MobileSuitLilah

Lilah

@MobileSuitLilah

Quaint Witch, Sad Enchantress

  • she/her

Incredibly based gay trans woman poster 🏳️‍⚧️🏳️‍🌈 | Lover of books, music, and video games ✨| Happily married to @milktea ❤️ | Icon by @peachparfait

Praise for @MobileSuitLilah

“Lilah is maybe the internet’s greatest poster…a unique and very funny sense of humor…her jokes are specific and experimental while still being accessible to a mainstream audience”
— The New York Review of Posts

“Men you may not like it but…[Lilah’s posts are] what peak performance looks like”
— Virginia Woolf, author of Orlando

“I’m a huge admirer of Lilah’s posts to the point that I left my wife…only then did I discover Lilah is gay and had also never heard of me”
— Jonathan Safran Foer, an author I guess

"Lilah's posts were a huge source of relief during the development of DonPachi...it's no exaggeration to say Cave wouldn't exist without her posts"
— Tsuneki Ikeda

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posts from @MobileSuitLilah tagged #streets of fire

also:
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Streets of Fire Review

This movie is completely fake. It’s all artifice. Its fusion of 80s urban dystopia crime thriller and 50s rock and roll stylings consists of one-dimensional characters uttering parodic cartoon dialogue as they wander through a cacophony of leather and motorbikes and pompadours and neon and old studebakers. Michael Paré gives the flattest line readings and fails to convince anybody he can act.

Somehow it (mostly) works, because while all the movie can stand on is style, it has it in spades. Part of that is Walter Hill’s visual sense and editing, but at least half of it is the music. Ry Cooder’s rockabilly soundtrack keeps things vibing but the opening/closing concert scenes featuring songs by Jim Steinam absolutely whip and are filled with bombastic energy. At its worst the movie is flat and boring but at its best it becomes the cinematic equivalent of listening to a stupid but fun as hell rock album

MobileSuitLilah
@MobileSuitLilah

Opening of this movie is unbelievable

The quick edits as people filter into the concert. The neon at the back of the stage. The way the audience is filmed in silhouette in front of the stage. Willem Dafoe and his bikers entering the theater drenched in shadow. Diane Lane’s outfit. It’s so good

MobileSuitLilah
@MobileSuitLilah
Streets of Fire Review

This movie is completely fake. It’s all artifice. Its fusion of 80s urban dystopia crime thriller and 50s rock and roll stylings consists of one-dimensional characters uttering parodic cartoon dialogue as they wander through a cacophony of leather and motorbikes and pompadours and neon and old studebakers. Michael Paré gives the flattest line readings and fails to convince anybody he can act.

Somehow it (mostly) works, because while all the movie can stand on is style, it has it in spades. Part of that is Walter Hill’s visual sense and editing, but at least half of it is the music. Ry Cooder’s rockabilly soundtrack keeps things vibing but the opening/closing concert scenes featuring songs by Jim Steinam absolutely whip and are filled with bombastic energy. At its worst the movie is flat and boring but at its best it becomes the cinematic equivalent of listening to a stupid but fun as hell rock album

 
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