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ninithegreat · 8 months

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NO HARD FEELINGS

Dir. Gene Stupnitsky

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caseydeiidricks · 6 months

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#jennifer lawrence #jennifer lawerence gif #jennifer lawrence edit #no hard feelings #mine #ship inspo #muse inspo

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yeahthatsinteresting · 7 months

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Jennifer Lawrence in 'No Hard Feelings' (2023)

#jlaw #jennifer lawrence #jennifer lawerence gif #no hard feelings #edit #movies #gifs #gifset #no hard feelings 2023 #IDK

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nancy-laura-spungen · 5 months

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A few years before my dad died, he went to Missouri to fix up a house and met a neighbor, this man Van Colbert. They became fast friends even though Van was a self described "Hillbilly" Southerner and my dad was a "tough guy" from Philly. Anyway this song makes me cry

Edit to add Van also did some of the music for the Jennifer Lawerence movie Winter's Bone

youtube

#van colbert #nine pound hammer #missouri #Youtube

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bovaque · 4 years

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Jennifer Lawrence for Dior

#she so pretty #unfair #jennifer lawerence #photography #my edit

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awellboiledicicle · 4 years

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TMA Statements In Chronological Order

But, not by when the events happened, by the order when the Statements were entered to the Institute. Because that wasn’t on the wiki timeline.

Below the cut because i’m not a monster.

Format is:

