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About The Author Jenna Cunningham
Biography: usually wearing a hat

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Alla Kovgan

Genres Documentary

2019

story The iconic Merce Cunningham and the last generation of his dance company is stunningly profiled in Alla Kovgan's 3D documentary, through recreations of his landmark works and archival footage of Cunningham, John Cage, and Robert Rauschenberg

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“I'm gonna film using my stove top” lol😂. Honey I knew that MF was gay time I seen him. While holding my webkinz HAHAHAH. He calls himself boring but he is like one of the only YouTubers that can make me laugh 🤣😂. The fact that you had to say, “many of you probably dont know Jesse McCartney... ” Damn, I feel old. Warning: Some of these choices may be controversial, but remember that this is just some twat on Reddit's opinion. Nothing more. Anyway, all of that said, MGS is kinda renown for its' quirky, zany boss fights with equally quirky and zany characters, but let's not beat around the bush, some of 'em kinda suck. Some have immediate go-to games with what they consider shit bosses, others don't. Me? I don't give a shit a boss' personality. Having an iconic personality doesn't make a boss fight. It's how any boss actually plays out. Do the controls work in your favor? Are the skills you've amassed actually coming in handy? And are you having fun? Feel free to disagree, but these are the bosses across all the MGS games that didn't do it f'er me, with 12 being tolerable and 1 being a pure "WTF", as well as what I think the solutions could've been to make these fights genuinely great: 12) The Fear (MGS3) - This isn't a bad boss. I still have a save file for it, and it's pretty fun. It's just insultingly easy, and a massive missed opportunity. The entirety of the opening cutscene makes that poison bolt feel like it's gonna factor into the boss fight, like mess with y'er perception and make you see shit. But after 2 minutes of Grandpa Pickles monologuing about spider poison, and all ya do is flick it out and administer cure it's like nothing happened. From there, all Fear does is leap around, telegraphing his attacks, most of which aren't hard to avoid. And if ya have thermals, good night. Solution is simple, do something long term with the poison, and make the boss arena larger. Fuckers' name is 'The Fear, ' I should feel intimidated and unnerved, not knowing where this tosser's at. That kinda goes away when there's not many places he can hide. 11) Colonel Volgin (MGS3) - Love Volgin as a villain 'cuz he's got no pretenses of 'misguided anti-hero. ' He's a full fledged asshole, but unlike Liquid, he's a more enjoyable asshole. That said, whichever game designer uttered the words "cage match" for this fight deserves to have a thick rubber band flicked at their twat. It completely ruined what could've been an amazing boss fight. MGS games weren't designed with action or head on combat. It's designed for more methodical, slower paced stealth action. Non lethally throwing Volgin to the ground repeatedly isn't just inane, it's boring. And trying to use weapons is borderline archaic. Solution? Lose the cage match idea, fire and wedgie the bellend who suggested it, and just fight Volgin across the entire hanger, and once again, dunno why I gotta keep repeating this, but implement stealth. 10) Revolver Ocelot (MGS1) - Yeah, yeah, iconic, Ocelot, blah blah blah. It's very easy to have fun with this fight if ya use cover. It's not very long, but it's functional. Problem is, all y'er doin' is runnin' in a sodding square for two minutes, and it becomes very easy to just run and shoot constantly. BTW, this is the first boss fight in a game where y'er supposed to be using stealth and combat is s'posed to be a last resort. So why can't I use stealth against this twat? It isn't hard. It isn't complex. And I don't care about all the delicious taunts Ocelot gives, that doesn't make this actual fight fun. Solution? Make the bloody arena bigger, and let us actually use stealth, like having to seek Ocelot out and shoot him before he spots us. Have those cover and ricochet mechanics, but use a bigger arena with more cover spots and hiding spots. That degree of disconnect between gameplay and boss fights isn't good game design IMO. Bosses should be informed on the game at large, not rely on gimmicks that won't ever come up in the main game again. 9) Liquid Snake (MGS1) - Again, iconic, and it's the final boss, whatever. This has the potential to be fun. Problem is, IMO, it ain't. The CQB of MGS1 wasn't good at all. Hit detection was bollocks, especially in this fight where Liquid will stand still, but if you hit him wrong, either he'll just move out of the way, or you'll land a shot, but miss the combo, then get hit by an unavoidable combo of Liquid's. And TBH, just doing one bloody thing all fight long is fucking boring. I don't enjoy this fight, and whatever challenge it poses comes from the shit CQB controls and stiff movement, not the actual fight. Solution? Just fucking stop doing these shirtless fist fights at the end of every game in the Solid trilogy, FFS. What do they have to do with stealth? Why is the final boss completely unrelated to all the skills I've learned all game long? Why is the MSX final boss of Metal Gear 2 infinitely better than a game that came out 8 years later on a better console? 