My only real complaint is actually not on your #3, but on your #8, which I think is not THAT bad and just simply works for me in a few ways. While we're all still on the topic of #3, my thoughts on it are kinda in-between. I am not a big fan of it and I could think of better songs from better artists that fall under the similar styling (i.e. Lorde, Lana Del Rey, pre-Lady Wood Tove Lo), but I appreciate its unique atmosphere that is has going for it. As always, you make a great list, Claps, and I'll be excited to see what your top ten looks like.
After wondering when the live-action/CG animated film of Sonic the Hedgehog will come out, after the trend has caught up with the franchise ages ago, we're finally getting it pretty soon. A poster and a short description for the film have both been revealed since the past two days: "Small-town sheriff Tom Wachowski journeys to San Francisco to assist Sonic, a super fast anthropomorphic blue hedgehog, in his battle against the evil Dr. Ivo Robotnik." If you know me and my relationship with live-action/CG animation hybrid films, I was never stoked when I first heard about it being in production and I'm still very hesitant to see this film after hearing a little more about it.
So, apologies for the inactivity for my blog. I want to get the next couple of FOP reviews out, as well as continue my other review series that I haven't done anything new for since I started it in July, but once my finals week is up, this period of radio silence will change. And to make up for that, here's a review - a relatively short one for that matter. After nearly a couple of years of hearing about this film, I finally saw The Emoji Movie just the other day through Netflix. Talk of this movie was inescapable over the course of 2017. The teaser trailer was torn apart by the internet. The trailer was torn apart by the internet. Jacksfilms was ironically hyping it up so very often. The movie in itself was destroyed by audiences and critics alike. It was such a historically bad animated film in the modern era that everyone who was anyone that saw the movie themselves have said everything that has needed to be said about it. It's to the point where I don't have to emphasize so much about my personal thoughts of the film. It was even so bad that it made people question the fate of quality entertainment in the film industry and it made a deep cut on Sony Pictures Animation's reputation to where some have dignified it as a bad film-making company. So, where did it all fall apart? I could start by saying that just about no one outside of anyone in the entertainment industry asked for this. To sum up my thoughts on it completely, it displayed almost every animated film standard from the past couple decades that has been done to death. In other words, the film feels only like a template for how to make an animated film that can earn quite a lot of box office revenue. It is so unoriginal that it sets itself as an example of how not to make an animated film. The worst part of the film's story and its set-pieces is that it is all played straight. The Emoji Movie takes every part of itself seriously with its story, humor, and characters, all of which end up falling apart. I've already said enough about the story, so then there's the humor that I have to discuss. Most of the film's attempts at comedy and entertaining its targeted audience either fall flat or felt incredibly forced. Then you have the characters, you got the typical fish out of water protagonist that is treated like an outcast until he goes on an adventure to get what he wants. You got the comedy relief sidekick archetype that you've already seen multiple times. Then you have the female lead who, despite the writers' intentions to try and establish her as a free-spirited character who doesn't want to keep living her old life by the way she was designed, ends up becoming adjusted to being a princess emoji, given the film's message. While I'm still on the topic of Gene, there's also his parents and their increasing "tension" before they manage to make up before the climax. You also have the main villain, and if you could judge her not only from the fact that her true nature was already spoiled in the official trailer, you could already tell that she would be the villain just by looking at the way her character is design if it already gives you the idea that she is a Stepford Smiler type of villain. From my perspective, she didn't ever feel like a twist villain despite the writers' intentions of making her as such. Finally, there's the main character of the real world who provides absolutely nothing memorable or valuable to the film except towards the whole "what x does when you're not looking" type of plot. Unsurprising for me to say, the animation and visuals were at least very neat. What's really telling of how bad this movie was is when you consider the fact that two of its script writers had no prior experience in writing and producing for an animated film. Tony Leondis, however, has been working in the animation industry for some time, but a few of his past writing credits weren't really exceptional as it includes Igor and a couple of Disney's unnecessary direct-to-home-video sequels. Given that most people on SPA that worked on this film including the animators, writers, and director didn't feel personally ashamed of this movie, I could at least respect that. I felt like I could've resented it more if it gave me more of an idea that it was an animated film made by someone who disliked the medium and wanted to make even its target audience feel disappointed. In the long run, it's too soon and it would be a little too much for me to say that it's the worst animated film that I ever saw. However it's still game, set, and match as the worst piece of animation to have come out in 2017 since I do not know of any series or other film that has topped it in terms of inferiority. I also think it would be too much if I said that this movie dignifies SPA as an awful animated film company. Never did I believe that Dreamworks was bad at making animated films because of Shark Tale and Bee Movie. Never did I believe that Blue Sky was bad at making animated films because I thought each Ice Age sequel they release is worse than the last. Never did I believe that Illumination was bad at making animated films because just about every one of their films released after Despicable Me didn't give me anywhere the same level of interest. In fact, failure is inevitable for anyone working in entertainment. SPA can do better and has done better. They have a couple of hidden gems in Cloudy with a Chance of Meatballs and Surf's Up while one of their recents, Spider-Man: Into the Spider-Verse, is currently being praised by critics. The least I can say towards Leondis and the other two script writers that created SPA's biggest failure is that I think they can and should do better, and if they want to prove their talents, they shouldn't ever make another film like The Emoji Movie.
