Justice League: Throne of Atlantis is a 2015 animated superhero film featuring the DC Comics superhero team the Justice League, which is part of the DC Universe Animated Original Movies and of DC Animated Movie Universe. The film is loosely based on the Throne of Atlantis story arc from The New 52 written by Geoff Johns and serves as a standalone sequel to 2014’s Justice League: War. In the film, Arthur Curry, a half-Atlantean prince, discovers his heritage and aids the Justice League in preventing his half-brother Ocean Master from taking over Metropolis.
Nausicaä of the Valley of the Wind is a 1984 Japanese anime film written and directed by Hayao Miyazaki, based on his 1982 manga. It was animated by Tokuma Shoten and Hakuhodo. Joe Hisaishi composed the score. The film stars the voices of Sumi Shimamoto, Goro Naya, Yoji Matsuda, Yoshiko Sakakibara, and Iemasa Kayumi. Taking place in a future post-apocalyptic world, the film tells the story of Nausicaä, the young princess of the Valley of the Wind. She becomes embroiled in a struggle with Tolmekia, a kingdom that tries to use an ancient weapon to eradicate a jungle full of mutant giant insects.
Son of Batman is an animated superhero film. It is the third film in the DC Animated Movie Universe. It is an adaptation of Grant Morrison and Andy Kubert’s 2006 Batman and Son storyline. The film was released in 2014.
Son of Batman is the third installment in the DC Animated Movie Universe. It was released in 2014. It’s the first installment of the Batman saga in the DCAMU. This is also the first film to include Damian Wayne’s character arc.
Batman learns he has a son, Damian. And to further complicate matters, the mother is Talia al Ghul, daughter of one of his most dreaded enemies, Ra’s al Ghul. When the odds quickly turn against Batman and Damian, Batman must become both father and mentor to the aggressive, agile new Robin. Together they form an uneasy alliance to try and thwart the criminal enterprise of Deathstroke and his army of Man-Bats before there are international consequences.
Justice League: The Flashpoint Paradox is a 2013 direct-to-video animated film adaptation of the 2011 comic book crossover “Flashpoint” by Geoff Johns and Andy Kubert. It is scripted by Jim Krieg and directed by Jay Oliva.
Based on the acclaimed miniseries by Geoff Johns and Andy Kubert, Justice League: The Flashpoint Paradox finds our world turned upside down as one of Earth’s greatest super heroes–the Flash–wakes up devoid of his super powers.
When time travel allows a past wrong to be righted for the Flash and his family, the event’s temporal ripples prove disastrous, creating a fractured, alternate reality where the Justice League never formed, and Superman is nowhere to be found. Amidst a new world being ravaged by a fierce war between Wonder Woman’s Amazons and Aquaman’s Atlanteans, Flash must team with a grittier, more violent Batman and government agent Cyborg to restore the continuity of Flash’s original timeline.
Mune: Guardian of the Moon is a 2014 French 3D computer-animated adventure fantasy film directed by Benoît Philippon and Alexandre Heboyan and written by Jérôme Fansten and Benoît Philippon. Set in an imaginary world, the movie tells the adventure of a small creature who must recover the stolen Sun. The film was made with computer graphics and 3D stereoscopy, and it features the voices of Michael Gregorio, Omar Sy, and Izïa Higelin.
Robot Carnival is a Japanese anthology original video animation released in 1987 by A.P.P.P.. In North America, it was released in 1991 in theaters by Streamline Pictures with the order of the segments slightly rearranged.
The film consists of nine shorts by different well-known directors, many of whom started out as animators with little to no directing experience. Each has a distinctive animation style and story ranging from comedic to dramatic storylines. The music was composed by Joe Hisaishi and Isaku Fujita and arranged by Joe Hisaishi, Isaku Fujita, and Masahisa Takeichi.
The Opening & Ending segments were directed by Katsuhiro Otomo and animated by Atsuko Fukushima.
Franken’s Gears was directed and animated by Koji Morimoto.
Deprive was directed and animated by Hidetoshi Ōmori.
Presence was directed and animated by Yasuomi Umetsu. Additional animation by Shinsuke Terasawa and Hideki Nimura.
Star Light Angel was directed and animated by Hiroyuki Kitazume.
Cloud was directed and animated by Mao Lamdo. Additional animation by Hatsune Ōhashi and Shiho Ōhashi.
Strange Tales of Meiji Machine Culture: Westerner’s Invasion was directed by Hiroyuki Kitakubo and animated by Yoshiyuki Sadamoto, Kazuaki Mōri, Yuji Moriyama and Kumiko Kawana.
Chicken Man and Red Neck was directed and animated by Takashi Nakamura.
