautista) continue to leave a trail of much-needed laughs, without ever quite distracting from the danger they all face."

- Helen O'Hara

 

User Opinion

 

"There was a moment in the third act that filled me with a strong feeling of dread that didn't go away till the credits rolled and the lights went on. I was legit worried for a large portion of it. No matter what the heroes did on screen, I still felt that constant worry in the back of my head. I'm not a god-faring man but if I was I think I would have been praying that nothing was broken for good. That feeling started when my phone slid out of my pocket onto the floor. I reached down and couldn't find the damn thing in the dark. Heard a THUMP and a crash when it was on it's way through the back of the seat. Luckily it was fine. Had a smudge on the screen but nothing broken.

 

I liked the movie. Thought it juggled the weight of itself about as well as it could and they sold some of the more comicbook bullshitty stuff pretty effectively. Few people have pointed this out on Twitter and stuff but it really feels like a Jim Starlin book ripped from the pages and put on a filmreel."

- @aabattery

 

The Panda's Haiku

 

Snap, goes the fingers

 

The hero victorious

 

Watch them fade to dust

 

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Factoids

 

Placement on Prior Lists

 

2012 - N/A, 2013 - N/A, 2014 - N/A, 2016 - N/A, 2018 - N/A

 

Director Count

 

Mel Brooks - 1, Rian Johnson - 1, Adrian Molina - 1, Akira Kurosawa - 1, Richard Linklater - 1,The Russo Brothers - 1,  Lee Unkrich - 1, Kar-Wai Wong - 1

 

Franchise Count

 

Before Trilogy - 1, Marvel Cinematic Universe - 1, Pixar - 1, Star Wars - 1, Studio Ghibli -1 

 

Decade Count

 

1970s - 1, 1980s - 2, 2000s - 2, 2010s - 3

 

 

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"It always fits. Eventually."

 

 

About the Movie

 

Synopsis

 

"Miles Morales is a New York teen struggling with school, friends and, on top of that, being the new Spider-Man. When he comes across Peter Parker, the erstwhile saviour of New York, in the multiverse, Miles must train to become the new protector of his city."

 

Its Legacy

 

"What can the movie Spider-Man: Into the Spider-Verse teach us about child development?  All stories and fairy tales contain symbols and archetypes. These are what make stories universal and relatable to everyone. Such symbols and archetypes can represent human conflicts, struggles or experiences we have or may encounter — such as trauma and loss.  Stories provide us with options for how to deal with the adversity we face. They provide a way of experiencing how things could be resolved and show us that we are not alone in how we feel or experience events.  The film Spider-Man: Into the Spider-Verse helps us to learn the importance of relying on people and fighting through life’s adversity to save ourselves and the world.    Resilience is the process of adapting to adversity, the ability to bounce back after difficult experiences throughout life. It helps children manage stress and feelings of anxiety and uncertainty — think of it as a balancing scale, with protective or positive experiences and coping skills on one side and adversity or negative experiences on the other.  Resilience is evident when the scale tips to the positive experiences even when there is a heavy load on adversity.

 

The story is about the Spider-heroes throughout the multiverse who come together to help Miles Morales learn how to be a hero, to be himself, to fight through the pain, loss and tragedy.  It’s a reminder that we are not on our own and that we need each other; we are stronger together. It reminds us of the importance of connection, relationships and asking for help.  Relationships help children develop the ability to monitor, plan and regulate behaviour as well as adapt to changes which help children respond to adversity.    Research indicates the most common factor for children who do well after experiencing a trauma or stressful time is to have the support of at least one loving and committed relationship, such as with a parent.  Such relationships are the most important factor in building resilience. They protect children from negative outcomes by providing a loving, personalized response while helping the child understand and manage their feelings.

 

Spider-Man: Into the Spider-Verse provides important tips for helping children develop resilience:  Make connections: Create a strong family network and teach your child how to be a friend and make friends. This will help deal with stress.  Help your child remember they are not alone and others may feel as they do at times. This is important for trusting others and developing empathy.  Teach children how to move towards goals: focus on accomplishments rather than failures. Break down the desired outcome into smaller achievable goals and support your child in seeing them through.  Nurture a positive self-view and keep things in perspective: in this way, a child learns to trust their ideas, solve problems and make appropriate decisions, to understand past challenges, to build strength to handle future challenges.  Look for opportunities for self-discovery: tough times are often when children learn the most about themselves. Help your child look at what they can learn from whatever they are facing."

- Nikki Martyn, Program Head of Early Childhood Studies at University of Guelph-Humber

 

From the Filmmaker

 

"There are a lot of Spider-Man movies, both in the past and coming down the pipeline, and this is the big-screen debut for Miles Morales. How did you approach characterizing him in animation?

 

BP: In the moment when you’re asked, “Hey, how do you feel about Spider-Man?” You go, “Yeah, I love Spider-Man, but do we really need another Spider-Man movie?” That was the first reaction, and then you go, “Oh! Miles Morales? Okay, cool.” As you start to peel back the layers of this film, that’s what really hooks me — a different take on an origin story for Spider-Man.  We’ve seen it over and over, and that presented a really fantastic creative challenge. Everyone thinks they know the way Spider-Man was created. We have the same ingredients, but it’s through Miles’ point of view. He has a family — a mother and father, which is as rare as you can get in this world. He’s from Brooklyn. It felt natural to roll the idea of Miles Morales into Brooklyn, given the creation of the comics in New York. We feed all those things into this movie and it just felt like an expanding, natural, rhyming universe. For me, it was a blast.