Noggy changed their profile photo
It's going to feel incredibly cheap that I'm expressing my grievances after nearly two weeks. I've been meaning to express them once as I would make my own little tribute to Hillenburg, but with life and school getting in my way at the moment, I can't delay giving out my thoughts on Stephen Hillenburg's passing any longer. As I've said before, I'm not good at being emotional and whatever I might say could feel redundant, but I'm going to speak from the top of my mind. This news about Hillenburg's death left me in shock when I first heard about it. Thinking about the death of the creator of a very well-known work already drew me parallels to the recent deaths of big name creators, albeit in different fields, like Stan Lee, who passed away on the same month, Isao Takahata who died in April of this year, and as well as the deaths of big name creators in the past like Charles Schulz back in 2000 and Jim Henson back in 1990. I can't help but paint the titular SpongeBob creator in that similar light because the man built up quite a legacy. He changed the face of children's animation and gave us a cartoon show that would not only continue thriving for so long, but has also inspired and entertained people of any age, background, social group, and so forth. What made Hillenburg's death pretty hard-hitting for me is that his cartoon has, in many ways, shaped up the person that I usually am. I've been an animation fan and have been a part of the ever-so divisive cartoon community because of SpongeBob. I've been enthused to try and get into the animation industry because of SpongeBob. I've found that I've had a creative side and became influenced in writing fanfiction and later, stories of my own because of SpongeBob. In other words, Stephen Hillenburg has served as my main artistic influence and a catalyst towards realizing my dream profession. Although I don't tend to treat people like idols, he was like a godfather to me. Yet, while his work has become so significant to me, I've never got to meet him nor have I ever got to know him personally. Sometime after I've become an adult, I've had my mind made up that I didn't have to meet him personally, but sometimes, I still wish that I've had the chance to see him. Since his death, I've been thinking about him almost every day. Now hearing that his ashes have been scattered across the sea only gives my temporary avatar change some more sense. In his memory, I've made my display picture a funeral lei to go along with SpongeBob's Hawaiian themes. On top of that, I've also since learned that the process of letting a lei drift off in sea is part of Hawaii's sea burial tradition (if I'm completely right). Thanks for everything that you have done for your beloved show and may you rest in peace, Stephen Hillenburg.
daily reminder to all that Alpha and Omega had spawned seven sequels.
I thought there were only 3 of those movies....
Congratulations, "Alpha and Omega", you are now OFFICIALLY the NEW "The Land Before Time" animated franchise, in the fact that you have spawned WAY too many direct to D.V.D. Movie releases! Although I've only seen the first two, so I'm not REALLY sure if I should be criticizing the franchise or not!
