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    blessed-spooky-galaxy:

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    nostalgiaisaweapon:

    I WANT A PET FOX SO BAD

    (Source: feelouise)

    Gaslight Anthem with Dave Hause tonight,

    I am so excited. More-so to relive the first date my lady and I ever had. I love when things fall together all cool.

    This was going to be a gif reaction post to seeing Handwritten streaming at NPR,

    but there are no gifs for this that could do my feels justice.


    ofwgblake:

    First two minutes of Season 5 of Breaking Bad

    Oh man, the look in Walt’s face when Jr. mentions Hank being looked at as a hero for all of this. Maybe it’ll be Walt out for Hank instead of the other way around.


    drogondracarys:

    GOT MEME  →  THREE COLORS  →  [1/3]  BLACK


    whenthemoralkicksin:

    Moonrise Kingdom (Wes Anderson, 2012)  4/4

    “I love you, but you don’t know what you’re talking about”

    All of Wes Anderson’s previous films are filled with characters that have an abundance of sadness to them, longing to connect with other human beings; Moonrise Kingdom is Anderson’s saddest film. The entire film takes place on New Penzance Island, in the summer of 1965, where all of the occupants of the island seem to be in the film. Our hero of the story is 12-year-old Sam Shakusky (Jared Gilman), unwanted orphan and disconnected Khaki Scout, who resigns from his troop one day to join Suzy Bishop (Kara Hayward), a young, angsty dreamer on a journey to escape their unhappy lives. They meet up, fall in love, and retrace the steps of an ancient civilization, eventually landing in their dream living spot, on the beach. Disgruntled with their disappearance, Scout Master Ward (Edward Norton) and Suzy’s attorney parents (Bill Murray and Frances McDormand) go out searching for the escaped children, accompanied with the police captain (Bruce Willis) and a ban of committed Khaki scouts. As they scour the island searching for our lovers, there’s a run-in with a can of cat food, a pair of scissors, and an arrow.

    This is most definitely a typical, very systematic Wes Anderson film, but I kept finding little moments where Anderson began taking chances and making them work beautifully. The “narrator” of the story is very different than other narrators Anderson has had. In The Royal Tenebaums, there is a very clear narrator reading the book and following us along the story. He never emerges in the story or has a say in anything, he is just a voice that we trust and believe. In Moonrise Kingdom we meet the narrator several minutes into the film as he takes us on a mini-tour of the island, and like that, he disappears until much later in the film. Thinking that he is only there to provide side information to the story, the narrator appears within the story helping the search party find the missing children. I found this to be very odd because of the mode the character was presented as in the beginning of the story. An impressive notion was that his emergence didn’t feel invasive or shocking, but rather welcoming and friendly.

    Another difference Anderson brought into the film was the use of death. I actually gasped and yelled, “what?” when it was shown on screen; I found it to be very shocking. I suppose the reason I reacted that way was because Anderson’s films are always so cute, never violent. Immediately after this death there is a moment of cute violence brought from Suzy. This violence actually resonates well inside her character because of her unhappiness in life. She feels she has to lash out at people to deal with things that upset her. While describing herself she says, “from time to time, I go berserk.”

    The final “risk” I found Anderson taking was the use of adolescence sexuality. This is the first film that has younger individuals as the main characters, but it still felt different to have that in a Wes Anderson film; it did work wonderfully however. I’ve never experience a love story where the main characters were children and they shared more love than any experienced, mature actors. During the absolutely perfect beach scene, Sam and Suzy share the greatest moments of the their young lives discovering what it feels like to be with someone you care so much about.

    Sorry, this review is long but the final thing I would like to talk about is the relationship between Moonrise Kingdom and The Royal Tenenbaums. Throughout the film I continuously saw many references to Anderson’s masterpiece; the first being between Suzy and Margot. Suzy’s character is angry at the world, dreams inside of her books, and just wants to run away with the one she loves, just like Margot. Within this similarity is the thought that Sam and Suzy’s relationship is like the long lost dream of Margot and Richie Tenenbaum. Also mixed throughout the film is various shots used in both films such as an overhead shot of a record player and the opening of a mini-tent. The entire film felt like such a rebirth of the Tenenbaums in the most brilliant way.

    Moonrise Kingdom is Anderson’s first love story. Yes, all of his films deal with love in someway but this was the first time it was the direct theme. I also previously stated that this is Anderson’s saddest film; are you confused now? The characters in the film are upset and completely distraught with their lives, wearing all their feelings on their sleeves and they are extremely loud. Through the love of Sam and Suzy, everyone in the story feels fulfilled and worthy again, that is brilliant writing. This was the first Wes Anderson film to make me cry. Was it because it was a love story? Probably. Was it because I don’t believe much in love? Possibly. Either way, it completely melted my heart.