#summer Phoenix | Explore Tumblr Posts and Blogs

erosioni · 2 months

Text

Scarlett Johansson, Summer Phoenix, Heather Matarazzo, Rosario Dawson, Los Angeles Fashion Week, LA, 2003. Photo: Jeff Vespa.

#scarlett johansson #summer phoenix #heather matarazzo #rosario dawson #early 2000s #early 2000s style #2000s fashion #2000s style #early 2000s aesthetic #2000s hollywood

23 notes · View notes

lovecatnip · 13 days

Text

SLC Punk!

1998

#slc punk!#matthew lillard #michael a.goorijan #devon sawa #summer phoenix

8 notes · View notes

pop-sesivo · 2 months

Text

Joaquin Phoenix (4º, de izq. a der.) y River Phoenix (último de izq. a der.), con sus padres y hermanas Summer, Liberty y Rain en su casa en Los Ángeles, California, alrededor de 1983 (vía Reddit).

#Joaquin Phoenix #River Phoenix #Summer Phoenix #Liberty Phoenix #Rain Phoenix

2 notes · View notes

sweetsmellosuccess · 2 years

Text

TIFF 2022: Day 2

Films: 4 Best Film Of The Day: Bros

Louis Armstrong’s Black & Blues: Satchmo gets his due in Sacha Jenkins’ reverent doc, as one of most highly celebrated horn players and Jazz ambassadors in the history of popular music. Beginning in the mid-’20s, as an impossibly talented protege of then-legend King Oliver, Armstrong took the world by storm, especially when he came into his own band, where he could be the undisputed ringleader and lead trumpet. His style, an impossibly high-energy blend of improvisation and a steady stream of high-C notes (difficult for even a seasoned pro to attain), along with his gravel-voiced diction (“foist” for “first”) and penchant for smiling showmanship, created a perfect entertainment vehicle for pre-civil rights white America. The film doesn’t shy away from the accusation that Satchmo, for all his prodigious gifts and charms, played nice with the Whites, and profited handsomely for it, while not being public about his political views, or overtly supportive of the burgeoning movement spurred on by MLK, Rosa Parks, Malcolm X, and many others. For his part, Armstrong — who was obsessive about recording his thoughts in his various writings and autobiography, and in the hundreds of taped conversations he made with various friends and illuminaries — speaks to this interpretation of his dealings with white people in pretty measured tones. He believed his music created a bridge that everyone could walk on — the film makes much of his frequent duets with the trombone player Jack Teagarden, the pair’s genuine bonhomie showing the world how it could be done. He also claims to have given generously to the cause (a point the film doesn’t confirm or deny), but it’s also true that he came up from an entirely different era. It’s not as though he didn’t suffer under the harsh racial conditions of the time — he grew up dirt-poor in New Orleans, and was very often unable to stay in the same fancy hotels that welcomed him to their performance stage — but he had orchestrated a way to survive and thrive in the world amongst the Whites in the ‘40s and ‘50s, and saw his audience, demonstrably white, in glowing terms, no matter the strife around him. Whether or not that makes him a positive-minded realist, or a capitalist-minded opportunist, the film doesn’t entirely conclude one way or the other. It’s not an in-depth profile of his politics, as it is a celebration of the thing that mattered most to him (only two of his four wives get much mention at all, though the film does include many bits and pieces with Lucille, his fourth — and last — wife, who was with him for nearly three decades until his death in 1971), his music. Nearly every shot of him, on-stage or off, has him with horn in hand (along with his ubiquitous white handkerchief), either in the midst of playing one of his unique, up-tempo solos, or about to put his beloved horn to his lips. I would have preferred more mention of some of his frequent collaborators (Ella Fitzgerald, for example, barely appears), but as a summary of the man and his wondrous career, it’s pretty essential viewing.

Roost: Based on a play by Scott Organ, Amy Redford’s film takes the idea of the male sexual predator, and turns it neatly on its head. Anna (Grace Van Dien) is a bubbly high school girl just about to turn 17, when she casually mentions to her mother, Beth (Summer Phoenix), that she’s met a guy she really likes online (her mom’s response: “Those are literally famous last words”). The guy turns out to be Eric (Kyle Gallner), a 28-year-old with a shared love of poetry with Anna, who drives 900 miles on a whim in order to meet her in person. None of this sounds the least bit good, but when Anna finally gets around to introducing her guy to her mom and her mom’s fiance (Jesse Garcia), things take an even stranger series of turns, until it becomes clear there’s much more happening here than anyone, including the audience, might imagine. There are some interesting angles at play here, and strong (if uneven) performances from Van Dien and Phoenix, but too much of the story’s dramatic build up requires a series of actions and responses that really don’t make any sense from an EQ perspective for it to hold together as tightly as it needs to, in order to be effective. Shot in what appears to be Colorado, with the glorious mountains peeking out in the background, and with strong camera work by DP Bobby Bukowski, it feels suitably lived-in, but it still can’t quite get to life-like.