Episode // Entity // Statement Giver// Statement Given // Event Date

• #140 The Movment of The Heavens // The Dark // John Flamsteed // 1715 • #116 The Show Must Go On // The Stranger // Abraham Janssen // 2 November 1787 • #23 Schwarzwald // The Eye // Albrecht von Closen // 31st March 1816 // Winter 1815 • #127 Remains to be Seen // The Eye // Jonathan Franshawe // 21 November 1831 // April – November 1831 • #152 A Gravediggers Envy // The Buried // Hezekiah Wakely // 1837 - 1839 • #50 Foundations // The Buried // Sampson Kempthorn // 12th June 1841 // 1836 • #58 Trail Rations // The Flesh // Mrs. Carlisle // 10th November 1845 // October – November 1845 • #105 Total War // The Slaughter, The Eye // Charles Fleming // 1862 • #98 Lights Out // The Dark // Algernon Moss // 14 May 1864 • #138 The Architecture Of Fear // The Eye // Robert Smirke // 13 February 1867 • #7 The Piper // The Slaughter // Clarence Berry // 6th November 1922 // 1917-18 • #133 Dead Horse // The Hunt // Percy Fawcett // 27 June 1930 • #99 Dust to Dust // The Buried // Robert E Geiger // 20 February 1952 // April 1935 • #137 Nemesis // The Slaughter // Wallis Turner // 3 July 1955 // Winter 1942 • #29 Cheating Death // The End // Nathaniel Thorp // 4th June 1972 // 17th June 1775 • #60 Observer Effect // The Eye // Rosa Meyer // 12 July 1972 // April – July 1972 • #95 Absent Without Leave // The Slaughter // Luca Moretti // 2 November 1977 • #44 Tightrope // The Stranger // Yuri Utkin // 2nd March 1979 // November 1952 • #85 Upon the Stair // The Spiral // Unknown // 1980 – 1990 • #86 Tucked In // The Dark // Benjamin Hatendi // 2nd March 1983 • #84 Possessive // The Corruption // Adrian Weiss // 1 December 1990 • #125 Civilian Casualties // The Slaughter // Terrance Simpson // 19 July 1993 • #77 The Kind Mother // The Stranger // Lucy Cooper // 15 September 1994 //August 1994 • #93 Contaminant // The Corruption // Lester Chang // 5 March 1995 • #96 Return To Sender // The Stranger // Alfred Breekon // 15 May 1996 • #53 Crusader // The Eye // Walter Heller // 5th September 1997 // November 1941 • #2 Do Not Open // The Buried, The Stranger // Joshua Gillespie // 22nd November 1998 // 1996 -1998 (?) • #46 Literary Heights // The Spiral, The Vast // Herbert Knox // 21st December 1998 // September 1997 • #17 Boneturners Tale // The Flesh // Sebastian Adekoya // 10th June 1999 // 1996 • #66 Held in Customs // The Buried // Vincent Yang // 22 February 2000 // January 19 2000 • #78 Distant Cousin // The Stranger, The Web // Lawrence Moore // 12 June 2001 • #21 Freefall // The Vast // Moira Kelly // 20th October 2002 // 3rd-5th or 7th June 2001 • #35 Old Passages // All // Harold Silvana // 4th June 2002 // June 2002 • #9 A Father’s Love // The Dark, The Hunt // Julia Montauk // 3rd December 2002 // 1990-95 • #155 Cost of Living // The End // Tova McHugh // 3 December 2002 • #68 Tale of a Field Hospital // The Corruption // Joesph Russo // 3rd June 2003 // 1st June 2003 • #27 A Sturdy Lock // The Spiral // Paul Mckenzie // 24th August 2003 // July 2003 • #146 Threshold // The Spiral // Marcus Mackenzie // 1 September 2003 • #88 Dig // The Buried // Enrique MacMillian // 4 November 2003 • #70 Book of the Dead // The End // Masato Murray // 9th December 2003 • #52 Exceptional Risk // The Dark // Phillip Brown // 9th April 2004 // 1st November 2002 • #24 Strange Music // The Stranger // Leanne Denikin // 17th Jan 2005 // August 2004 • #59 Recluse // The Web, The Desolation // Ronald Sinclair // 29th November 2005 // Early to Mid 1960’s • #134 Time of Revelation // The Extinction // Adelard Dekker // 22 January 2006 // 2005, 1867 • #75 A Long Way Down // The Vast // Stephen Walker // 7 November 2006 // Early October 2006 • #139 Chosen // The Desolation // Eugene Vanderstock // 30 November 2006 • #115 Taking Stock // The Flesh // Michaele Salesa // 4 January 2007 // Autumn of 1999 • #8 Burnt Out // The Web, The Desolation, The Spiral // Ivo Lensik // 13th March 2007 // November 2006 • #67 Burning Desire // The Desolation // Jack Barnabas // 18 March 2007 // October – November 2006 • #3 Across the Street // The Stranger, The Web // Amy Patel // 1st July 2007 // 7th April 2006 • #51 High Pressure // The Vast, The Buried // Antonia Hayley // 7th January 2008 // August 2006 • #106 A Matter of Perspective // The Vast, The Eye // Jan Kilbride // 10 February 2008 • #49 The Butchers Window // The Flesh // Gregory Pryor // 11th March 2008 // June 2007 • #62 First Edition // The End, The Eye // Mary Keay // 3rd July 2008 // 1955 • #154 Bloody Mary // The Eye // Eric Delano // 21 July 2008 • #130 Meat // The Flesh // Lucia Wright // 19 December 2008 • #18 The Man Upstairs // The Flesh // Christof Rudenko // 12th December 2008 // 22nd October 2007 • #156 Reflection // The Extinction // Adelard Dekker // 4 January 2009 • #5 Thrown Away // The Flesh etc. // Kieran Woodward // 23rd February 2009 // 8th August 2008 • #97 We All Ignore The Pit // The Buried // Jackson Ellis // 3 March 2009 • #57 Personal Space // The Lonely, The Vast, The Dark // Carter Chilcott // 4 April 2009 // September 2007 • #145 Infectious Doubts // The Desolation // Arthur Nolan // 2 February 2009 • #114 Cracked Foundation // The Web Shtranger or Extinction // Anya Villette // 22 April 2009 // 23 April 2009 or 9 April 2009 • #37 Burnt Offering // The Desolation // Jason North // 6th August 2009 // August 2009 • #108 Monologue // The Lonely, The Stranger // Adonis Biros // 20 August 2009 // August 2009 • #144 Decrypted // The Extinction // Gary Boylan // 3 October 2009 // August 2009 • #126 Sculptor’s Tool // The Spiral // Deborah Madaki // 11 October 2009 // Spring 2004 • #72 Takeaway // The Flesh // Craig Goodall // 20 October 2009 // 27 September 2009 • #107 Third Degree // The Desolation // 1 February 2010 // January 2010 • #48 Lost in the Crowd // The Lonely // Andrea Nunis // 25th March 2010 // September 2009 • #10 Vampire Killer & #56 Children of the Night // The Hunt, the Web // Trevor Herburt // 10th July 2010 // 1959 (first event), Winter 2009 • #69 Thought For the Day // The Web // Darren Harlow // 18th November 2010 • #31 First Hunt // The Hunt // Lawerence Mortimer // 9th December 2010 // 30th November - 1st December 2010 • #33 Boatswain’s Call // The Lonely // Carlita Sloane // 2nd January 2011 // Late November 2010 • #45 Blood Bag // The Corruption // Thomas Neil // 9th February 2011 // Spring 2010 • #148 Extended Surveillance // The Eye // Sunil Maraj // 3 April 2011 • #14 Piece Meal // The Flesh // Lee Rentoul // 29th May 2011 // Early 2011 • #19 Confession & #20 Desecrated Host // The Spiral, The Web, The Desolation (Hilltop Road) & The Spiral, The Flesh // Edwin Burroughs // 30th May 2011 // November 2006 • #112 Thrill of the Chase // The Hunt // Lisa Carmel // 13 November 2011 • #113 Breathing Room // The End // Adelard Dekker // 2012 • #12 Page Turner // The Desolation, The Eye // Lesere Saraki // 11th February 2012 // 23rd December 2011 • #153 Love Bombing // The Corruption, The Flesh // Barbara Mullen-Jones // 2 March 2012 • #110 Creature Feature // The Web // Alexia Crawley // 14 March 2012 • #1 Anglerfish // Stranger //Nathan Watts // 22nd April 2012 // March 2010 • #38 Lost and Found // The Spiral // Andre Ramao // 6th June 2012 // March 2012 • #36 Taken Ill // The Corruption // Nicole Baxter // 19th November 2012 // August – September 2011 • #136 The Puppeteer // The Web // Alison Killala // 1 December 2012 // 2012 • #124 Left Hanging // The Vast // Julian Jennings // 11 December 2012 // 2012 • #149 Concrete Jungle // The Extinction // Judith O’neill // 13 May 2013 • #54 Still Life // The Stranger // Alexander Scaplehorn // 23 June 2013 • #4 Page Turner // The Vast, The Spiral, The End // Dominic Swain // 28th June 2013 // 10th November 2012 • #90 Body Builder // The Flesh // Ross Davenport // 7 August 2013 • #157 Rotten Core // The Extinction, The Corruption // Adelard Dekker // 14 August 2013 • #30 Killing Floor // The Flesh // David Laylow // 1st September 2013 // 12th July 2013 • #129 Submerged // The Buried // Kulbir Shakya // 4 September 2013 // July or August 2013 • #83 Drawing a Blank // The Stranger // Chloe Ashburt // 19 October 2013 // September – October 2013 • #42 Grifter’s Bone // The Slaughter // Jennifer Ling // 3rd November 2013 // Autumn 2013 • #32 Hive // The Corruption // Jane Prentiss // 23rd February 2014 // Pre-2014 • #63 The End of the Tunnel // The Dark // Erin Gallagher-Nelson // 31st March 2014 // 26th March 2014 • #102 Nesting Instinct // The Corruption // Francois Deschamps // 4 June 2014 • #103 Cruelty Free // The Flesh // Dylan Anderson // 2 July 2014 • #135 Dark Matter // The Dark // Manuela Dominguez // 14 July 2014 // 2007 • #87 The Uncanny Valley // The Stranger, The Desolation // Sebastian Skinner // 10 October 2014 // September 2014 • #15 Lost Johns’ Cave // The Buried // Laura Popham // 9th November 2014 // 14-15th June 2014 • #150 Cul-de-sac // The Lonely // Herman Gorgoli // 9 November 2014 • #6 Squirm // The Corruption // Timothy Hodge // 9th December 2014 // 20th November 2014 • #122 Zombie // The Stranger // Lorell St. John // 1 February 2015 • #11 Dreamer // The End // Antonio Blake (Oliver Banks) // 14th March 2015 // 12th March 2015 • #16 Arachnophobia // The Web, The Corruption // Carlos Vittery // 9th April 2015 // Early 2015 • #25 Growing Dark // The Dark // Mark Bilham // 19th April 2015 // January – March 2015 • #64 Burial Rites // The End // Donna Gwynne // 20th May 2015 // 2012 • #74 Fatigue // The Spiral // Lydia Halligan // 8 June 2015 • #123 Web Development // The Web // Angie Santos // 1 August 2015 // January 2015 • #13 Alone // The