After the release of Coco last year sparking up a bit of debate on whether or not it is now Pixar's greatest, I think it's fitting that I update my rankings: 19. Cars 2 18. A Bug's Life 17. Cars 3 16. Brave 15. Cars 14. Monsters University 13. The Good Dinosaur 12. Finding Dory 11. Inside Out 10. The Incredibles 9. Monster's Inc. 8. Finding Nemo 7. Ratatouille 6. Up 5. Coco 4. Wall-E 3. Toy Story 2 2. Toy Story 3 1. Toy Story Some things to note: -I still haven't seen Incredibles 2, which is why it's absent from my updated rankings. -Sorry, I don't think A Bug's Life has aged so well, but it's still not a bad film in my eyes. -I've overwhelmed my thoughts on Ratatouille a bit while my feelings on Wall-E have grown quite formidably to become my all-time favorite Pixar film that isn't the Toy Story trilogy. Ratatouille is a fantastic, well-written film, but I don't think it packs a punch quite like the other six that I've ranked over it. -Meanwhile, Coco IMO is the second-best Pixar film outside of the Toy Story trilogy, as well as one of my top five favorite films from the company. I'm also going the extra mile to rank Pixar's original animated short films, at least all the ones that I've seen: 16. Lava 15. The Adventures of Andre & Wally B. 14. Partly Cloudy 13. Tin Toy 12. One Man Band 11. Boundin' 10. For the Birds 9. Knick Knack 8. Luxo Jr. 7. Sanjay's Super Team 6. Piper 5. Presto 4. The Blue Umbrella 3. Day & Night 2. La Luna 1. Geri's Game
Well, with the end of 2018 coming close, there’s no better way to celebrate the month of December than to write a retrospective list on some of the worst and best of entertainment to come out of this year. 2018 wasn’t a particularly great year for me personally, but I have been feeling a lot better than I did back in 2017. This time around, the first list to come from me is different. It will be my way of killing time before I prepare my top/bottom 10 for the year-end Hot 100 list, and before I have seen enough material that I can work with for my respective animation list for several months to come. I’ve said it before that I’m going to write up another music-related countdown. And what it will be, you ask? I will be ranking every song that charted during the 2018 chart year for Billboard’s Alternative Songs chart (December 2017-November 2018 to specify). Just to reiterate, I am going to rank every charting song during the 52/53 week period, all 158 songs in that total. I’ll be going along with that setup because the genre charts are usually of shorter quantity than the Hot 100 itself. I’ve been meaning to talk more about this particular genre chart, most especially this year for the alternative charts, so I thought why not talk about my thoughts on this very topic? And because the Alternative Songs chart of 2018 in full is still something lesser than the year-end Hot 100 lists, anything goes with my rankings here in contrast to my rankings for the latter. Hypothetically speaking if I had covered the previous year for the Alternative charts and if there’s a repeat for this year that I put in the top/bottom 10 for the previous year and still liked/loathed enough to put it on my list for 2018, I will have it in either list twice. Also, in this setup, both my worst and best lists are in one, separate spoiler tab. Anyways, let’s talk about 2018 for the Alternative Songs chart. How can I best sum it up? For sure, it felt like a very transitional year for the Alternative Songs chart and for alternative radio as well. I would keep in mind that Alternative is not exclusively a rock genre. While the chart itself was named Modern Rock first, the alternative charts opening doors to different alternative genres is something that’s not new to me. 2018 is one of those years where the alternative charts felt absolutely varied. Over the course of the year, we had songs that were categorized as alternative rock, indie rock, indie pop, blues rock, southern rock, art rock, indie folk, dream pop, reggae, psychedelic pop/rock, dance-rock, post-punk revival, punk, alternative dance, alternative hip hop, alternative R&B, electronic, future bass, house, funk, neo-soul, synthpop, new wave, glam rock, hard rock, baroque pop, emo, covers, post-grunge leftovers, and even ska punk making somewhat of a return. Since quite a while now, the alternative charts have been evolving to become a chart that is open to a slew of genres and artists that can be considered as alternative. Meanwhile, it has become safe for me to say that indie pop and indie rock have both become the most dominant force on the alternative radio format. I’ve also been meaning to talk about 2018 for the alternative charts more in-depth because I feel like not since ten years ago that the charts hit quite a slump in quality like this year. I’m not saying that it was an AWFUL year for alternative music, there was still a lot of great music. However, like with my year-end countdown lists, I’m starting with the songs that I felt were the most atrocious. Steel Ranks the Alternative Songs Hits of 2018 Worst: Best: Full Rankings:
https://www.billboard.com/charts/year-end/2018/hot-100-songs It is time (and it came earlier than I expected).
I'm surprised no one has posted this yet, but we got a trailer: I'm not going to lie. I'm already sold on this. As much as I speak for everyone who is annoyed with Disney's plethora of live-action remakes of their own animated films, I've gotta say color me impressed, at least based on what I've seen so far. Right now, I'm just hoping that Disney has truly shown a lot more love and care towards the original film in making this one so I wouldn't end up changing my mind.
used to hang my head low, now i hear it loud, every stranger from twitter is gonna burn this down
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