8) Vamp (MGS4) - Here's an example of diminishing returns on cheap gimmicks in Metal Gear games. A dull boss battle against a vicious villain where the challenge isn't the boss, but figuring out how to kill him. Problem is, once you know the truth, what is the challenge? Ya just shoot Vamp nonstop for two minutes, then he's dead. Then ya plug his neck meat with a syringe, and that's it, make way for yet another fucking split screen moment where the non-interactive half is way more eventful than the tedious Suicide Gecko part. Solution? Have the stupid sodding gimmick, but do more with the bloody boss fight! Give Vamp more moves, have more stages where ya can't just shoot him constantly. Even MGS2 gave him the shadow piercers or the part when he's bullet proof. And let us shoot his sodding blades. I didn't even like his boss fight in MGS2, and it still ran laps around his mediocre MGS4 battle. There's a way to add stealth to the Vamp fight. If ya kill him, and hide, then Vamp will search for you. Do somethin' with that, where Vamp's impervious, and ya gotta get the drop on him. Why do I gotta keep asking for stealth for boss fights in a stealth series? I feel like Mugatu taking crazy pills here! XD 7) The Man on Fire Horseback Chase (MGSV) - I love the actual Man on Fire boss. But the Awakening encounter is absolute bollocks, and pisses on my salad. If people wonder why I'm salty about MGS4, missions like Awakening are textbook examples, and nowhere is that more present than Man on Fire's boss. He's chasing Venom and Ishmael all across the hospital, so naturally, none of it is interactive, and when it finally does become interactive, all ya do is jump out of a fucking window, then have yet another piss in my cereal rail shooter. One that's mercifully short and visually great, but functionally, what the fuck is the point if it's so brief and impossible to lose? Solution? Go full fucking Outlast in Awakening. Have that bullshit horseback chase, but have the parts where Man on Fire is chasing you actually interactive throughout the Hospital, and give the player options for dispatching Man on Fire each time. It literally baffles my brain hole when people say this is the best mission in MGSV. Fuck Awakening for being everything wrong with MGS and for compromising what could've been a truly nail biting boss chase. 6) Raging Raven (MGS4) - Pretty much everything about Vamp but slightly duller, since Raven has more HP and even longer wind up for attacks, of which, she has fewer than Vamp. I don't know what KojiPro were thinking when they made this fight take place on a narrow tower top, but Jesus was this a terrible location for a boss fight, let alone an areal one. Chryslias works as well as it does 'cuz ya had that entire Mayan Ruins to hide across, and Chrysalis itself was masked by the mist. Solution? Pretty obvious, a much larger boss arena with more destructible cover spots and buildings, and have Raven and her flock tear through them physically, not just with her grenade launcher. The part reaching the top when she's flying in and out of walls was way more intense than the actual battle. 5) Null (MPO) - This fight is perhaps the single most disappointing part about MPO. It had all the makings of a truly epic boss fight, one that, despite the terrible controls of MPO, could've been one of the best in the series. A one on one wide range battle against an overwhelmingly powerful enemy. Epic. Soooo naturally, ya can't implement stealth in any way, and Null always knows y'er fucking position and deflects every shot, high or low and knows every trap you lay out. So, instead of utilizing the massive Substation or even the Silo Entrance, ya just end up sticking to one little crate, and walk in a slow circle around it, waiting for Null to shoot 3 times, then shooting him every time he reloads. Solution? Cut out the constantly fixed on your position bollocks. Implement the ability to shake Null off and have him actively seek you out. So you can use traps. So you can hit him from behind. End result? One of the best sodding fights in MGS then and there, despite its' simplicity. 4) Lt. Cunningham (MPO) - I loved Cunningham. I thought he was a great character and he left one of the most immediately imposing first impressions a villain ever left. He was a merciless brute, and a surprisingly cunning one at that, the ham. So, naturally, he's a slightly more advanced hover trooper in his boss fight, and a tedious one at that. Honestly, I dunno who keeps insisting Metal Gear bosses do away with stealth and take place on narrow areas, but that person needs to just stop. There's no complexity to Cunningham's boss fight. Just keep shooting his craft, then shoot him when he lowers. And his attacks aren't especially hard to dodge. And go figure, a brute isn't fought physically. I had more fun fighting other players who used Cunningham online than I did the actual boss. This fight is tedious and a complete insult to an otherwise strong villain. Solution? Bugger off with that entire boss fight, have one take place in the actual underground fortress, like that whole arena is perfect for a mano-y-mano showdown, and give Cunningham a few weapons and traps. Have him swap between his laser and his M60, and have him occasionally lob those mousy traps and grenades. And, for the billionth time, stop not including stealth, goddammit. 