Lonely // Naomi Herne // 13th January 2016 //30th & 31st March 2015 • #22 Colony // The Corruption // Martin Blackwood // 12th March 2016 // March 2016 • #26 A Distortion // The Spiral, The Corruption // Sasha James // 2nd April 2016 // 1st April 2016 • #28 Skintight // The Slaughter, The Stranger // Melanie King // 17th April 2016 // January 2015 • #34 Anatomy Class // The Stranger // Lionel Elliot // 12th July 2016 // January – March 2016 • #39 Infestation // ATTACK ON THE INSTITUTE // 29th July 2016 • #40 Human Remains // Post Attack Debrief// 29th July 2016 • #41 Too Deep // Buried and Dark suspected // 2nd September 2016 // mid-august – September 2016 • #43 Section 31 // The Desolation, The End // Basira Hussain //19th September 2016 // August 2011 and 18 July 2014 • #47 The New Door // The Spiral // Helen Richardson // 2nd October 2016 • #55 Pest Control // The Corruption, The Desolation // Jordan Kennedy // 3rd November 2016 // 2011 & 2014 • #61 Hard Shoulder // The Hunt, The Stranger, The Buried // Daisy Tonner // 1st December 2016 // 24th July 2002 • #65 Binary // The Spiral, Extinction // Tessa Winters // 7th January 2017 • #71 Underground // The Buried // Karolina Gorka // 25 January 2017 // 6 January 2017 • #73 Police Lights // The Dark // Basira Hussain // 11 February 2017 // 10 February 2017 • #76 The Smell of Blood // The Slaughter // Melanie King // 13 February 2017 • #79 Hide and Seek // The Stranger, The Spiral // 16 February 2017 • #80 The Librarian // All // Jurgen Leitner // 16 February 2017 // 1994 • #81 A Guest for Mister Spider // The Web // Jonathan Sims // 18 February 2017 / 1995 • #82 The Eyewitnesses // The Eye, the Slaughter // Daisy Tonner // 18 February 2017 • #89 Twice as Bright // The Desolation // Jude Perry // 24 April 2017 • #91 The Coming Storm // The Vast, The Spiral // Michael Crew // 28 April 2017 • #92 Nothing Beside Remains // The Eye, The Lonely // Elias Bouchard, Barnabas Bennett // ? [Possibly 28 April 2017] • #94 Dead Woman Walking // The End // Georgie Barker // 29 April 2017 • #100 I Guess You Had To Be There // The Desolation, The Dark, The Spiral, The Web, The Lonely // Lynn Hammond, John Smith, Robin Lennox, Brian Finlinson // 2 May 2017 – 26 May 2017 • #101 Another Twist // The Spiral, The Stranger // Michael // May-June 2017 // October 2009 – 2011 • #104 Sneak Preview // The Stranger // Timothy Stoker // 14 June 2017 // August 2013 • #109 Nightfall // The Dark, The Hunt // Julia Montauk and Trevor Herbert // 29 June 2017 // July 2010 • #111 Family Business // Multiple, The End // Gerry Keay // 30 June 2017 // September 2008 • #117 Testament // The Eye // Jonathan Sims, Basira Hussain, Melanie King, Martin Blackwood, Timothy Stoker, Daisy Tonner // 2 – 4 August 2017 • #118 The Masquerade // The Stranger // The Unknowing Begins // 6 August 2017 • #119 Stranger and Stranger // The Stranger // The Unknowing Ends // 7 August 2017 • #120 Eye Contact // The Eye // Elias Bouchard // 9 August 2017 • #121 Far Away // The End, The Web // Oliver Banks // 15 February 2018 • #128 Heavy Goods // The Stranger // Breekon // 3 March 2018 • #131 Flesh // The Flesh // Jared Hopworth // 20 March 2018 // 2016 – January 2018 • #132 Entombed // The Buried // Jonathan Sims and Daisy Tonner // 24 March 2018 • #141 Doomed Voyage // The Vast, The Spiral // Floyd Matharu // 11 June 2018 • #142 Scrutiny // The Eye, The Buried // Jess Terrell // 12 June 2018 • #143 Heart of Darkness // The Dark // Manuela Dominguez // 16 June 2018 • #147 Weaver // The Web // Annabelle Cane // 20 July 2018 • #151 Big Picture // The Vast, The Lonely, The Extinction // Simon Fairchild, Martin Blackwood // 14 August 2018 • #158 Panopticon // The Eye, the Extinction, The Lonely // Martin Blackwood, Peter Lukas, Basira Hussain, Jonathan Sims, Daisy Tonner, Elias Bouchard, Gertrude Robinson // 25 September 2018 • #159 The Last // The Lonely // Peter Lukas // 25 September 2018 • #160 The Eye Opens // All // Jonah Magnus, Jonathan Sims // 18 October 2018 • Vigilo, Audio, Supervenio. The World Ends • #161 Dwelling // No // Sasha James, Tim Stoker, Martin Blackwood, Elias Bouchard, Jonathan Sims, Jurgen Leitner // No Longer Applicable // Unknown • #162 A Cozy Cabin // No // Gertrude Robinson, Gerry Keay, Sasha James, Timothy Stoker, Martin Blackwood, Jonathan Sims // No Longer Applicable // 2013 – 2015 • #163 In The Trenches // The Slaughter // Jonathan Sims // No Longer Applicable • # 164 The Sick Village // The Corruption // Jonathan Sims // No Longer Applicable • #165 Revolutions // The Stranger // Jonathan Sims // No Longer Applicable • #166 The Worms // The Buried // Jonathan Sims // No Longer Applicable • #167 Curiosity // The Eye, The Web, Others // Jonathan on Gertrude Robinson // No Longer Applicable • #168 Roots // The End // Oliver Banks // No Longer Applicable