Domingo: Moody atmospherics from Costa Rican filmmaker Ariel Escalante Meza, whose film trades both in gritty textures, and wispy metaphysics. Domingo (Carlos Ureña), a widow for two decades, lives in a simple house up in the mountains, near his daughter (Sylvia Sossa), and a couple of friends, with whom he splits a large bottle of moonshine each night. They have reason to drink: The town is in the throes of being bought out by a greedy developer, intent on making a killing when the land is sold to the state for a new highway, and isn’t opposed to actual killing in order to make that happen, threatening the otherwise peaceful inhabitants with a group of thugs buzzing around on their motorcycles and shooting indiscriminately into houses by way of intimidation. Domingo, who speaks with his dead wife via the various clouds of mist that rise up over the mountains and into his ramshackle house, doesn’t want to leave for fear his wife’s ghost won’t be able to find him if he moves away. With nowhere else to go, and refusing to be bullied out of his home, he has no choice but to put up a fight, whatever the cost. Meza’s film skillfully juxtaposes the simple tranquility of the mountains, and their steep, verdant calm, against the imposition of machinery, and guns, and the heavy construction of the highway being built below the town. With a mise-en-scene that feels thoroughly natural (Domingo wears the same rubber boots and natty sweater in almost every scene), the hostility these simple people face with the advancement of modernity, and its enjoining capitalist opportunities, feels like an even greater assault than the bullets that are fired in response.

Bros: Well, why can’t gay people have their own major studio, wide-release raunchy rom-com? Billy Eichner’s screenplay (co-written by director Nicholas Stoller) follows many of the standard sorts of hurdles — two busy NYC men who pride themselves on not getting emotionally involved with their partners find each other, lose each other, and find each other again — and several of the seemingly indelible tropes of the genre (Bouncy best friends! A trip away together! An issue of honesty!). But it also has many clever satiric touches (a Hallmark stand-in called “HallHeart” that tries to get hip with seasonal titles such as “Christmas With Either,” and “A Holly Polly Christmas”), and enough of Eichner’s clever pop-culture gags (“We had AIDS,” his character, an outspoken podcast host says of the current generation, “they had “Glee”!), to keep the engine humming, even as the film very nearly pauses at various times in order for Eichner to deliver various preachy polemics about the mostly ignored history of gay people (his character is head of an upcoming LGBTQ+ museum being built in Manhattan). There are enough of these moments — Eichner practically takes off his glasses and says “But if I could be serious for a moment..” before launching into a diatribe — that the film has a kind of stuttering energy to it, a start/stop dynamic that draws attention to itself. On the other hand, you can sort of tell what Eichner might be thinking, here: How many more chances will he, or other LGBTQ+ filmmakers, get making a major studio release starring a fully queer cast? Given the dearth of such material writ large on the masses to this point, you can’t blame him for wanting to go out with his boots on, so to speak, blasting his six-shooters in all directions until he’s run out of ammo. Much of the film works because of the exceptional chemistry between Eichner (who tones down his usual “Billy on the Street” persona in service to a slightly more well-rounded character) and co-lead Luke Macfarlane, who gets the more thankless role as the hunky comic foil (the “straight” man, if you will) to Eichner’s neurotically charged dynamo, and more than holds his own. The film also doesn’t hold back on its ‘R’ rating, including several scenes of passionate (though non-graphic) lovemaking, a boisterous affirmation of queer sexuality. If there seem to be a few too many moments designed to pump up Eichner’s ego (at various times, characters tell him how attractive he truly is), then so be it. It’s not a crime to have a film celebrate a character’s self-worth, even if it feels a bit self-serving in the process, for a group so universally marginalized, the film’s wide release (at the premiere, Eichner told the enraptured crowd it will be on 3000 screens when it comes out at the end of September of 2022) will doubtlessly not include the many countries that won’t even recognize the LGBTQ+ community actually exists.

TIFF: One Last Time, wherein the author contemplates this year’s offerings and the past decade of covering this fabulous film festival, as he’s poised to embark on a new career path that will more than likely involve him standing up in front of a group of sullen teens, espousing the glories of the Russian masters, rather than taking in a beatific week of international cinema in the early days of September.

#sweet smell of success #piers marchant #ssos #films #movies #TIFF #Toronto International Film Festival #2022 #Bros #billy eichner #luke macfarlane #Louis Armstrong's black and blues #roost #grace van dien #amy redford #summer phoenix #domingo and the mist #Ariel Escalante Meza #lgbtq+

4 notes · View notes

fyeahrebeccafront · 2 years

Photo

#sophie winkleman #summer phoenix #rebecca front #suzie gold #debbie levine #barbara gold

3 notes · View notes

pacingmusings · 2 years

Photo

Seen (again) in 2022:

Esther Kahn (Arnaud Desplechin), 2000

#films #movies #stills #Esther Kahn #Arnaud Desplechin #Summer Phoenix #French #2000s #seen in 2022

2 notes · View notes

boomgers · 2 months

Text

¡Cuidado al conocer a alguien en redes sociales!… “Nadie Es Lo Que Parece”

Un adolescente y un smartphone es una combinación alarmante para muchos padres. Cuando Anna, quien está a punto de cumplir 17 años, le dice a su madre, Bet, que ha conocido a un chico en línea, Beth se preocupa. De repente, Eric, quien ha estado seduciendo a Anna, aparece en su casa y no es un chico, sino un hombre de 28 años.

Estreno: 7 de marzo de 2024 en Cines.

youtube

La película está dirigida por Amy Redford, guionizada por Scott Organ y protagonizada por Summer Phoenix, Grace Van Dien, Kyle Gallner, Jesse Garcia, Indiana Affleck, Sierra Nicole Rose y Reina Hardesty.