3) Sniper Wolf (MGS1) - I'll never get this obsession with Sniper Wolf. She has one 8 minute sob story after she's been lung shot, and somehow, she's an amazing character despite none of her three other scenes before that hinting at this amazing character? Nah, I don't buy it. I especially don't buy her as the best of anything Metal Gear related, especially boss fights. I fucking hated her sniper battles, the first one especially. Sniping in MGS1 is absolute bollocks. First, Snake immediately lays down, and aims like a 90 year old with arthritis, and every single time he's shot, his scope jerks like a motherfuck, and ya gotta slowly aim all over again. This is a boss fight where everything about MGS1's controls and mechanics are working against you. And the second fight might have that nikita bollocks, but that just makes the fight even more boring and now, consequence free. IMO, Sniper Wolf was a shit boss through and through, and an overrated boss character on top of that. Solution? Well, TTS had better sniping, but the fight still sucked. So, I'd say the solution is do away with that border bollocks where if ya move too far out, ya immediately get shot. Have more vantage points and hiding points, and don't have Wolf always know your location. Sniping is the epitome of stealth action. The End, Crying Wolf, and Quiet all did it right. How the first one completely buggered it up is beyond me. 2) Metal Gear Rex (MGS1) - This boss fight plays out one of two ways. Either ya constantly toss chaffs and shoot rockets at the Radome, then Liquid, with absolutely zero deviation from that pattern in either phase of the fight. Or, ya try and outrun rockets and see how fucked the controls are when the missiles become impossible to outrun 90% of the time, and eat away at your Rations if ya made the mistake of trying to aim when the rockets started flying. Worse yet, the Stinger is buggered during this fight, 'cuz it takes for-fucking-ever to lock on half the times, and by the time it does, Rex is already peeing rockets. Solution? You guessed it. Fucking stealth, goddammit! Here's the crazy part, stealth actually is in this fight. You can use chaffs to scramble Rex, then hide, and it'll actually not know where you are. But here's the thing, the arena is so damn small that in order to even be in the line of sight for Rex's weakpoints, you have to be in its' line of sight. So again, stealth, and make the arena bigger. Boom, problem solved, and instead of a frustrating slog, ya have an excellent and tense boss fight that works within the limitations of the PS1's controllers. 1) Fortune (MGS2) - I mean, should it even count as a boss fight when literally all ya do is stand stock still for a minute, then move to another place to stand stock still for another minute? And again, why is this taking place in such a tiny arena? It's brief. It's underwhelming in every sense of the word. And it completely buggers what should've been a brilliant combo for an amazing boss encounter. Fortune is, now and forever, the single most piss poor excuse for a boss fight to ever stain the MGS series. Solution? Sooo many things. Obvious one is make the arena much bigger. Do the Speed Buster thing from No More Heroes where the objective isn't to fight, but to reach the enemy, all the while avoiding devastating blasts from her shopping cart canon or in Fortune's case, her railgun. Have us time our movements to go from cover to cover as we try to reach Fortune or a certain area, instead of waiting on an elevator. And have crates be much weaker, so only one or two blasts is all it takes. Towards the end of the boss fight, have Fortune go batshit and start blasting the ceiling so debris and shit starts falling and creating obstructions via fuel fires or rubble, or darkening the arena. As it stands, Fortune going nuts is all for show. As is the entire boss fight. Looks amazing, plays like ass. Dishonorable Mentions: The Tanks (PW) - Yeah, they're dull and the extra op battles are a slog. They are perfectly functional, however, and allow for stealth and other creative means of beating the main mission ones. So, I don't really consider them the worst. Eli (MGSV) - I actually really like this boss fight. I just hate that I gotta work against that bullshit QTE bollocks, 'cuz using the in-game CQC instead is way more fun. I wish this fight was implemented against a different enemy, preferably one where you could use lethal ammo against him, and that they had more HP. Shagohod (MGS3) - I actually dislike this boss more than Volgin, looking back, but it's perfectly functional, and also really brief. It's just dull as shit, and the first half is legitimately terrible 'cuz it's once again on rails and Eva is about as reliable a driver as a drunken chimpanzee on Quaaludes. PW (.. ) - Everything about this boss fights works really well, except one 's sodding great wall of HP, which turns an otherwise excellent boss fight into the epitome of grindy. Python (MPO) - Same bollocks as Null, only Python is way more functional since ya don't gotta rely on waiting for him to reload to hit him. Problem is, he always knows your position, and the mist / arena would've been perfect for a hunter stealth boss.