#tma #the magnus archives #timeline #tma meta #eldritch bingo au #tma reference #tma ref

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fantastictvs-blog · 7 years

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Passengers: Jim Preston by Chris Pratt

#passengers #passengers edit #passengers gif #passengers movie #passengersgif #passengersedits #edits #chris pratt #chris pratt gifs #chris pratt gif #chrisprattgif #chris pratt gay #jennifer lawrence #jennifer lawerence gif #guardians of the galaxy #gotg #gotgedit #gotg gifs #gif

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sweetsmellosuccess · 3 years

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Sundance 2021: Day 1 & 2

Films: 5

Best Film of the Day(s): Summer of Soul

Coda: It is mostly a truism that the festival tends to start things off on Thursday night with a genial offering, to whet the appetite, as it were, for the vastly more far-reaching, and oft-madcap rest of the program. Sian Heder’s sweetly realized light drama, about Ruby (Emilia Jones), a high school senior in Gloucester, MA, who works in the early morning non-school hours on her father’s fishing boat, and full-time as the only member of her family, including mom (Marlee Matlin), father (Troy Katsur), and brother (Daniel Durant) who isn’t deaf. Balancing out her workload, she joins the choir, in order to be able to spend time with her crush, Miles (Ferdia Walsh-Peelo), and turns out to have significant enough talent that her flinty music teacher (Eugenio Derbez), encourages her to apply to the prestigious music college in Boston of which he is an alum. Formulaic, to be certain, but moving nonetheless, with fine performances from the family — in keeping with the film’s own set-up, all but Jones actually deaf — and a strong sense of their relationships, especially between Ruby and her father. Heder’s screenplay also plays out the difficult dynamic between Ruby, and the rest of the hearing world, as the lone interpreter and defender of her family. As she puts it, they can’t hear themselves being laughed at, but she has no choice. It’s certainly glossy, but it’s also heartfelt, as in one pivotal scene, as Ruby performs a moving duet with Miles for the choir’s big show, Heder unexpectedly douses the sound for a few long moments, giving us a moving sense of what her parents get to experience during their daughter’s moment of artistic triumph.