Down by Law is a 1986 American black-and-white independent film written and directed by Jim Jarmusch and starring Tom Waits, John Lurie, Roberto Benigni, Nicoletta Braschi, and Ellen Barkin. The film centers on the arrest, incarceration, and escape from jail of three men. It discards jailbreak film conventions by focusing on the interaction between the convicts rather than on the mechanics of the escape. A key element in the film is Robby Müller’s slow-moving camerawork, which captures the architecture of New Orleans and the Louisiana bayou to which the cellmates escape.
Jessica Rabbit is a fictional character in Who Censored Roger Rabbit? and its film adaptation Who Framed Roger Rabbit? She is depicted as Roger’s human toon wife. Jessica is renowned as one of the best-known sex symbols in animation.
Author Gary K. Wolf based Jessica primarily on the cartoon character Red from Tex Avery’s Red Hot Riding Hood. The film version of the character was inspired by various actresses. Richard Williams explained, “I tried to make her like Rita Hayworth; we took her hair from Veronica Lake, and Zemeckis kept saying, ‘What about the look Lauren Bacall had?'” He described that combination as an “ultimate male fantasy, drawn by a cartoonist.”
The song Why Don’t You Do Right? is an American blues and jazz-influenced pop song written by “Kansas Joe” McCoy and Herb Morand in 1936. Both men are given composer credits on the original 78 record label, although Morand’s name is misspelled. A minor key twelve-bar blues with a few chord substitutions, it is considered a classic “woman’s blues” song and has become a standard.
In 1936, the Harlem Hamfats recorded Why Don’t You Do Right? Band member McCoy later rewrote the song, refining the composition and lyrics. The new tune was recorded by Lil Green in 1941, with guitar by William “Big Bill” Broonzy. The recording was an early jazz and blues hit.
The song has its roots in blues music and originally dealt with a marijuana smoker reminiscing about lost financial opportunities. As it was rewritten, it takes on the perspective of the female partner, who chastises her man for his irresponsible ways: “Why don’t you do right, like some other men do? Get out of here and get me some money too.”
One of the best-known versions of the song was recorded by Peggy Lee and Benny Goodman on July 27, 1942, in New York. Featured in the 1943 film, Stage Door Canteen, it sold over one million copies and brought her to nationwide attention.
Lee often stated that Green’s recording was influential to her music. In a 1971 interview she said, “I had the record, and I used to play it over and over in my dressing room, which was next to Benny Goodman. Finally he said, ‘I think you really like that song.’ I said, ‘Oh, I love it.’ He said, ‘Would you like to sing it?'” Lee said yes, so Goodman had an arrangement made of it for Lee to sing.
In 1988 Why Don’t You Do Right? was sung by Jessica Rabbit in a very provocative way.
Angry Inch is a song by Type O Negative, included on the sixth album Life Is Killing Me, released in 2003. It is the cover of the off-Broadway musical Hedwig and the Angry Inch. It is a punkish song reminiscent of I Like Goils or Kill All the White People. This song tributes to the Broadway play about a botched sex-change operation.
This song was written by Stephen Trask, who wrote music for Hedwig and the Angry Inch.
The official song Angry Inch from the movie Hedwig &the Angry Inch composed by Stephen Trask and performed by John Cameron Mitchell.
Money, Success, Fame, Glamour is a song performed by musical artist Felix da Housecat for the movie Party Monster starring Macaulay Culkin and Seth Green.
Felix da Housecat is an American DJ and record producer, mostly known for house music and electro. Felix is regarded as a member of the second wave of Chicago house and has produced an eclectic mix of sound since, from resolute acid and techno warrior to avant-garde nu-skool electro-disco.
Party Monster is a 2003 American biographical drama film directed by Fenton Bailey and Randy Barbato, and starring Macaulay Culkin as the drug-addled “king of the Club Kids”. The film tells the story of the rise and fall of the infamous New York City party promoter Michael Alig.
The Club Kids were a group of young New York City dance club personalities popularized by Michael Alig, James St. James, Julie Jewels, DJ Keoki, and Ernie Glam in the late 1980s, and throughout the 1990s would grow to include Amanda Lepore, Waltpaper, Christopher Comp, It Twins, Jennytalia, Desi Monster, Keda, Kabuki Starshine, and Richie Rich.
Sweet Transvestite is a song from the 1973 British musical stage production The Rocky Horror Show and its 1975 film counterpart The Rocky Horror Picture Show. The song is performed by the character, Dr Frank N. Furter, originally played by Tim Curry.
A pharmaceutical scientist creates a pill that makes people remember their happiest memory, and although it’s successful, it has unfortunate side effects.
Kids in the Hall: Brain Candy is a 1996 Canadian comedy film written by and starring the Canadian comedy troupe The Kids in the Hall. Directed by Kelly Makin and filmed in Toronto, it followed the five-season run of their television series The Kids in the Hall, which had been successful in both Canada and the United States.