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“4 score and 7 years ago; I WAS A QUEER” -Jordan Cunningham, 2019

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Great to see a film about dancing! A relatively unexplored sub-genre of documentary, and Cunningham was welcome for this alone. It adds to a hole that I suppose Wenders' Pina opened.

On that note, this film should not have been shot in 3d, which added nothing but nausia. We expect the 3d was entirely for the purpose of (a) copying Pina and, relatedly, b) getting funding. But Cunningham's dances are far less spectacular and their presentation here likewise. The 3d only distracts from the movement in all but one Warhol-involved set, especially when edited with 2d archival.

First half entertaining, second boring. The film progresses at a monotonous pace: one thing happens and then another and then another. No real conflict or tension.

Which is a problem. Because there evidently was plenty of this, but only in reality. The movie, on the other hand, brushes past unconvincingly. No one in the film is given space apart from Cunningham - everyone else speaks to convince the audience how great he is. I wanted to hear from one of his female dancers honestly, in long form, of the darkness of Cunningham. This would help to flesh out his character, give us something to chew on, and organise the film into a narrative. As is, we grew progressively distrusting and disengaged with the Greatest Hits/ Victory Lap tone, before the film ends suddenly with the news that all his dancers left.

Ultimately we were left unconvinced that Cunningham (the dancer) was all that interesting. Fashionable certainly, he's attached to the right people, and I'm sure it would be great to be dancing as him, but the just-over-half-full prime-time-at-the-festival cinema was an endless circuit of yawns.

Nevertheless we feel cultured now.

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Merce Cunningham was a dancer and choreographer known for his long-time collaboration with avant-garde composer John Cage. Synopsis Merce Cunningham was born on April 16, 1919 in Centralia, Washington. He later joined Martha Graham's dance company and choreographed his own works using music from composer John Cage, who became his partner. In 1953, Cunningham formed his own company and garnered wide acclaim over the decades for his innovations while also collaborating with other artistic visionaries. He died on July 26, 2009. Early Life Born on April 16, 1919, in Centralia, Washington, Mercier Philip Cunningham became one of the most innovative and influential choreographers of the 20th century. He took up dancing at a young age. "I started as a tap dancer, " he told the Los Angeles Times. "It was my first theater experience, and it has stayed with me all my life. " In his teens, Cunningham studied with Maude Barrett, a circus performer and vaudevillian. He briefly attended George Washington University before enrolling at the Cornish School of Fine Arts in Seattle in 1937. There he met composer John Cage, who eventually became his partner in life and work. Cunningham changed majors during his time at Cornish, switching from theater to dance. He choreographed his first dance pieces while at the school. Career Highlights A gifted dancer known for his powerful leaps, Cunningham was invited to join the Martha Graham Dance Company in 1939. He spent several years with the group, performing lead roles in such productions as El Penitente in 1939 and Appalachian Spring in 1944. Also in 1944, Cunningham debuted some of his solo works that he choreographed, including Root of an Unfocus, featuring music by Cage. Over the years, Cunningham developed his own unique choreography process. He created the choreography for his pieces separate from the music. The two elements were only combined during final rehearsals or at the time of the performance. Cunningham also liked to incorporate chance into his choreography, using dice and The I Ching to determine how the dancer should move. The following year, Cunningham left Graham's troupe to branch out on his own. He also continued to develop numerous solo pieces with himself as the dancer. Then in 1953, he established the Merce Cunningham Dance Company. Cage composed the music for many of the company's productions. Artist Robert Rauschenberg worked as a designer early on. Later Cunningham collaborated with other artists, including Andy Warhol and Roy Lichtenstein. Cunningham first found great acclaim for his avant-garde works abroad. His company wowed audiences in London in 1964 during their first international tour. As the years progressed, Cunningham kept looking for new ways to innovative. He started to choreograph using a computer animation program in the 1990s. He told the Los Angeles Times: "The computer allows you to make phrases of movements, and then you can look at them and repeat them, over and over, in a way that you can't ask dancers to do because they get tired. " Death and Legacy Cunningham celebrated his eightieth birthday with a special duet with Mikhail Baryshnikov at New York's Lincoln Center in 1999. By this time, he had become physically fragile but was still as imaginative as ever. Cunningham debuted Biped that same year, which incorporated computer-generated imagery alongside his dancers. Cunningham created several more dance pieces before his death. He passed away of natural causes on July 26, 2009 at his home in New York. His namesake dance company went on a two-year tour after his death as a tribute to the great choreographer. After the tour, the company closed its doors. The Merce Cunningham Trust was established to preserve his works, including more than 150 dances, and his legacy. During his nearly 70-year career, Cunningham received numerous honors. He won two Guggenheim fellowships—in 1954 and in 1959. In 1985, Cunningham received the Kennedy Center Honors and a MacArthur Fellowship. He also was granted several honorary degrees from such schools as Bard College and Wesleyan University.

This is so TRUE you can find out the business of everything; that's why it's best to watch what you say when you are in you don't say it, you don'have to unsay it. Bonito. Gosto muito de Merce Cunningham e de John Cage. “You already stayed up at 4am-“ Me: It is 7am... I had no sleep,but tell that to 4pm me who is sleeping on the couch 😂.

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“4 score and 7 years ago; I WAS A QUEER” -Jordan Cunningham, 2019

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