Censor: As the title suggests, Prano Bailey-Bond’s discreet horror flick is about the idea of repression — what we want to cut away from the ugliness of the human experience. Set during the Thatcherite ‘80s, during an era where “video nasties” had become the topic du jour of cultural critics and political wankers, suggesting the sudden proliferation of demented, ultra-violent straight-to-video releases in the UK was somehow leading the country into sadistic nihilism, as opposed to their representing the result of Thatcher’s choking brand of right-wing oppression. Enid (Niamh Algar), a censor working for the government to render such films as Asunder, and Violent Coda properly palatable to the squirming masses, by excising excessive eye-gougings, brutal rapes, and disembowelments just enough to pass the board. She’s already living with her own past demons, a younger sister who disappeared in the woods under her watch years before, leaving her family shattered. Bailey-Bond shoots the film until the very end, as if underground, even while literally outside. Enid makes her way through the tube stations, and pedestrian tunnels, to her windowless office, and back again, with overhanging branches, overpasses, and canopies keeping her away from contact with the outside world. Creepy — but notably restrained in its own depictions of violence, save for the grainy, 4:3 imagery Enid has to make her way through at her job — Bailey-Bond’s film works well as a half-remembered bad dream from a similar tableau as Peter Strickland, but doesn’t quite have to chops, visually or in its surreal storytelling, to push it past those boundaries. It’s gripping enough, but doesn’t stick with you terribly long.

Summer of Soul (...Or When the Revolution Could Not Be Televised): In 1969, during the Summer of Love, when white hippies and counter-culturalists were grooving to Woodstock, and NASA had successfully landed whitey on the moon, an entirely different sort of cultural fusion was taking place in Mt. Morris Park in Harlem. A performer and concert promoter named Tony Lawerence conceived of the event, a big outdoor stage where for six consecutive weekends, people could flock to the free shows that featured Jazz, Afro-beat, blues, R ‘n B, gospel, Motown, and funk. More than 300,000 attended the concerts in total to watch legendary performers including B.B. King, Mahalia Jackson, Max Roach, Mavis Staples, Gladys Knight, Hugh Masekela, a 19-year-old Stevie Wonder, Sly and the Family Stone, and, in the sort of fierce performance that defined her live presence, Nina Simone, but even though the shows were meticulously filmed, the footage had never found an outlet, until now. Ahmir “Questlove” Thompson’s directorial debut doesn’t just present the artists’ performances (though it certainly could have), but adds insight from some of the surviving artists, and some of those in the crowd who witnessed them. He also works to put the shows into the cultural context of the time, when a rare mixture of political outrage, multicultural strength, and a dawning of the Black Pride movement created a fulcrum for Harlem, and Black people all over the world. Hippies got the press, and much of the mainstream media coverage, but Thompson makes a strong case as to how the same repressive forces that lead to the explosion of the counterculture movement amongst white college students and young people, also affected the rise of rebellion and tide-shifting in communities of color. Watching Jackson and Staples perform a riveting version of MLK’s favorite gospel song, “Take My Hand, Precious Lord,” in the wake of the black leader’s assassination, or Simone rip into “Backlash Blues” is to witness the shift of cultural winds, as they whipped across a steamy, jam-packed park in Upper Manhattan.