 

Miles stands out as the first non-white Spider-Man, but how did you approach making him distinctive among all the other spider-people in this movie?

 

RR: A lot of it starts with the comic books, all of us reading them, reacting to them, trying to figure out what makes this person different and specific. A lot of it comes from building this world around him, visually and in terms of how it feels unique and different. We put a lot of energy into creating a world and experience for the audience that isn’t like other things they’ve seen, that has its own DNA and fingerprint.

 

How did you develop your visual style?

 

PR: [Deadpan] There’s this guy in Van Nuys who does it all. We don’t even know what he’s doing.

BP: [More deadpan] We send him the script and we just keep getting this stuff.

PR: We subscribe to a cool animation magazine, and this guy had an ad in the back!

BP: A 15-year-old.

RR: [Also deadpan] It’s being made out of a garage."

- The Verge Interview with Directors of Into the Spider-Verse

 

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Why It's the Greatest

 

Critic Opinion

 

"Did you ever think you could be Spider-Man? This gorgeous take on the Marvel superhero knows you can — that everyone can. The great power always comes by accident, that famous spider-bite origin story; it’s what you do with that power, of course, that really counts.It’s a hard lesson for a 13-year-old Brooklyn boy to learn. He’s Miles Morales (Dope star Sameik Moore) the son of an African-American cop (Brian Tyree Henry) and a Puerto Rican nurse (Lauren Velez). Miles’ parents have sent him to a fancy academy across town, but the kid still hangs with cool Uncle Aaron (Mahershala Ali), who takes him to a secret graffiti spot underground in the subway. It’s there that the teenager, who first appeared in the comics in 2011, gets bitten by radioactive arachnid. The transition of an awkward, hormonal kid into superhero isn’t easy for Miles — never mind that the mobster Kingpin (Liev Schreiber), a pin head on a hulking body, has opened up a space-time portal that will destroy the world as he knows it. So the newbie turns for tips to Peter B. Parker (hilariously voiced by Jake Johnson), an alt-version who’s been kicked out his dimension and is now divorced, depressed and far from eager to teach Miles about how to negotiate life as a webslinger.

 

Teaching moments are plentiful, but never heavy or drawn out. And the animation, both hand-sketched and computer-created, is too busy turning our heads. Miles is a street artist, so the film takes its visual inspiration from the young man’s flair for color blasting. You’ve literally never seen a Spider-Man movie look like this. The Lego Movie duo of Phil Lord and Christopher Miller serve as producers under the guidance of a trio of Sony Pictures Animation directors, Bob Persichetti, Peter Ramsey and Rodney Rothman; the latter cowrote the script with Lord.  Too many cooks in this Spidey kitchen? You’d think. But the soul of this legendary superhero — both old and new versions — comes through, even in this thrill-a-minute whirlwind. That’s because the filmmakers never forget to make us care about Miles and his growing pains, or what we would do if we were in his onesie. Who’d have thought that animation could turn a whole army of interdimensional webslingers into something fresh, funny, fierce and revolutionary? Spider-Man: Into the Spider-Verse is not only the coolest Spider-Man epic ever, it’s one of the best movies of the year. What are you waiting for?"

- Peter Travers, Rolling Stone

 

User Opinion

 

"Best superhero movie of 2018. Hands down. Loved the eff out of this from start to finish. Just buzzing with sheer cinematic energy, creativity, excitement and artistry all around. An ode to imagination, adaptation and reconceptualization.  Speaking of which, the multi-verse concept is being cleverly used as the best rebuttal to every fanboy's tantrum that Spider-Man is this monolithic concept ever since its inception. This just brilliantly disproved that notion as you can re-imagine the character as you want as long as you stay true to the ethos of the concept. Brings up  some fresh new takes and lot of laughs in the process. (Spider-Man Noir, I recognized Nicolas Cage's voice right away and he was a riot especially when dealing with the Rubik Cube). The multi-verse aspect is also echoed by the diverse use of different animating and graphic styles that pop up the screen with a kinetic sense of color scheming.  Just missed me some alternative :hahaha:to be truly perfect all around but it's highly satisfying as it is.  Spider-Man has always been my favourite relatable superhero above them all and this movie proved me again why, brimming with fun, heart and wit." - @dashrendar44

 

The Panda's Haiku

 

Put on the mask, boy

 

Fly across the skyscrapers

 

Be what they deserve

 

SpiderVerse_bac229.1006_lm_v2_248ed78b66

 

Factoids

 

Placement on Prior Lists

 

2012 - N/A, 2013 - N/A, 2014 - N/A, 2016 - N/A, 2018 - N/A

 

Director Count

 

Mel Brooks - 1, Rian Johnson - 1, Adrian Molina - 1, Akira Kurosawa - 1, Richard Linklater - 1, Bob Persichetti - 1, Peter Ramsey - 1, Rodney Rothan - 1, The Russo Brothers - 1,  Lee Unkrich - 1, Kar-Wai Wong - 1

 

Franchise Count

 

Before Trilogy - 1, Marvel Cinematic Universe - 1, Pixar - 1, Spider-Man - 1, Star Wars - 1, Studio Ghibli -1 

 

Decade Count

 

1970s - 1, 1980s - 2, 2000s - 2, 2010s - 4

 

 

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