Wally Terzinsky (Scott Thompson) is a husband, father, and closeted homosexual. Wally masturbates to gay pornography, frequents public bath houses, and was sexually active with men during his military service, but remains unaware of his sexual orientation. He is prescribed GLeeMONEX by a frustrated therapist.
Sparks is an American pop and rock duo, originally formed as a Los Angeles band called Halfnelson in 1967 by brothers Ron and Russell Mael. Known for their quirky approach to songwriting, Sparks’ music is often accompanied by sophisticated and acerbic lyrics, often about women or Shakespearean literature references, and an idiosyncratic, theatrical stage presence, typified in the contrast between Russell’s animated, hyperactive frontman antics and Ron’s deadpan scowling. They are also noted for Russell’s distinctive wide-ranging voice and Ron’s intricate and rhythmic keyboard playing style.
Take a psychedelic journey into the minds of artists Mike Judge and White Zombie.
Beavis and Butt-Head Do America is a 1996 American animated comedy film based on the MTV animated television series Beavis and Butt-Head. Co-written and directed by series creator Mike Judge, the film stars the regular television cast of Judge with guest performances by Demi Moore, Bruce Willis, Robert Stack, and Cloris Leachman. The film centers on Beavis and Butt-Head trying to find their stolen television, but later end up traveling across the country in an attempt to “score.”
“Nothing is true; everything is permitted.” Welcome to Interzone, the hellish playground of William Burroughs’ ‘Naked Lunch’. Along with Jack Kerouac and Allen Ginsberg, Burroughs was among the central figures of the Beat generation. Over a frenzied decade bridging the 1950s and ’60s they were instrumental in reshaping America’s cultural landscape, tearing up their elders’ starchy doctrine and blazing the trail for the counterculture that followed. As dynamic, brilliant young things they seemingly make for ideal cinematic subjects, but only one film managed to capture something of the essence of its author and the Beat generation at large: David Cronenberg’s Naked Lunch.
A key idea of the Beat generation was to treat the most authentic, uncensored human thoughts and desires as art. In a buttoned-up society, they challenged social norms via their insatiable appetite for sex, drugs and confessional intimacy. ‘Naked Lunch’ was banned for years in the US and even taken to court for its perceived obscenity, while Ginsberg’s ‘Howl’ suffered a similar fate. Both eventually won their respective trials, ultimately helping to liberate American publishing. Liberalisation was, in many ways, what the Beat generation was all about: from strait-jacketed literature, from sexual repression, from lock-step social conformity.
The problem with films about the Beat generation is that so few are genuinely transgressive. But Naked Lunch is a different beast altogether. As is protagonist Bill Lee’s typewriter – it’s an insect that groans with pleasure as he works it, crowing for him to rim its pulsing sphincter with drugs. Bill Lee is really Burroughs, and Cronenberg’s film is about his becoming a writer – his relationship with his typewriter. Rather than attempting to adapt the book in a literal sense, Cronenberg treated Burroughs’ schizoid prose as a secondary source. He gave it structure, but it remains essentially a bizarre work.
Following the production struggles of The Lord of the Rings, Ralph Bakshi decided that it was time to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film with an extensive soundtrack of songs which would be given an entirely new context in juxtaposition to the visuals in a film. While the film does not reflect Bakshi’s own experiences, its themes were strongly influenced by individuals he had encountered in Brownsville. The film’s crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams, each of whom brought their own personal touch to the film. Bakshi once again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film’s story. According to Bakshi, “Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones.”
The score for American Pop was composed by Lee Holdridge. As the result of his reputation as an innovator of adult animation, Bakshi was able to acquire the rights to an extensive soundtrack, including songs by Bob Dylan, Jefferson Airplane, Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima, for under $1 million in permissions fees. Due to music clearance issues, the film was not released on home video until 1998.
Raya and the Last Dragon takes us on an exciting, epic journey to the fantasy world of Kumandra, where humans and dragons lived together long ago in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and it’s up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, she’ll learn that it’ll take more than a dragon to save the world—it’s going to take trust and teamwork as well.
Raya and the Last Dragon features an outstanding voice cast, including Kelly Marie Tran as the voice of the intrepid warrior Raya; Awkwafina as the legendary dragon, Sisu; Gemma Chan as Raya’s nemesis, Namaari; Daniel Dae Kim as Raya’s visionary father, Benja; Sandra Oh as Namaari’s powerful mother, Virana; Benedict Wong as Tong, a formidable giant; Izaac Wang as Boun, a 10-year-old entrepreneur; Thalia Tran as the mischievous toddler Little Noi; Alan Tudyk as Tuk Tuk, Raya’s best friend and trusty steed; Lucille Soong as Dang Hu, the leader of the land of Talon; Patti Harrison as the chief of the Tail land; and Ross Butler as chief of the Spine land.