John and the Hole: The title is, on first blush, terrible, but as with several things in this confidently enigmatic coming-of-a-kind-of-age tale from Pascual Sisto, there’s more to it than that. What initially sounds dumpy becomes somewhat cannily constructed: It’s meant to evoke a kind of modern myth vibe, along the lines of “Jack and the Beanstalk.” As it turns out, the film’s refusal to explain itself becomes a significant strength. John (Charlie Shotwell), is a 13-year-old kid from a wealthy family outside of Boston. Skinny and stammering, he’s also difficult to read, either by his parents (Jennifer Ehle and Michael C. Hall), or his older sister (Taissa Farmiga). Which is why, when John’s family wake up one morning at the bottom of a deep, cement shaft — part of a bunker built in the woods near their house — after having been drugged, and dragged there by John, their reactions run from mildly surprised to mildly upset. John leaves them down there, occasionally stopping by the edge to drop down food, water, and jackets, while he lives on at the main house, zipping around town in the family’s Volvo SUV, and taking out cash when needed from his dad’s ATM card. At first, he finds it liberating — eating a mound of chicken nuggets, endless pizzas, and leaving the mess littered around the house, as he attempts to stave off suspicions — but, eventually, he gets lonely, and realizes he prefers their company to being on his own. There’s maliciousness implied in his actions — a frequent shot looking up at John from inside the pit keeps re-establishing the peculiar power dynamic in the family — but nothing happens, it appears, that can’t be taken back. Sisto shoots the film sumptuously, drawing out the beauty of their immaculate house in contrast to the mess it slowly becomes under John’s ambivalence (an idea neatly echoed with the rest of the family down in the bunker, who quickly become filthier and filthier until the mud and grime seems etched into their pores). What conclusions it may draw are difficult to ascertain, in keeping with the nature of the project, but there is the definite sense that the nuclear family, as rigid as the formation may seem, remains a useful tool for healthy emotional growth after all.

In the Earth: Shot in the summer of 2020, in response to the pandemic (director Ben Wheatley explained pre-screening that he wanted a film that “reflected the politics of the times”), the film is loaded with imagery of madness and obsession. Or, you know, what happens to the human mind when it’s forced to stay in place for months at a go. Set in the near future, when a different and even more deadly virus has devastated the planet, the story concerns a scientist named Martin (Joel Fry), who needs to head deep into a boreal forest to find a research lab headed by a former flame (Hayley Squires). He is aided by a guide, a forest ranger named Alma (Ellora Torchia), who takes him on the supposed two-day trek. En route, however, they run into trouble in the form of Zach (Reece Shearsmith), a crazy devotee of the forest gods, and what he believes are their ritualistic demands. Breaking free from him, they arrive at the research lab, only to find similar insanity. Wheatley’s film feels rushed in places, and is violently incoherent in others, but its sense of immediacy is acute. With its characters having plunged into bizarre cryptic conspiracy theories, having plunged deep into the Boreal heart of darkness, and the sense that reality has been splintered, it ends up being a pretty fair summation of current life and times. It might not hold up under much scrutiny years from now, but it could hardly be more of the moment in the meantime.

Sundance goes mostly virtual for this year’s edition, sparing filmgoers the altitude, long waits, standing lines, and panicked eating binges — but also, these things and more that make the festival so damn endearing. In any event, Sundance via living room is still a hell of a lot better than no Sundance. A daily report.

#sweet smell of success #ssos #piers marchant #films #movies #sundance 2021 #virtual film festival #summer of soul #in the earth #john and the hole #coda #censor

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skywllker · 7 years

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#mine #my edit #my gif #jennifer lawrence #passengers #aurora lane #jennifer lawerence gif #jlawedit #jlawdaily #jlawrenceedit

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lightscameramagicrp · 4 years

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Hi Zombies! As many of you already know, we will be having an Award Show Event in February. We will be announcing when the event will start and how to vote for each category in the upcoming weeks, so stay tune for that. But, for now, here is the full list of nominees. Feel free to have your characters post starters/react in character to the Nominees/being or not being Nominated:

AWARD NOMINATIONS-

Outstanding Television Series

Tales of Terror

Operation Unknown

Tale as Old As Time

Weather the Storm

True Devotion

Outstanding Production Design of a Series {A series is nominated for their props/set design}

Tales of Terror

Violent Delights

Tale as Old as Time

After the Storm

Outstanding Original Screenplay/Story of a Series

Tales of Terror

True Devotion

Operation Unknown

Violent Delights

Outstanding Costume Design of a Series

Weather the Storm

Young Blood

Tales as Old as Time

Violent Delights

Outstanding Cinematography of a Series

Tales of Terror

Desire Island

Tale as Old as Time

Violent Delights

Outstanding Pre-Production in a Television Series {A series is nominated on their storyboarding, locations etc.}

Weather the Storm

Tale as Old as Time

Desire Island

Cheer Society

Outstanding Post-Production/Effects in a Television Series {A series is nominated for their editing, visual effects etc.}

Young Blood

True Devotion

Weather the Storm

Violent Delights

Best Director of a Television Series

Gigi King

Best Performance by an Actress in a Television Series

Rocky Roberts for “Jade Harris” on Weather the Storm

Natalia Riley-Burgess for “Juliette Cavanagh” on Violent Delights

Jennifer Scarrow for “Cindy Tremaine” on Tale As Old As Time

Dani Riley for “Ashton Reyes” on True Devotion

Hayden Scott for “Daisy Cooper” on Operation Unknown

Best Performance by an Actor in a Television Series

Grant Riley for “Sean Betts” on Operation Unknown

Iz Novak for “Channing Carpenter” on Weather the Storm

Damien Kent for “David Prince” on Tale As Old As Time

Best Supporting Actress in a Television Series

Dani Riley for “Tina O’Bryan” on Operation Unknown

Eliza Holmes for “Arianna Lawerence” on Tales of Terror

Natalia Riley-Burgess for “Alicia Beasley” on Operation Unknown

Isa Garcea for “Amelia Harper” on Desire Island

Roni Baker for “Ciara Saunders” on After the Storm

Best Supporting Actor in a Television Series

Alex Castle for “Andrew Cooper” on Operation Unknown

Iz Novak for “Cassidy Martin” on Tales of Terror

Noah St. Claire for “Charlie Graham” on Operation Unknown

Toni Garcea for “Justice Wyatt” on Desire Island

Damien Kent for “Mason Redbrook” on Desire Island

Best Breakout Actor of the Year

Noah St. Claire

Damien Kent

Best Breakout Actress of the Year

Heather Presley

Hayden Scott

Makeup/SFX Artist of the Year

Connor Kent

Grace Garcea

Aurora Olsen

Elias Page

Composer of the Year

Rick Valentine

Camera Operator/Cinematographer of the Year

Luna Sinclaire

Jayden Todd

Choreographer/Coordinator of the Year {Can nominate dance choreographers, fight choreographers and stunt coordinators}

Roni Baker

Chloe Riley-Burgess

Mitchell Burgess

S. Reynolds Award {in honor of Sasha Reynolds, CEO & head of the innovative media company and studios that is LCM, this category is open to any cast/crew member who you believe has gone above and beyond in their chosen profession}

Astrid Todd

Dani Montez

Jordan Wyatt

Jackie Presley

Amara Devlin

Sabrina Knight

Thanks once again to everyone who participated in sending in nominations!

#lightscameramod #lightscameraevent2

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teamcatcave · 7 years

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Movie: Passengers

Clearly the thrust of the film which in reality focuses on Jennifer Lawerence and Chris Pratt for huge swathes (with Michael Sheen and Lawrence Fishburne helping along at various stages), and without in reality their charisma the film would probably die on its knees. That said, the idea that the idea is improbable (a ship hurtling towards a new earth with everyone in hibernation) is not particularly new, nor the idea that perhaps things will go very wrong. The premise of the film, man wakes up, man is alone, man wakes girl up, girl finds out man woke her up and so forth is a great one. As Jim, Pratt makes a reasonable fist of showing his isolation and a gentle breakdown, though it in no way taxes the audience. Aurora is awoke and Lawrence and he do create something of a spark as attachment between the characters blossoms. Her inevitable heart break and pain when discovering she has been awoken is perhaps edited a little too lightly and not dwelt upon as it perhaps could have been which perhaps would have given the movie more substance. What bit you do see is highlighted well enough, but there could have been more of it. As many have said the final act which brings them together is a little lightweight, but I really don’t think much more could have been done.

I found it a little thought provoking, perhaps a little light for some of the aspects that it was dealing with, but ultimately a decent enough film which superficially looked at the nature of relationships, isolation and hope. Mortem Tyldum does a great job direction wise, perhaps the writing could have been tighter towards the end and a little more thought provoking. To be frank though, I enjoyed it and feel no where near as negative about it as many!

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awkwardllamaninja-blog · 6 years

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